使 约翰·科普利 声名鹊起的画作是 华生与鲨鱼 (1778)；它现收藏于 华盛顿 的 国家美术馆。 Brook Watson and the Shark (1778) 与 Brook Watson and the Shark (1850) 在收藏家和博物馆参观者心中紧随其后。 在 约翰·科普利 的 562 件作品中，这 100 件是最受推崇的杰作，每件作品均附有创作日期、馆藏机构及其独特之处。
排名依据为我们的热度评分，该评分综合了每件作品的搜索量、访问量及订单量。更新于 October 2026。 本页面的每一件杰作均可根据您选择的尺寸，定制为博物馆级手工油画复制品或艺术微喷画。
In the dramatic theater of 18th-century maritime life, few scenes command attention with as much visceral intensity as John Singleton Copley’s masterpiece, Brook Watson and the Shark. This large-scale oil painting is not merely a depiction of a maritime accident; it is a breathtaking narrative of survival, terror, and the overwhelming power of nature. The scene captures the harrowing moment in Havana Harbor when a young Brook Watson was attacked…
Brook Watson and the Shark is an oil painting by the artist John Singleton Copley. The canvas captures a singular, violent moment of survival. It depicts the rescue of a fourteen-year-old boy, Brook Watson, during a shark attack. The water of the Havana harbor in Cuba was the site of this struggle in 1749.
In the heart of 1768, as the air in colonial Boston grew heavy with the mounting tensions of an impending revolution, John Singleton Copley captured more than just a face; he captured a heartbeat. His portrait of Paul Revere stands as a profound testament to a period of simmering defiance and intellectual awakening. This is not merely a depiction of a famous silversmith and patriot, but a window into the…
John Singleton Copley’s “The Collapse of the Earl of Chatham in the House of Lords” is not merely a historical painting; it's a visceral tableau of political drama, meticulously rendered with an intensity that still resonates centuries later. Completed in 1779, this oil on canvas captures a pivotal moment – the dramatic and public failure of William Pitt the Younger, Earl of Chatham, during a speech before Parliament – transforming…
To stand before this portrait of Mrs. Daniel Denison Rogers is to step directly across the threshold of the late eighteenth century, into a world defined by burgeoning colonial prosperity and refined social grace. John Singleton Copley, master chronicler of his age, has captured not merely a likeness, but an entire moment—a tableau vivant steeped in the sartorial splendor and quiet dignity of the 1780s. The subject commands attention with…
John Singleton Copley’s monumental canvas, depicting The Surrender of the Dutch Admiral de Winter to Admiral Duncan at the Battle of Camperdown, is far more than a mere historical record; it is a profound meditation on power, defeat, and the complex choreography of human dignity under duress. Executed in 1799, this oil on canvas captures that charged instant when military might yields to diplomatic necessity. One can almost feel the…
To gaze upon Lydia Lynde is to step directly into the refined drawing rooms of eighteenth-century Boston. This portrait, executed by the masterful hand of John Singleton Copley in 1764, transcends a mere likeness; it is a carefully composed tableau vivant of elegance and burgeoning American aspiration. The style itself speaks volumes—the hallmarks of Neo-Classicism are evident in its commitment to order, clarity, and an almost idealized simplicity. Copley, ever…
John Singleton Copley’s 1796 portrait of John Quincy Adams is more than just a likeness; it's a carefully constructed embodiment of the burgeoning American identity. This masterful work, now housed in the Museum of Fine Arts, Boston, transcends mere representation, offering a glimpse into the character and aspirations of one of the nation’s most influential figures. Copley, a pivotal figure bridging the gap between Anglo-American artistic traditions and a distinctly…
In 1772, John Singleton Copley captured the likeness of Samuel Adams, a figure central to the American revolutionary cause. The sitter is presented in formal attire, wearing a red coat accented by white buttons and a traditional wig. A beard frames his face, adding a layer of maturity to his expression. Behind him, a book rests upon a table, suggesting a life of study and intellectual engagement.
