乔治•科尔(1810年1月15日- 1883年9月7日)是英国画家,特别是风景和动物画著称。

科尔出生朴茨茅斯詹姆斯和伊丽莎白·科尔。他的母亲在他9岁时就去世了。

根据艺术家的孙子,雷克斯维卡软化点科尔,他是一艘船的学徒的画家在朴次茅斯皇家海军造船厂。他自学画画,起初肖像画和动物;他还画海报Wombwell的动物园。

1838年,科尔的农场院子在作画英国艺术家协会.当他30他改变了焦点景观和接收指令约翰·威尔逊被称为“老运动员”,并在1840年开始出现。一个故事他画的肖像荷兰商人在朴茨茅斯。保姆后拒绝支付他,说这是一个糟糕的肖像,科尔补充说翅膀,把这幅画放在商店橱窗的标题飞翔的荷兰人。人的朋友承认他笑了,他付了绘画,科尔画出翅膀。有消息指他在荷兰学习,但没有证据支持这一点。他的职业生涯一直被视为维多利亚白手起家的一个很好的例子:1831年,他结婚了伊莉莎维卡软化点,一个古老的法语胡格诺派教徒家庭。1852年,他搬到了1855年富勒姆和肯辛顿,在那里住了他的余生。在1860年代中期,他购买的狭谷,汉普郡的一个小庄园。

到1850年科尔已经开始专注于景观,借鉴荷兰等成分的先例伦敦路,Portsdown(1847年,朴茨茅斯城市博物馆和艺术画廊)。与他一起工作在1850年代早期被乔治·维卡软化点科尔(1833 - 1893),科尔的五个孩子中的老大,后来成为了一个比他的父亲更杰出的艺术家。寻找草图的理由是他们参观了怀依河山谷,Teign,和飞镖,在1851年或1852年,摩泽尔河。虽然父亲无疑要求儿子,似乎Pre-Raphaelitism的影响,吸收更充分的年轻艺术家,是通过他的作品传播的父亲。1855年暂时疏远后两个再也没有一起工作。乔治·科尔的风景之后,1850年代的,然而,公式化的不如他的早期作品,乡村题材的结合通常以仔细观察景观,在景观和牛(1858年,Russell-Cotes美术馆和博物馆,伯恩茅斯)。

在一系列丰富多彩的和详细景观大画布执行在1870年代和1860年代,科尔创建一个理想化版本的汉普郡的高沼地和农业景观;例子包括蕨类植物运出,德国哈丁狭谷(1873年,Russell-Cotes美术馆和博物馆,伯恩茅斯)。牛在作文中继续扮演着重要的角色,他专门在河风景的描绘牛浇水,包括,例如,温莎城堡(1876年,exh。RA 1878;安格尔西岛教堂)。安心的演示一个看似永恒的英国风格,这些图像被维多利亚收藏家急切地购买。

虽然他在皇家艺术学院展出了十六岁的作品,科尔的作品形成了展览的社会中流砥柱的英国艺术家在萨福克郡街,在那里他展出209幅油画从1838年直到1883年他去世。他于1850年当选的一员,在1856年成为审计师,并在1867年副总统。他也被授予一枚奖章在1864年收割现场由社会鼓励的美术。在他最好的,他是能够成熟的影响,大量的生产的小作品,直接卖给经销商如托马斯•麦克莱恩和亚瑟的牙齿,不可避免地导致了降低标准。他的年收入从£842年的1858上升到£2580 1873年。

收集器的地形文学和一个自学成才的人,科尔被认为知道莎士比亚的作品。的传记作者罗伯特•Chignell乔治·科尔维卡软化点,看到了老画家作为励志的榜样:“人开始一无所有”,他所取得的成功通过“大能力和性格的力量”(Chignell 40)。乔治·科尔在家中死于1883年9月7日在肯辛顿新月,葬在煤气表厂绿色公墓,伦敦。他的其他孩子,阿尔弗雷德·本杰明·科尔也是一个艺术家。

George Cole (15 January 1810 – 7 September 1883) was an English painter, particularly known for his landscapes and animal paintings.

