Watson and the Shark

This small study follows Copley’s first completed version and prepared further repetitions. The subject is the shark attack on Brook Watson in Havana harbour in 1749. A modern emergency receives the scale and bodily drama of history painting, even in a rapidly worked study.

The naked swimmer reaches upward. His position in the water establishes the task shared by those in the boat.

The shark’s open mouth appears beside the swimmer. Keeping danger next to the body sustains the rescue’s tension.

A man leans far over the side. His precarious position makes rescue an effort requiring support from the others.

A standing man raises a long pole. His movement responds to the shark and extends the action above the boat.

A Black man extends a hand from the crowded group. Rescue becomes a shared action among people in different positions.

Ships and harbour buildings appear in the distance. The urban port connects the drama with a particular historical incident.

After moving to England, Copley developed history painting. Repeating this subject records demand for a modern event treated with a gravity previously associated chiefly with ancient and biblical history.