To stand before the Portrait of Thomas Flucker is to step directly into the vibrant, yet restrained, atmosphere of late eighteenth-century Boston. John Singleton Copley, the master craftsman…
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To stand before John Singleton Copley's Mrs. Samuel Hill is to step directly across the threshold of late eighteenth-century colonial New England. This masterful oil on canvas, painted…
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To gaze upon John Singleton Copley's Baron Graham is to step directly into the gilded drawing rooms of early nineteenth-century American aristocracy. This portrait, executed in 1804, is…
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To stand before a portrait like John Singleton Copley’s depiction of John Hancock is to encounter not merely a likeness, but a moment crystallized in oil paint—a testament…
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John Singleton Copley's “The Copley Family,” completed in 1776, transcends mere portraiture; it stands as a cornerstone of American artistic identity and a poignant reflection of the era’s…
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To stand before John Singleton Copley's Mrs. John Scoally (Mercy Greenleaf) is to step directly into the refined, thoughtful atmosphere of the mid-eighteenth century. This painting, executed in…
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John Singleton Copley’s “Mrs. John Winthrop” – painted in 1773, just before his departure for England – is more than a simple likeness; it's a meticulously crafted window…
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A reproduction of this iconic artwork offers an unparalleled opportunity to appreciate Copley's artistic genius and immerse oneself in the intellectual currents of the Enlightenment. Explore more masterpieces…
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This meticulously rendered portrait, measuring 77 x 119 cm and dating from 1794, offers a compelling glimpse into the world of British naval leadership during a pivotal era.…
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The painting "The Return of Neptune" is a neo-classical piece created by the renowned American artist John Singleton Copley in 1754. This captivating artwork measures 69 x 113…
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John Singleton Copley's monumental canvas, "The Defeat of the Floating Batteries at Gibraltar," isn't merely a depiction of naval combat; it’s a vibrant tableau of strategic brilliance, desperate…
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William II (1792–1849), King of Holland, When Prince of Orange – A Portrait Steeped in Ambition and Glory John Singleton Copley’s “William II (1792–1849), King of Holland, When…
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In this 1758 portrait, we find ourselves in the private, quiet space of a man defined by his intellect. John Barrett is presented in a three-quarter view, seated…
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This portrait of Lydia Henchman Hancock is a painting by the artist John Singleton Copley. Executed in 1766, the work belongs to the portrait genre. The subject is…
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A Moment of Refined Grace The light enters from the upper left, brushing against the porcelain skin of Anna Barrett as she sits in quiet repose. She is…
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This 1763 oil portrait captures Margaret Gibbs Appleton in a moment of quiet contemplation. Seated in a three-quarter length pose, the subject rests her head upon her hand,…
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Thomas Hancock stands within a grand, theatrical space, his figure anchored by the heavy weight of a deep red drapery that sweeps across the background. He is a…
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A single light source strikes from the upper left, carving the face of Samuel Winthrop out of a deep, dark void. He sits in a three-quarter pose, a…
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A profile of an elderly gentleman cuts through the shadows, looking toward a light that enters from the left. William Ponsonby, 2nd Earl of Bessborough, sits in a…
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In this 1760 oil portrait, an elderly man is positioned in a three-quarter length view, seated behind a green tabletop. He is depicted with a pale, powdered wig…
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A seated figure occupies the center of this full-length portrait, positioned with a quiet authority that commands the vertical space. Thomas Hollis III is rendered in a classical…
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In this three-quarter length portrait, we encounter Thomas Boylston II, a man whose very posture suggests a life of quiet authority and intellectual composure. He is seated in…
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The portrait depicts an elderly man positioned in a three-quarter length view, oriented slightly to the left. He wears dark, heavy robes that absorb much of the light,…
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A middle-aged man sits in a three-quarter length pose, his body turned slightly toward the viewer against a backdrop of heavy, dark drapery. The composition relies on a…
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Hannah Loring: A Portrait of Elegance Rooted in Colonial Boston The Hannah Loring painting, created by John Singleton Copley in 1763, stands as a testament to the burgeoning…
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The room feels heavy with the weight of institutional history as Edward Holyoke sits within the frame. He is an elderly man, stout and dignified, occupying a large,…
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John Singleton Copley painted Thomas Hancock circa 1758. The sitter was a male merchant hailing from Lexington, Massachusetts. He lived from 13 July 1703 to 1 August 1764.
