更新于 November 2026 · 基于我们的流行度评分排名（每件作品的搜索量、访问量及订单量） · 74 件 亚伯拉罕·库珀 作品收录于我们的目录中
简而言之
在画廊看来，亚伯拉罕·库珀 最著名的作品是 A fox (1817)。 Battle of Bosworth (1790) 与 Marshal Blucher at the Battle of Ligny, 16 June 1815 (1815) 共同构成了那组令人过目不忘的艺术三部曲。 在我们的目录中，亚伯拉罕·库珀 共有 74 件作品，画廊为您精选了以下 72 件最著名的原作，并详细列出了每件作品的创作年份、馆藏机构及其独特之处。
A fox lies curled in sleep upon a rugged, rocky surface. The composition centers entirely on the animal, isolating it against a dark, undefined background that pushes the subject toward the viewer. Dramatic lighting catches the texture of the fur, casting deep shadows that define the contours of the body and the uneven terrain. This focused illumination creates a sense of depth within a relatively flattened perspective, emphasizing the immediate,…
In this oil on canvas, we find ourselves thrust into the center of a frantic cavalry engagement. The composition is built upon a series of energetic, jagged lines—the upward thrust of spears and the rearing postures of horses—that guide the eye through a crowded, diagonal arrangement. There is a palpable sense of violent movement here, a struggle captured in the midst of a turbulent sky. The palette relies heavily on…
Marshal Blucher at the Battle of Ligny, 16 June 1815 is a history painting by the British artist Abraham Cooper. The work captures a critical engagement during the Hundred Days campaign, specifically the Battle of Ligny. In this confrontation, Prussian forces under Gebhard Leberecht von Blücher faced defeat at the hands of Napoleon I.
'Scrub', a Shooting Pony, aged 30 and Two Clumber Spaniels1837
12
The First Of October,1856
13
Bosworth Field
14
The ferry crossing
15
Studies Of Sixteen Jockeys I
16
A Dog-fight
17
A Cavalry Skirmish
18
A Prize Ewe with monogram 'H', belonging to Mr J.A
19
Master Edward Coutts Marjoriebanks on his Pony
20
The Pheasant Shoot
21
Tam O'shanter
22
Our nell, published by j. moore
23
Marston Moor
24
A Huntsman On His Pony With His Gundogs
25
Daniel haigh, esq.
26
Richard I At The Battle Of Ascolan
27
Studies Of Sixteen Jockeys Ii
28
Saddled Grey Charger Frightened
29
Saddling Up; And Before The Meet
30
Oliver Cromwell Leading His Cavalry Into Battle
31
The Day Family
32
Cavalier On A White Horse
33
Cider For Lunch
34
Epsom Downs, Before The RaceMusée des Beaux-Arts
35
A Tabby With Her Litter
36
Tam O' Shanter
37
The Racehorse, 'camel'
38
Gentleman Shooting Partridge, With Pointers In A Landscape
39
Gypsy, A Black Horse In A Landscape
40
Two Mounted Cavaliers And Another Drinking Ale Outside An Inn
41
Studies of Sixteen Jockeys III
42
Draught Horses
43
A Bulldog And Bullterriers In An Outhouse
44
Waiting For Master
45
A Gamekeeper With A Grey Pony And A Dog In A Landscape
46
A good day's bag
47
Two Gentlemen on Grey Hunters
48
A Saddled Grey Hunter, With A Dog On A Stone Step, And A Robin
49
Charles Brett's White English Setter 'Sam'
50
Partridge shooting
51
A Huntsman Encouraging HoundsAnglesey Abbey
52
A saddled grey hunter in a landscape
53
Sir Trevisan Fleeing From Despair
54
A Grey Horse At A Stable Door
55
Portrait Of A Hunter And Groom, In An Extensive Landscape
56
Crib And Rosa By An Outhouse
57
Oliver Cromwell
58
Battle Piece
59
Hunters and terriers by a barn, in a river landscape
60
'Scrub', a Shooting Pony Aged 30, and Two Clumber Spaniels
61
Mr. Beardsworth And Birmingham With Patrick Connolly Up And His Trainer On A Hack At Doncaster
62
Oliver Cromwell At Marston Moor
63
The Favourite Dog Of Lord Charles Vere Ferrers TownshendBaddesley Clinton
64
The gamekeeper's stable
65
Portrait of Daniel Haigh
66
Study Of A Cat
67
Cromwell At Marston Moor
68
Mr A. W. Tudor (Master of Foxhounds), on HorsebackDepartment of Health
69
A Donkey And A Spaniel In A Stable
70
A Huntsman Encouraging Hounds
71
A Spaniel in a Landscape
72
'Elis' at Doncaster, Ridden by John Day, with his Van in the Background耶鲁英国艺术中心
这些原作中反复出现的四个主题，各有一个最杰出的范例。
收藏了本页中大部分画作的 8 家博物馆。
| 博物馆 | 城市 | 亚伯拉罕·库珀 的作品 | 此列表中的画作 |
|---|---|---|---|
 达拉斯艺术博物馆 |
达拉斯 | 1 | Battle of Bosworth |
 Petworth House |
Petworth | 1 | Marshal Blucher at the Battle of Ligny, 16 June 1815 |
 The Wilson: Cheltenham Art Gallery And Museum |
Cheltenham | 1 | The Morning of the First of September |
 皇家收藏馆 |
