Paper

Student Artwork Guide

Lighting Up Time

Name Class Date

Alfred Egerton Cooper, Lighting Up Time (1937). Reproduced for reference; rights reserved by the rights holder. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
Alfred Egerton Cooper originaluniqueart.com/en/artists/alfred-egerton-cooper/
Artist’s dates
1883 – 1974
Painted
1937
Original size
204 x 123 cm

In context

Lighting Up Time — Alfred Egerton Cooper

How big is it?

The original measures 204 × 123 cm (height × width), drawn here beside an adult of average height. It is too large to draw to scale on this page.

When was this painted?

  1. 1880
  2. 1890
  3. 1900
  4. 1910
  5. 1920
  6. 1930
  7. 1940
  8. 1950
  9. 1960
  10. 1970

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 91 at death.

Painted when the artist was 54. The artist lived to 91. 10 of the 16 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of Alfred Egerton Cooper (1883–1974) ▲ this work, 1937 every dated painting, decade by decade

First works: up to 1918 Main working years: 1918–1937 Late works: from 1937

Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them

Compare with

  • Sir Gerald Dodson originaluniqueart.com/en/art/alfred-egerton-cooper-sir-gerald-dodson-AQVANM-en/
  • T. R. Wood originaluniqueart.com/en/art/alfred-egerton-cooper-t-r-wood-AQVANX-en/
  • Sir Barnes Wallis (1887–1979) originaluniqueart.com/en/art/alfred-egerton-cooper-sir-barnes-wallis-1887-1979-AQVANH-en/

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: originaluniqueart.com/en/art/similar/alfred-egerton-cooper-lighting-up-time-AQVAMZ-en/

Colours

Measured from the image

    Main colour

    Gray #62675f

    Catalogued palette

    • #62675F
    • #323333
    • #484E4B
    • #97907E

    These colours inside the artist’s whole palette Find other paintings by colour

    Main colour name
    Gray
    Intensity
    Monochromatic How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Gentle How much the colours differ in lightness and saturation across the picture.
    Harmony
    Discordant Palette How well the colours work together, from clashing to fully unified.
    Brightness
    Shadow How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Muted How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by Alfred Egerton Cooper over the last twelve months — 1 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 100.0%1,500 visits

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 11 most looked-at works by Alfred Egerton Cooper

    1. 1 T. R. Wood 18.8%300 visits
    2. 2 The Pool of London, 1913 12.5%200 visits
    3. 3 Reverend Richard Lee, Headmaster 12.5%200 visits
    4. 4 Lighting Up Time, 1937 this painting 12.5%200 visits
    5. 5 HRH Henry Duke of Gloucester Receiving His Charge as President, 14 April 1937, 1937 6.2%100 visits
    6. 6 Dorset Landscape 6.2%100 visits
    7. 7 Frances Evelyn (1861–1938), Countess of Warwick (copy after John Singer Sargent), 1954 6.2%100 visits
    8. 8 The First Snow, from the NS8 Airship over the Lammermuirs, 1918 6.2%100 visits
    9. 9 Ascot, the Paddock 6.2%100 visits
    10. 10 Group Captain Clair Grece, DFC, MA (Oxon), 1945 6.2%100 visits
    11. 11 Sir Oliver Lodge (1851–1940) 6.2%100 visits

    Together these works take 99.7% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 27 works by this artist, of which 11 were looked at at least once. This painting ranks 4 of them, with 12.5% of that attention (200 visits). The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    Artist and museum

    Artist

    Alfred Egerton Cooper

    Alfred Egerton Cooper: A Traditionalist Capturing a Changing Era

    Alfred Egerton Cooper (1883-1974) was more than just a British painter; he was a meticulous observer of his time, a steadfast traditionalist who navigated the tumultuous shifts of the 20th century with an unwavering commitment to established artistic principles. Born in Tettenhall, Staffordshire, into a family steeped in both art and industry – his father a railway clerk and political agent – Cooper’s early life instilled within him a respect for detail, observation, and a quiet dignity that would profoundly shape his artistic vision. His formal training at the Royal Academy Schools and subsequent studies with John Singer Sargent provided him with a solid foundation in technique, but it was his independent spirit and dedication to mastering the classical methods of portraiture and landscape painting that truly defined his legacy.

    Cooper’s early career unfolded during the vibrant years following World War I. He quickly established himself as a skilled portraitist, capturing the likenesses of prominent figures – from members of the Royal Family to notable politicians and military leaders. His portraits weren't merely technical exercises; they were imbued with a sense of character, revealing the personalities beneath the formal facades. The influence of Sargent is evident in his careful attention to light and shadow, his ability to convey subtle nuances of expression, and his preference for a refined, almost understated elegance. However, Cooper never fully embraced the radical experimentation that characterized much of the art world at the time. He remained firmly rooted in the traditions of academic painting, prioritizing accuracy, realism, and a deep understanding of anatomy and composition.

    Early Influences: Beyond Sargent, Cooper’s artistic development was subtly shaped by his family history – his maternal grandparents were involved in the ironworks industry, fostering an appreciation for craftsmanship and detail.

    The War Years: The First World War proved a pivotal period. Serving as an artist in the Artists' Rifles and later as an official war artist for the Royal Air Force, Cooper witnessed firsthand the dramatic changes sweeping across Britain. This experience profoundly impacted his work, leading to a series of evocative paintings depicting airships – symbols of both technological advancement and the anxieties of a rapidly modernizing world.

