Original art  |  In conversation


Welcome to the portfolio of original works by Daniel Cooper, the most comprehensive collection of his paintings and drawings documented online. All works listed here have now been sold and now part of private and commerial collections worldwide. All listed originals have been created from the year 2010 and up to the present day. For user-friendly viewing, the Portfolio is divided up into seven categories, and within each, a list view of each artwork accompanied by their title. Simply navigate by scrolling up and down the page.


Since day one of Daniel Cooper's professional practice, almost every single painting or drawing made by Cooper is documented/photographed by the artist himself, including any public and private commissions. Sketchbook work and preliminary drawings are rarely documented by Cooper, and he often prefers to keep these private. Many of the works here have featured in some of Cooper's most major solo and participating group shows across Cumbria, and this Portfolio is an exclusive feature of danielcooperart.com.


Copyright for all images/artworks remains with the artist, Daniel Cooper.

All original works in the PORTFOLIO have now SOLD, for available works, please see the AVAILABLE page.



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From canvas to conversation...

The creative process of Daniel Cooper


Since his first sketches in charcoal, Cooper's work has been constantly changing through new explorations of his subject and experimentations of media, but his style and working practice has remained personal, progressive and well recognised. Cooper continues to use charcoal burnt on the Brantwood Estate, the former Home of John Ruskin and today it remains a public attraction for visitors each year. For Cooper, Brantwood, in particular the views frow the estate, brought about the foundations of his working practice today:
"It wouldn't be an exaggeration to say my professional career as an artist began around the time that I started working at Brantwood. I've been drawing for as long as I can remember, and all the while knowing the creative process makes me feel like I have another, and richer way to communicate with others. Brantwood, together with an understanding of Ruskin's fundamental teachings on observation and application, set me on an emotional attachment to the views in and around this part of Coniston Water, including the ever-changing weather and skies above. Whether out on the grounds in the elements or peering through the main house window, I put in charcoal and mixed media what I felt I saw - for myself and to be seen by others."


The Lake District National Park, Cumbria
The place where Cooper often describes as his "true home" and, when it comes to his work, his "stage" from which the natural architecture within a vista, like the fells, trees and stones, are not just a beautiful sight to see:
"I see the land as a space to contain a composition, a composition that ultimately describes an emotional response to what I’m looking at. It is the intangible elements of nature; weather, light and cloud that fuels my imagination when comminating visually."  
Charcoal and mixed media
Charcoal has become a firm favourite material for Cooper, often using charcoal burnt on the Brantwood estate, or compressed charcoal, and working with different intensities of blackness. Cooper describes his fondness as "like there's a literal element of earth fed into the drawing and painting, this for me is another way I find myself connecting to a place."
Mixed media, an almost standard description of materials used by artists, and Cooper describes his use of it as: "a combination of wet and dry media which I mix and handle myself, and since they form a part of my experimentations - I keep all material used, and application techniques, a secret". 
Sketching and photographic documentation
Cooper produces many on-site sketches and drawings of his subject. getting involved with place and the surrounding landscape, rain or shine, is of great importance to the artist. The constant change in direction of light and cloud is also documented via photography, capturing moments of inspiration that eventually feeds into the visual interpretation of Cooper's work. 
"I aim to capture the essence of a place and a feeling or mood, over and over again, there is never one representation of how a view makes me feel. Whether I gather information in the form of a physical piece or digital means, that item could provide me with copious amounts of ideas to work with, together with what I can remember from a particular sunset for example, I express how I feel."  
Each picture is given its own unique title, apart from those which may belong in a series, such as "Summit of the Sky" - these are usually followed by a number to identify each one. For the bulk of his work, Cooper adopts a more creative approach with words:
"The work should speak for itself, and whatever feeling someone gets from it, is unique to them. I think the titles, are more for myself, my written input into how I describe the finished piece. They sometimes reflect and represent ideas and imagery I've had on my mind throughout the process of making a piece. It's also imppossible to ignore inspiration from life and people around me, lines or words from poetry, music, literature or even feeling like I just want to make a word up! - All these can feed into the title of a picture," 
Cooper works mostly on paper and canvas. The dimensions of framed original art vary, but he would often attempt to work on certain sizes of the square, rectangle or panoramic format, explaining that: "To reflect the visual narrative of a collection of works hanging together, I like to have works, especially in solo exhibitions appear to 'flow' smoothly on the eye, and with similar presentation and sizes of art works, the collection communicates ‘as one’ in a given space."
As well as a simple, but clean black frame to keep focus on the art, Cooper mostly uses a hand finished "exclusive to his work" molding, made from lime wood. The frame is hand painted, normally with a dark, warm brown and satin finish. Mounting and backing board used are all acid-free and of conservation quality.