伦敦 | 1 | Fleur-de-lis |
 Musée des Beaux-Arts |
Nîmes | 1 | Epsom Downs, Before The Race |
 Anglesey Abbey |
1 | A Huntsman Encouraging Hounds | |
 Baddesley Clinton |
1 | The Favourite Dog Of Lord Charles Vere Ferrers Townshend | |
 Department of Health |
London | 1 | Mr A. W. Tudor (Master of Foxhounds), on Horseback |
选择一个年代，探索定义该时代的原创杰作。
A fox lies curled in sleep upon a rugged, rocky surface. The composition centers entirely on the animal, isolating it against a dark, undefined background that pushes the subject toward the viewer. Dramatic lighting catches the texture of the fur, casting deep shadows that define the contours of the body and the uneven terrain. This focused illumination creates a sense of depth within a relatively flattened perspective, emphasizing the immediate,…
A fox (1817)。紧随其后的是 Battle of Bosworth (1790) 和 Marshal Blucher at the Battle of Ligny, 16 June 1815 (1815)。
30岁：A fox创作于1817年，亚伯拉罕·库珀出生于1787年。
A fox, Battle of Bosworth, Marshal Blucher at the Battle of Ligny, 16 June 1815, Crib And Rosa By A Barrel, The slipper,, The Morning of the First of September, Portrait of a Favourite Bay, The Battle of Marston Moor in, Fleur-de-lis 及 Draught Horses。上方排名显示了每件作品的创作年份及馆藏机构。
我们的目录收录了 74 件 亚伯拉罕·库珀 的作品，创作年代从 1810 年至 1856 年。
多见于 达拉斯艺术博物馆 (达拉斯), Petworth House (Petworth) 及 The Wilson: Cheltenham Art Gallery And Museum (Cheltenham)。上方的博物馆列表列出了所有相关机构。
在 1810s 期间：本页 72 件作品中有 6 件创作于该时期，其中包含 A fox 件作品。
在本页面中，最早的作品创作于 Portrait of a Favourite Bay (1810)，最晚的创作于 The First Of October, (1856)。
Landscape (9), Rural life (5) 及 Hunting (5)，共计 72 件作品。
Oil On Canvas，共计 2 件（本页共有 72 件作品）。
根据本页面的原作，Romanticism
Born in Greenwich, London, Abraham Cooper rose from humble beginnings to become one of the most respected British animal and battle painters of his era. The son of a tobacconist, his path to artistic greatness was far from conventional. His early years were defined by labor rather than leisure; at thirteen, he found employment at Astley's Amphitheatre, and later served as a groom under the care of Henry Meux. It was this intimate connection to the equine world that would ultimately shape his creative destiny. Driven by a desire to capture the likeness of a favorite horse, the young groom took it upon himself to learn the complexities of oil painting through a manual, practicing his craft on canvases hung against stable walls.
This raw, instinctive passion soon blossomed into professional mastery. Encouraged by his master and introduced to the established animal painter Benjamin Marshall, Cooper began to refine his technique by copying prints of horses. His talent for capturing the anatomical precision and spirited energy of animals quickly caught the attention of the art establishment. By 1814, he was exhibiting works such as Tam O'Shanter, and his prowess in depicting historical conflict led to significant recognition, including a prize for his Battle of Ligny in 1816. His ascent within the prestigious Royal Academy was swift, moving from an associate in 1817 to a full Academician by 1820.
Cooper’s oeuvre is characterized by a profound dedication to the drama of the battlefield and the quiet dignity of animal portraiture. He possessed a unique ability to breathe life into his subjects, particularly through his mastery of equine anatomy. While some critics noted a certain flatness in his coloring, none could deny his skill in rendering the muscular tension and dynamic movement of horses in the heat of combat. His works often revisited historical themes, showing a special fondness for the era of the Cavaliers and Roundheads, which allowed him to blend historical research with artistic imagination.
His contributions to British art are marked by several notable achievements and enduring works that continue to resonate in major collections:
Through his transition from a stable groom to a celebrated Royal Academician, Abraham Cooper left an indelible mark on the nineteenth-century art world. His life serves as a testament to the power of self-directed study and a deep, lived connection to his subject matter. He remains a vital figure for those studying the intersection of historical narrative and the romanticized depiction of the natural world.
