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Oil Paintings
Come From United Kingdom
An option that you can own an 100% hand-painted oil painting from our talent artists. |
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John Robert Cozens
British
1752-1797
). Painter, draughtsman and printmaker, son of (1) Alexander Cozens.
He was taught by his father, and an album by John Robert (Aberystwyth, N. Lib. Wales) indicates that he also learnt to sketch landscape directly from nature. The album contains drawings that record sketching tours to Nacton, near Ipswich, Suffolk (Aug 1768); day trips to the outskirts of London: Greenwich and Blackheath (1768, 1771), Epsom (1768) and Hampstead (1770-71); and a trip to Matlock, Derbys (June 1772). The earliest of these sketches are careful pencil drawings, some later reworked in pen, ink and wash, and there is at least one attempt at added colour. Later drawings are freer, either noting an idea for a composition or recording light and shade with rapid washes of ink over pencil. His father worked mainly in monochrome brown or grey washes, and John Robert earliest exhibits (he exhibited at the Society of Artists every year from 1767 to 1771) were also in this medium. |
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John Robert Cozens
Between Chamonix and Martigny
c1776/79
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John Robert Cozens
between chamonix and martigny (nn03)
c 1776/79 Watercolour on paper 43.5 61.6 cm 17 1/8 x 24 1/4 in Private collection
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John Robert Cozens
south gate of sargans
1776 watercolour 23.4x35.6cm
se
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| John Robert Cozens
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British
1752-1797
). Painter, draughtsman and printmaker, son of (1) Alexander Cozens.
He was taught by his father, and an album by John Robert (Aberystwyth, N. Lib. Wales) indicates that he also learnt to sketch landscape directly from nature. The album contains drawings that record sketching tours to Nacton, near Ipswich, Suffolk (Aug 1768); day trips to the outskirts of London: Greenwich and Blackheath (1768, 1771), Epsom (1768) and Hampstead (1770-71); and a trip to Matlock, Derbys (June 1772). The earliest of these sketches are careful pencil drawings, some later reworked in pen, ink and wash, and there is at least one attempt at added colour. Later drawings are freer, either noting an idea for a composition or recording light and shade with rapid washes of ink over pencil. His father worked mainly in monochrome brown or grey washes, and John Robert earliest exhibits (he exhibited at the Society of Artists every year from 1767 to 1771) were also in this medium.
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