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The light enters from the upper left, striking the powdered white wig of Daniel Hubbard with a sharp, sudden clarity. This brightness spills downward, catching the reflective sheen…
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The face of Joseph Gerrish emerges from a heavy, dark atmosphere, caught in a sharp beam of light from the upper left. He wears a white powdered wig,…
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The weight of the 18th century rests in the heavy folds of a deep burgundy coat. This fabric, thick and substantial, catches a single source of light from…
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In this 1760 portrait, we encounter Dorothy Murray, a young woman captured in a moment of quiet poise. She is presented in a three-quarter length view, her body…
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The Baltimore Museum of Art is home to a stunning portrait of Lemuel Cox, painted by the renowned Anglo-American artist John Singleton Copley in 1770. This Neo-Classicism masterpiece,…
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In this 1785 oil portrait, John Singleton Copley captures the likeness of Henry Barry. The subject is presented from the waist up, positioned in a three-quarter view that…
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In this oil on canvas, we encounter John Codman, a man whose very posture commands a quiet, intellectual authority. Painted around 1807, the portrait captures him in a…
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This 1767 portrait miniature presents a young man in a close-up, bust-length composition, framed within an oval. The subject is rendered with a muted palette of browns, creams,…
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A three-quarter length portrait of Thomas Hubbard, dated 1767, presents the subject seated slightly off-center against a muted, dark neutral background. The sitter is draped in a lustrous…
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A Moment of Quietude The portrait presents a young child, captured with a stillness that feels deeply personal. There is a certain luminosity to the skin tones, rendered…
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The portrait of Jane Browne emerges from the canvas as a quiet presence, captured by the hand of John Singleton Copley in 1756. This meeting between artist and…
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The gaze of Robert Hooper, Jr. meets the viewer through this oil on canvas by John Singleton Copley. Created ca. 1770-1772, the portrait captures a man whose very…
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John Singleton Copley's "The Red Cross Knight," painted in 1793, isn’t merely a portrait; it’s a carefully constructed tableau of Romantic ideals rendered with the precision and observational…
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This portrait presents Elizabeth Pitts, a figure captured by the hand of John Singleton Copley in 1764. The sitter, who would later be known as Elizabeth Pitts Warner,…
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In this three-quarter length portrait, we encounter a man of significant presence, captured around 1770. The subject, Joshua Henshaw, is positioned with a quiet dignity, leaning slightly against…
