Draft:Frederick Charles Cooper

• Comment: Please see Draft talk:Frederic Charles Cooper#Problems. Hoary (talk) 04:32, 9 October 2024 (UTC)

• Comment: Possibly notable but needs sources to prove it. Where did you get the info in the Biography section? ~Liance^talk 22:00, 12 June 2024 (UTC)

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Frederick Charles Cooper
Born	Between 1810 and 1821 Nottingham, England, British Empire
Died	Between 1880 and 1883 London, England, British Empire
Nationality	British
Known for	Painting, drawing
Movement	Realism

Frederick Charles Cooper (between 1810 and 1821, Nottingham, England, British Empire – between 1880 and 1883, London, England, British Empire) was a British artist, traveler, and diplomat, whose name is closely associated with one of the most significant archaeological expeditions of the 19th century. Cooper is remembered not only for his artistic skill but also for his contributions to documenting the monumental discoveries of ancient Assyria. His detailed watercolours and sketches captured a world long lost to time, the ruins of Nineveh, surrounding landscapes of northern Iraq and Syria, as well as many anthropological sketches and portraits of the artist's contemporaries.

Cooper was also Consul to Queen Victoria in Mesopotamia and Kurdistan (1850–1855).

Early life and artistic beginnings

Frederick Charles Cooper was born in Nottingham. However, his aspirations took him far beyond the industrial centers of Britain. He moved to London with hopes of establishing himself as an artist. He immersed himself in the artistic circles of London, and in 1844, while living at 37 Dorset Square, he reached a milestone in his early career by exhibiting his work Ophelia: therewith fantastic garlands did she make at the Royal Academy's annual exhibition.

This early success hinted at his potential, but it was his involvement in one of the most extraordinary archaeological ventures of the Victorian era that would cement his reputation as a notable figure in British art.

The Assyrian expedition

In 1849, Cooper was selected as the artist for an historically ambitious expedition led by Austen Henry Layard, an archaeologist and diplomat. Layard's mission was to unearth the lost cities of Assyria, an ancient empire whose ruins had been buried under the sands . The expedition ventured into what is now northern Iraq and Syria, where the team set out to excavate Nineveh, the ancient capital of Assyria, renowned for its grandeur and religious associations.

The Trustees of the British Museum, recognizing the importance of visually documenting these archaeological wonders, appointed Cooper to accompany Layard's team. His task was to meticulously sketch and paint the artifacts, structures, and landscapes that were being uncovered. Layard himself acknowledged Cooper's role, writing in his 1853 book Discoveries among the Ruins of Nineveh and Babylon that the "assistance of a competent artist was most desirable, to portray with fidelity those monuments which injury and decay had rendered unfit for removal." Cooper's artistic ability became crucial in preserving a visual record of the discoveries, particularly given the fragile and deteriorating state of many of the relics.

Sources claim an uneasy relationship between Cooper and Layard, and personal dislike that Layard had for Cooper. John Curtis writes:

From the start, it was clear that Layard was fairly contemptuous of Cooper and had little time for him. Cooper was very homesick, missed his wife, and even painted a portrait of her from memory which he took out from to time to gaze at. He didn't like the food, and suffered from the climate as it started to get hotter.

The expedition to Nineveh culminated in one of the most important archaeological discoveries of the 19th century—the unearthing of the palace of Sennacherib. Among the many works he produced were detailed renderings of Assyrian reliefs and monumental sculptures, including depictions of the famous winged bulls that guarded the entrance to the palace. One particularly striking image shows the colossal figure being carefully lowered by ropes onto a wooden trolley, a scene that captures the scale and drama of the excavation.

More than fifty of Cooper's original drawings from this expedition are now part of the British Museum's collection, offering insight into the excavations.

Return to London and exhibitions

Upon his return to London in 1851, Cooper presented the public with a stunning visual account of the expedition through a collection of 37 paintings exhibited in a diorama at Gothic Hall, Lower Grosvenor Street. The diorama was a sensation, immersing viewers in the world of ancient Assyria and transporting them to the very sites of Layard's discoveries. This exhibition placed Cooper at the center of Victorian England's fascination with the ancient Near East and its connections to the mysticism.

Cooper continued to exhibit at the Royal Academy, where he showed works that highlighted his experiences in Mesopotamia. His 1852 painting Scene from the Excavations of Nineveh was drawn directly from his on-site sketches, as was his 1860 work The Plains of Nineveh from the Tanner's Ferry near Mosul.

The art historian H.L. Mallalieu has written in his Dictionary of British Watercolour Artists up to 1920: "Cooper's landscapes are effective, but his figures can be rather shaky."

Despite his success, Cooper remained a somewhat elusive figure in the art world. He exhibited his final piece, The Souvenir, at the Royal Academy in 1868, marking the slow end of his public artistic career.

Later life and death

Cooper's later life is basically unknown. Information about him after 1870 is almost entirely absent from available sources. He is believed to have died around 1880.

In addition to the British Museum, the artist's works are also featured in several galleries and private collections.

Gallery

• 
  The maiden and the alchemist (c.1860). Oil on canvas 86.8 × 110.5cm (34 3/16 × 43 1/2in). Private collection.
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  A woman lounging with a hookah (c. 1860s). Oil on canvas 16 1/4 in × 20 1/4 in. Private collection
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  Excavation of the City of Nineveh (c. 1852). Oil on canvas. Unframed: 91.5 × 71.5cm, 36 × 28in. Framed: 125 × 106cm., 49¼ × 41¾in. Private collection.
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  From a bound set of original drawings made at the time of the nineteenth-century discoveries in Assyria. Many of these drawings were used by Layard in his publications of the 1840s and 1850s. British Museum.