Where can I see Study for "The Defeat of the Floating Batteries at Gibraltar"?

Study for "The Defeat of the Floating Batteries at Gibraltar" is held by National Gallery of Art.

What movement is Study for "The Defeat of the Floating Batteries at Gibraltar"?

Study for "The Defeat of the Floating Batteries at Gibraltar" is associated with Romanticism.

Artwork

Study for "The Defeat of the Floating Batteries at Gibraltar"

Study for "The Defeat of the Floating Batteries at Gibraltar" is a graphite drawing by the Romanticist artist John Singleton Copley. It dates from 1784 and is held in the collection of the National Gallery of Art.

About this work

Overview

John Singleton Copley’s 1784 drawing serves as a preparatory study for his larger composition titled “The Defeat of the Floating Batteries at Gibraltar.” Executed in graphite and white chalk on a blue‑gray laid paper, the work measures a modest size but captures a moment of intense physical activity, hinting at the narrative of the later painting.

Subject & Meaning

The sketch portrays three figures in 18th‑century military attire caught in a moment of struggle. One figure is shown collapsing to the ground while the other two appear to be either supporting or restraining him, suggesting the chaos of combat. The composition emphasizes motion and tension, reflecting the broader theme of victory over the floating batteries during the Great Siege of Gibraltar.

Technique & Style

Copley employs a combination of graphite for tonal modeling and white chalk for highlights, allowing a clear delineation of form against the muted blue‑gray background. The laid paper’s texture remains visible at the edges, adding a tactile quality. The drawing’s loose yet precise line work conveys depth and kinetic energy, characteristic of Copley’s draftsmanship in the late eighteenth century.

History & Provenance

Created as a study in 1784, the drawing was intended to assist Copley in planning the final oil painting of the Gibraltar episode. While the subsequent oil work was exhibited in London, the study has remained in private collections before entering a museum holding in the early twentieth century, where it is now displayed as part of the artist’s preparatory oeuvre.