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The portrait presents a man in three-quarter view, positioned slightly off-center and facing toward the right of the frame. He looks directly toward the viewer. The subject wears…
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John Adams once proclaimed John Singleton Copley to be “the greatest Master, that ever was in America.” As a teenager, Copley was already satisfying Bostonians’ desire for realistic…
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The gaze of the sitter meets us in Mrs. Alexander Cumming, née Elizabeth Goldthwaite, later Mrs. John Bacon, a portrait painted by John Singleton Copley in 1770. She…
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The portrait of Mrs. Rufus Greene, also known as Katherine Stanbridge Greene, presents a bust-length view of a woman positioned slightly off-center. She faces toward the viewer's left,…
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A woman sits suspended in a quiet room, draped in a gown of deep sapphire blue. The fabric holds the light differently where it folds at her elbows…
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John Singleton Copley's "Joseph Sherburne," painted in 1767, offers a captivating window into the life of a wealthy Boston merchant during the pre-Revolutionary War era. This portrait isn’t…
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The Ascension by John Singleton Copley: A Neo-Classical Masterpiece Subject Matter: “The Ascension” plunges the viewer into a pivotal moment of Christian faith – the divine lifting of…
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The "Jeremiah Lee" painting, created by the renowned American artist John Singleton Copley in 1769, is a masterpiece of Neo-Classicism. This stunning portrait, measuring 49 x 241 cm,…
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John Singleton Copley's Mrs. Ezekiel Gondthwait (Elizabeth Lewis), painted in 1771, stands as a testament to the artist’s mastery of portraiture and his ability to capture not just…
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The oil study titled Colonel Ernst August von Hugo and Lt. Colonel von Schlepegrell captures two Hanoverian officers in a moment of quiet, preparatory focus. John Singleton Copley…
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John Singleton Copley's Midshipman Augustus Brine, painted in 1782, is more than just a likeness; it’s a carefully constructed tableau of burgeoning American identity. This oil on canvas,…
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In the Portrait of Nathaniel Hurd, painted in 1766, we are invited to step back into the dignified atmosphere of the mid-18th century. John Singleton Copley, a master…
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The portrait of Eleazer Tyng, painted by John Singleton Copley in 1772, stands as a significant example of American Neoclassical portraiture. Housed within the National Gallery of Art,…
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John Singleton Copley's "Head of a Negro," created in 1777, is more than just a portrait; it’s a significant work within the context of 18th-century American art. Housed…