Cole was born in Portsmouth, to James and Elizabeth Cole. His mother died when he was 9 years old.

According to the artist's grandson, Rex Vicat Cole, he was apprenticed to a ship's painter in the Royal Navy dockyards at Portsmouth.He taught himself to paint pictures, at first portraits and animals; he also painted posters for Wombwell's menagerie

In 1838 Cole's painting The Farm Yard was shown at the Society of British Artists. When he was 30 he changed his focus to landscapes and received instruction from John Wilson, known as "Old Jock", and started exhibiting in 1840. One anecdote has him painting the portrait of a Dutch merchant in Portsmouth. After the sitter refused to pay him, saying it was a bad likeness, Cole added wings and put the painting in a shop window with the title The Flying Dutchman. The man's friends recognised him and laughed; he paid for the painting, and Cole painted out the wings. Some sources refer to him as having studied in Holland, but there is no evidence to support this. His career has been regarded as a good example of the Victorian self-made man: in 1831 he married Eliza Vicat, of an old French Huguenot family. In 1852 he moved to Fulham and in 1855 to Kensington, where he lived for the rest of his life. In the mid-1860s he purchased Coombe Lodge, a small estate in Hampshire

By 1850 Cole had begun to concentrate on landscape, drawing on Dutch precedents for compositions such as London Road, Portsdown (1847, Portsmouth City Museum and Art Gallery). Working alongside him in the early 1850s was George Vicat Cole (1833–1893), the eldest of Cole's five children, who later became a more eminent artist than his father. In search of sketching grounds they visited the river valleys of the Wye, Teign, and Dart and, in 1851 or 1852, the Moselle. While the father undoubtedly instructed the son, it seems likely that the influence of Pre-Raphaelitism, absorbed more fully by the younger artist, was transmitted through his work to the father. After a temporary estrangement in 1855 the two never worked together again. George Cole's landscapes of the later 1850s are, however, less formulaic than his early works and are often a combination of rustic genre subjects with carefully observed landscape, as in Landscape and Cattle (1858, Russell-Cotes Art Gallery and Museum, Bournemouth).

In a series of richly coloured and detailed landscapes on large canvases executed during the 1860s and 1870s, Cole created an idealized version of the Hampshire moorlands and agricultural landscape; examples include Fern Carting, Harting Coombe (1873, Russell-Cotes Art Gallery and Museum, Bournemouth). Cattle continued to play an important role in his compositions, and he specialized in the depiction of river scenery with cows watering, including, for example, Windsor Castle (1876, exh. RA, 1878; Anglesey Abbey). Reassuring in their presentation of a seemingly timeless Englishness, these images were eagerly purchased by Victorian collectors.

Although he exhibited sixteen works at the Royal Academy, Cole's work formed a mainstay of the exhibitions of the Society of British Artists at Suffolk Street, where he exhibited 209 paintings from 1838 until his death in 1883. He was elected a member in 1850, became auditor in 1856, and vice-president in 1867. He was also awarded a medal for a harvesting scene in 1864 by the Society for the Encouragement of the Fine Arts. While, at his best, he was capable of sophisticated effects, the sheer volume of his production of smaller works, sold directly to dealers such as Thomas McLean and Arthur Tooth, inevitably led to a lowering of standards. His annual income rose from £842 in 1858 to £2580 in 1873.

A collector of topographical literature and an autodidact, Cole was reputed to know the works of Shakespeare by heart. Robert Chignell, the biographer of George Vicat Cole, saw the older painter as an exemplar of self-help: ‘one who began with nothing’, he had achieved success through ‘great capabilities and force of character’ (Chignell, 40). George Cole died on 7 September 1883 at his home at 1 Kensington Crescent and was buried in Kensal Green cemetery, London. Of his other children, Alfred Benjamin Cole was also an artist.