    King George VI & Winston Churchill: Two portraits stand out as particularly significant achievements: his depiction of King George VI and, perhaps more famously, his portrait of Winston Churchill. The latter was painted during a period when Churchill’s personality was notoriously difficult to capture – requiring multiple sittings and meticulous observation. Cooper's ability to convey Churchill’s formidable presence and complex character is a testament to his skill as a portraitist.

    A Landscape Painter of Quiet Observation

    While best known for his portraits, Cooper was also a capable landscape painter. His landscapes, often set in the English countryside, are characterized by a similar attention to detail and a restrained palette as his portraits. Unlike many of his contemporaries who embraced Impressionism’s fleeting effects of light and color, Cooper favored a more traditional approach – meticulously rendering textures, forms, and atmospheric conditions with a precise hand. His landscapes aren't dramatic or emotionally charged; instead, they offer quiet glimpses into the beauty of the natural world, inviting the viewer to contemplate the subtle details of rural life.

    His work during this period reflects the changing social landscape of Britain – the rise of air travel, the increasing prominence of technology, and the growing awareness of global events. Cooper’s paintings serve as a visual record of these transformations, capturing both the tangible changes in the physical environment and the shifting attitudes of British society. He wasn't overtly political, but his work subtly reflects the anxieties and aspirations of an era grappling with rapid modernization.

    Technique and Style

    Cooper’s artistic style can be described as a refined blend of academic tradition and personal expression. His portraits are characterized by their meticulous realism, precise draughtsmanship, and subtle use of color. He employed a layering technique, building up the image gradually with thin washes of paint, creating a sense of depth and luminosity. His landscapes similarly demonstrate his mastery of technique – carefully observed details, balanced compositions, and a restrained palette contribute to an atmosphere of quiet contemplation.

    Despite his adherence to traditional methods, Cooper was not immune to the influences of his time. He experimented with different mediums and techniques throughout his career, adapting his style to suit the subject matter and the demands of the market. However, he always remained true to his core principles – prioritizing accuracy, realism, and a deep understanding of artistic form.

    Legacy and Historical Significance

    Alfred Egerton Cooper’s legacy lies not in revolutionary innovation but in his steadfast commitment to traditional values. He was a painter who understood the importance of craftsmanship, observation, and a respect for established artistic principles. His portraits and landscapes offer valuable insights into the social and cultural landscape of Britain during the 20th century – capturing the personalities, events, and anxieties of an era marked by rapid change. His works are held in numerous public collections, including the National Portrait Gallery and the Imperial War Museum, ensuring that his contribution to British art continues to be appreciated for generations to come.

    Cooper’s career spanned over six decades, witnessing significant shifts in artistic trends and social attitudes. He remained a constant figure in the British art world, respected by his peers and admired by collectors. His paintings serve as a reminder of the enduring power of traditional techniques and the importance of capturing the essence of human experience with honesty and skill.

    Where to read more

    • The artist Alfred Egerton Cooper originaluniqueart.com/en/artists/alfred-egerton-cooper/
    • Similar works More works to compare originaluniqueart.com/en/art/similar/alfred-egerton-cooper-lighting-up-time-AQVAMZ-en/

    Find this online

    QR code linking to the download page for Lighting Up Time

    originaluniqueart.com/en/art/download/alfred-egerton-cooper-lighting-up-time-AQVAMZ-en/

    Cite this artwork

    MLA
    Cooper, Alfred Egerton. Lighting Up Time. 1937, https://originaluniqueart.com/en/art/alfred-egerton-cooper-lighting-up-time-AQVAMZ-en/
    APA
    Cooper, Alfred Egerton (1937). Lighting Up Time [Painting]. https://originaluniqueart.com/en/art/alfred-egerton-cooper-lighting-up-time-AQVAMZ-en/
    Chicago
    Alfred Egerton Cooper. Lighting Up Time. 1937. https://originaluniqueart.com/en/art/alfred-egerton-cooper-lighting-up-time-AQVAMZ-en/
    Harvard
    Cooper, Alfred Egerton (1937) Lighting Up Time. Available at: https://originaluniqueart.com/en/art/alfred-egerton-cooper-lighting-up-time-AQVAMZ-en/

    Look closely

    Lighting Up Time — Alfred Egerton Cooper

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Look back at Sir Gerald Dodson, earlier in this guide. Name two things it shares with this work, and one that is different.
    4. Alfred Egerton Cooper was about 54 when this was made. What in it looks like the work of an artist at that stage?
    5. What might the artist have wanted you to feel?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Questions & Answers

    Where can I buy a digital image of "Lighting Up Time" by Alfred Egerton Cooper?

    A digital image of "Lighting Up Time" by Alfred Egerton Cooper can be purchased on its Digital Image page: a high-resolution digital image download.

    How can I view "Lighting Up Time" by Alfred Egerton Cooper as a slideshow?

    A slideshow is available: the Diaporama page of "Lighting Up Time" by Alfred Egerton Cooper.

    How do contrast and harmony combine in "Lighting Up Time"?

    In "Lighting Up Time", a gentle contrast is paired with a discordant palette harmony.