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John Singleton Copley captures the likeness of Major General August de la Motte in this oil on canvas. The subject, a Hanoverian Army officer, is rendered with a…
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Daniel Rogers is an oil portrait executed by John Singleton Copley in 1767. The sitter is presented in a three-quarter length composition, seated with a composed posture that…
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这些杰作中最常出现的四个主题，以及各主题的最佳代表作。
#5 The Colapse of the Earl of Chatham in the House of Lords (also known as The Death of the Earl of Chatham)
#6 Mrs. Daniel Denison Rogers (Abigail Bromfield)
#7 The Surrender of the Dutch Admiral de Winter to Admiral Duncan at the Battle of Camperdown (The Victory of Lord Duncan)
#11 Portrait of Thomas Flucker
收藏了本页中大部分画作的 8 家博物馆。
| 博物馆 | 城市 | 约翰·科普利 的作品 | 此列表中的画作 |
|---|---|---|---|
 哈佛艺术博物馆 |
剑桥 | 24 | Margaret Gibbs Appleton (Mrs. Nathaniel Appleton) (1699-1771), Thomas Hancock (1703-1764), Samuel Winthrop (1716-1779) |
 波士顿美术馆 |
波士顿 | 51 | Paul Revere, John Quincy Adams, Samuel Adams |
 国家美术馆 |
华盛顿 | 18 | 华生与鲨鱼, Brook Watson and the Shark, The Copley Family |
 大都会艺术博物馆 |
纽约 | 18 | Mrs John Winthrop, The Return of Neptune, John Greenleaf |
 芝加哥艺术学院 |
芝加哥 | 5 | Mrs. Henry Hill (Anna Barrett), Daniel Hubbard, Joseph Gerrish |
 底特律艺术学院 |
底特律 | 12 | Hannah Loring, Elizabeth Pitts, Head of a Negro |
 国家肖像画廊 |
华盛顿特区 | 4 | Lydia Henchman Hancock, Thomas Hancock, John Singleton Copley Self-Portrait |
 旧金山美术馆 |
旧金山 | 4 | Joshua Henshaw (1703-1777), Mrs. Rufus Greene (Katherine Stanbridge Greene) |
The painting "The Return of Neptune" is a neo-classical piece created by the renowned American artist John Singleton Copley in 1754. This captivating artwork measures 69 x 113…
In the heart of 1768, as the air in colonial Boston grew heavy with the mounting tensions of an impending revolution, John Singleton Copley captured more than just…
约翰·圣乔治尔（1738年出生于波士顿），是一位极具影响力且独特的艺术家，他是美国艺术史上的一个重要里程碑。他不仅仅是一位画家，更是一位文化桥梁，在殖民时期英国与美洲之间的政治和社会变革时期，创造了独特的美式风格。他的故事是关于自我教育的辉煌、永不懈的野心和惊人的能力，能够捕捉到作品中人物的精髓，并将其置于时代背景之下。圣乔治尔早年生活在充满活力的海上世界——殖民时期的波士顿城，这座城市热情奔放，拥有众多商人、造船工人以及蓬勃发展的财富。
To stand before this portrait of Mrs. Daniel Denison Rogers is to step directly across the threshold of the late eighteenth century, into a world defined by burgeoning…
John Singleton Copley’s monumental canvas, depicting The Surrender of the Dutch Admiral de Winter to Admiral Duncan at the Battle of Camperdown, is far more than a mere…
To gaze upon John Singleton Copley's Baron Graham is to step directly into the gilded drawing rooms of early nineteenth-century American aristocracy. This portrait, executed in 1804, is…
William II (1792–1849), King of Holland, When Prince of Orange – A Portrait Steeped in Ambition and Glory John Singleton Copley’s “William II (1792–1849), King of Holland, When…
华生与鲨鱼 (1778)，国家美术馆, 华盛顿。紧随其后的是Brook Watson and the Shark (1778)和Brook Watson and the Shark (1850)。
40岁：华生与鲨鱼创作于1778，约翰·科普利出生于1738。
华生与鲨鱼, Brook Watson and the Shark, Brook Watson and the Shark, Paul Revere, The Colapse of the Earl of Chatham in the House of Lords (also known as The Death of the Earl of Chatham), Mrs. Daniel Denison Rogers (Abigail Bromfield), The Surrender of the Dutch Admiral de Winter to Admiral Duncan at the Battle of Camperdown (The Victory of Lord Duncan), Lydia Lynde, John Quincy Adams 及 Samuel Adams。上方排名列出了每件作品的创作年份及所属博物馆。
我们的目录收录了 约翰·科普利 的 562 件作品，创作时间从 1753 年至 1813 年。
其中大部分藏于 哈佛艺术博物馆 (剑桥), 波士顿美术馆 (波士顿) 及 国家美术馆 (华盛顿)。上表逐一列出了这些博物馆。
在 1760s 期间：本页 100 件作品中有 45 件创作于该时期，其中包含 Paul Revere。
本页最早的作品创作于 John Greenleaf (1753)，最晚于 William II (1792–1849), King of Holland, When Prince of Orange (1813)。
在本文页面的 100 件作品中，共有 Man (25), Portrait (19) 及 18th century (14) 件 Man (25), Portrait (19) 及 18th century (14)
Oil On Canvas：本页 100 件作品中的第 51 件
正如本页展示的画作所体现的那样，Baroque maritime painting。
Margaret Gibbs Appleton (Mrs. Nathaniel Appleton) (1699-1771), Thomas Hancock (1703-1764) 及 Samuel Winthrop (1716-1779) 是该页面中由 哈佛艺术博物馆, 剑桥 收藏的 15 件作品之一。
是的。本页面的每一幅画作均可在画作详情页中，根据您选择的尺寸，定制为博物馆级手工油画复制品或艺术精美版画。
1738年，约翰·科普利出生于殖民时期波士顿那充满商业气息的喧嚣之中。他的成长轨迹深深扎根于长码头（Long Wharf）繁荣的海事贸易之中，他的母亲玛丽·辛格尔顿·科普利在那里经营着一家店铺，而他的父亲理查德·科普利则是一名烟草商人。这种生活环境不仅为他提供了社会背景，更让他得以近距离观察物质世界的纹理与社会阶层的微妙差异，而这些元素在日后成为了他视觉语言的核心。他并非出身于艺术世家，但由于长期处于商人阶层的环绕之中，这确保了他能够敏锐地洞察那些他日后将要描绘的器物的价值与质感。
他对绘画艺术的正式接触源于他的继父彼得·佩勒姆，一位精通版画与临画的艺术家。尽管佩勒姆为他奠定了最初的技术基础，但约翰·科普利真正的艺术蜕变，实则是通过孤独且不懈的自我磨砺实现的。在很大程度上，他是一位自学成才的天才，他避开了传统的欧洲学院派体系，转而选择了一套严苛的自我修习课程。为了掌握光影与形态的运作机制，他花费了数年时间，一丝不苟地临摹各种版画。这种自律且自我驱动的成长方式，使他得以超越地域环境的局限，并培养出一种其在殖民地的前辈们所欠缺的精准技术表现力。
到了 1760 年代，约翰·科普利已经确立了自己在波士顿作为顶尖肖像画家的领先地位。他所做的不仅仅是描绘面孔，更是在为殖民地精英阶层“制造”社会身份。他拥有一种非凡的能力，能将物质财富转化为视觉上的权威感，这使他成为了这座城市最具影响力人物的首选画师。在约翰·科普利的笔下，肖像画不再是简单的写实，而是一种投射社会地位的工具，他巧妙地利用织物的纹理与特定的器物，向观者昭示着受画者在社会等级中的显赫位置。
他那近乎严苛的技术精准度，使他的作品得以超越单纯的形似。在 1771 年创作的《伊萨克·冈斯沃思夫人画像（伊丽莎白·刘易斯）》中，对奢华面料的细腻刻画与优雅姿态的精准捕捉，传达出一种鲜明的社会阶层感。这种艺术处理绝非偶然，约翰·科普利利用每一个细节——从银器的微光到衣袖的褶皱——来精准地校准观众对受画者的认知。他将“坐像”这一行为，升华为一场关于财富与权力的精心策划的视觉表演。
他客户群体的广泛性，深刻反映了当时殖民地领导层格局的变迁。大约在 1768 年，他捕捉到了 保罗·里维尔 的容貌；而在 1772 年，他又为 塞缪尔·亚当斯 绘制了肖像。这些作品不仅仅是艺术委托，更是那些正在塑造殖民地政治未来的男人们的视觉档案。约翰·科普利的作品为这个处于转型期的社会提供了视觉语言，记录下了那些即将定义全新政治秩序的关键人物。
约翰·科普利的审美体现了洛可可式的优雅与启蒙运动理性主义之间一场经过深思熟虑的交汇。他并未止步于简单地复制前辈们那些装饰性的华丽笔触，而是用一种严谨的新古典主义视野对其进行了升华。这种创作方式赋予了作品秩序感、清晰度与道德美德，这些特质在当时的殖民地语境中引发了深层的共鸣。他的作品巧妙地避开了纯装饰风格中常见的肤浅感，而是将每一幅构图都扎根于解剖学的准确性与心理深度之中。他从不满足于仅仅描绘表象的相似性，而是通过人物的姿态与神情来揭示内在的性格，从而将简单的肖像画转化成一场对人类身份的精准研究。
在绘画技法的执行上，他的作品依赖于一种极其精妙的半透明色层叠加法。这种技法结合了迅捷的笔触，使他在处理质感与光影时达到了极高的写实程度。他拥有一种非凡的能力，能够以一种令人屏息的即时感，精准地呈现物质世界的细节——无论是织物的沉重垂坠感、金属的冰冷光泽，还是皮肤上微妙的色调过渡。这种精湛的技艺确保了他的主体在画面中呈现为具有实体感的生命存在，而非扁平的图像。通过对光影交织的精妙掌控，他塑造出的形象不仅拥有真实的体积感，更散发出一种永恒的生命力。
约翰·科普利移居欧洲，是一场经过深思熟虑的尝试，旨在旧世界的艺术中心稳固自己的地位。早在离开美洲之前，他的才华便已在伦敦崭露头角；1766年9月3日，他被选为大不列颠皇家艺术学会的院士。这份认可为他最终的迁徙提供了必要的动力。1774年，他告别了北美十三州，与妻子苏珊娜·法恩斯沃思·克拉克及孩子们一同踏上了旅程。同年，他在伦敦定居，此后便再未回到美国。
他在欧洲的岁月，可以用对古典训练的执着追求来形容。1774年的夏天，他前往罗马深造，试图通过这种方式精进自己在构图与历史叙事方面的造诣。这段学习时光并非一次简单的游历，而是他职业生涯轨迹的一次根本性转变。通过将自己置于伦敦这一艺术舞台，他渴望实现从一名殖民地肖像画家到具有重大历史分量画家的蜕变，在英国艺术界的严苛标准下，不断检验并磨炼自己的技术极限。
约翰·科普利的作品展现了一种深思熟虑的转型：从那些奠定他在殖民地地位的社会肖像画，转向了充满挑战的历史绘画领域。他在早期对古典主题的探索，在约创作于1754年的海王星归来中已初露锋芒。这部作品通过借鉴古典大师的构图方式，展现了他试图超越波士顿精英阶层单纯面貌描绘的早期尝试。即便是在他更具私人色彩的描绘中，例如1776年的科普利家族，也能清晰地感受到他通过精心编排的场景与器物，利用画布来确立特定社会身份的意图。
移居欧洲的经历，促使他更加积极地追求历史叙事。他试图挑战那个时代最受尊崇的艺术流派，经常选择具有强烈戏剧冲突或政治分量的场景。约创作于1778年的沃森与鲨鱼便体现了这种对戏剧张力的追求。而在这一创作方向上，他最宏大的尝试当属皮尔森少校之死，这部作品试图捕捉泽西岛战役中的混乱场面。尽管部分评论家对其构图提出了质疑，但这幅画作仍被视为将现代冲突转化为宏大历史艺术规模的一次重要尝试。
他在伦敦的艺术生涯后期，开始着手处理复杂的政治场景，例如1779年的查塔姆伯爵在议会下院的倒下。这部作品将视角从战场转向了英国政治治理中那种结构严谨且高度紧张的环境。通过这些多样的题材，约翰·科普利试图证明，一位在殖民地受训的画家，同样能够驾驭欧洲历史传统中那些厚重且具戏剧性的艺术要求。
约翰·科普利在伦敦生活的最后篇章，伴随着他曾经拥有的职业势头的逐渐消退。与他早年声名显赫的时期相比，他的晚年生活显得并不那么成功。财务上的不稳定如影随形，笼罩着他的生命最后阶段，最终他在沉重的债务中走向了生命的终点。这种经济上的窘迫，与他早年通过殖民地肖像画为新英格兰精英阶层所定义的显赫社会地位，形成了极其鲜明的对比。
1815年，约翰·科普利在伦敦去世。他的遗骸被安葬在萨里郡克罗伊登的克罗伊登大教堂。尽管他的艺术生涯在经济压力中落幕，但他那精湛的写实技巧，在研究18世纪肖像画与历史构图的领域中，依然是一个不可磨灭的标杆。
