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Evolution and Ambition in the Career of Jan Lievens (1607-1674)
ABSTRACT Title: EVOLUTION AND AMBITION IN THE CAREER OF JAN LIEVENS (1607-1674) Lloyd DeWitt, Ph.D., 2006 Directed By: Prof. Arthur K. Wheelock, Jr. Department of Art History and Archaeology The Dutch artist Jan Lievens (1607-1674) was viewed by his contemporaries as one of the most important artists of his age. Ambitious and self-confident, Lievens assimilated leading trends from Haarlem, Utrecht and Antwerp into a bold and monumental style that he refined during the late 1620s through close artistic interaction with Rembrandt van Rijn in Leiden, climaxing in a competition for a court commission. Lievens’s early Job on the Dung Heap and Raising of Lazarus demonstrate his careful adaptation of style and iconography to both theological and political conditions of his time. This much-discussed phase of Lievens’s life came to an end in 1631when Rembrandt left Leiden. Around 1631-1632 Lievens was transformed by his encounter with Anthony van Dyck, and his ambition to be a court artist led him to follow Van Dyck to London in the spring of 1632. His output of independent works in London was modest and entirely connected to Van Dyck and the English court, thus Lievens almost certainly worked in Van Dyck’s studio. In 1635, Lievens moved to Antwerp and returned to history painting, executing commissions for the Jesuits, and he also broadened his artistic vocabulary by mastering woodcut prints and landscape paintings. After a short and successful stay in Leiden in 1639, Lievens moved to Amsterdam permanently in 1644, and from 1648 until the end of his career was engaged in a string of important and prestigious civic and princely commissions in which he continued to demonstrate his aptitude for adapting to and assimilating the most current style of his day to his own somber monumentality. -
Eugene Barilo Von Reisberg, M
Eugene Barilo von Reisberg, Garters and Petticoats: Franz Xaver Winterhalter’s 1843 Portraits of Queen Victoria and Prince Albert EUGENE BARILO VON REISBERG Garters and Petticoats: Franz Xaver Winterhalter’s 1843 Portraits of Queen Victoria and Prince Albert ABSTRACT What does official royal iconography tell us? What messages does it communicate about the sitters – and from the sitters? This paper deconstructs two official portraits of Queen Victoria and Prince Albert painted by Franz Xaver Winterhalter (1805-1873) in 1843. It outlines the complex semantic layering within this pair of British royal portraits, and explores in particular the emphasis on Prince Albert‘s newly-acquired ‗Englishness‘ and the notion of an iconographic ‗gender reversal‘ within the context of traditional marital pendants. The Honourable Eleanor Stanley wrote in a letter that a ‗regular dull evening‘ at Windsor Castle on 24 March 1845 was enlivened by the youthful Queen Victoria‘s impassioned speech about the state of British portraiture, ‗a terrible broadside at English artists, both as regards their works and … their prices, and their charging her particularly outrageously high.‘1 The twenty-six-year-old queen spoke from experience. As the heir apparent to the British throne, she had been painted from infancy by a succession of artists, vying for the patronage of the future sovereign. From her accession in 1837, the queen sat to numerous painters who failed to satisfy the requirements of official portraiture in the eyes of the monarch, her courtiers, and the critics. David Wilkie‘s (1785-1841) portrait of the queen was condemned by the critics as being ‗execrable‘.2 The queen considered her portrait by Martin Archer Shee (1769- 1850) as ‗monstrous‘;3 while the Figaro compared her countenance in the portrait by George Hayter (1792-1871) as that of an ‗ill-tempered and obstinate little miss.‘4 Portraits of Prince Albert, whom the queen married in February 1840, did not fair much better. -
Darnley Portraits
DARNLEY FINE ART DARNLEY FINE ART PresentingPresenting anan Exhibition of of Portraits for Sale Portraits for Sale EXHIBITING A SELECTION OF PORTRAITS FOR SALE DATING FROM THE MID 16TH TO EARLY 19TH CENTURY On view for sale at 18 Milner Street CHELSEA, London, SW3 2PU tel: +44 (0) 1932 976206 www.darnleyfineart.com 3 4 CONTENTS Artist Title English School, (Mid 16th C.) Captain John Hyfield English School (Late 16th C.) A Merchant English School, (Early 17th C.) A Melancholic Gentleman English School, (Early 17th C.) A Lady Wearing a Garland of Roses Continental School, (Early 17th C.) A Gentleman with a Crossbow Winder Flemish School, (Early 17th C.) A Boy in a Black Tunic Gilbert Jackson A Girl Cornelius Johnson A Gentleman in a Slashed Black Doublet English School, (Mid 17th C.) A Naval Officer Mary Beale A Gentleman Circle of Mary Beale, Late 17th C.) A Gentleman Continental School, (Early 19th C.) Self-Portrait Circle of Gerard van Honthorst, (Mid 17th C.) A Gentleman in Armour Circle of Pieter Harmensz Verelst, (Late 17th C.) A Young Man Hendrick van Somer St. Jerome Jacob Huysmans A Lady by a Fountain After Sir Peter Paul Rubens, (Late 17th C.) Thomas Howard, Earl of Arundel After Sir Peter Lely, (Late 17th C.) The Duke and Duchess of York After Hans Holbein the Younger, (Early 17th to Mid 18th C.) William Warham Follower of Sir Godfrey Kneller, (Early 18th C.) Head of a Gentleman English School, (Mid 18th C.) Self-Portrait Circle of Hycinthe Rigaud, (Early 18th C.) A Gentleman in a Fur Hat Arthur Pond A Gentleman in a Blue Coat -
From Allegory to Domesticity and Informality, Elizabeth I and Elizabeth II
The Image of the Queen; From Allegory to Domesticity and Informality, Elizabeth I and Elizabeth II. By Mihail Vlasiu [Master of Philosophy Faculty of Arts University of Glasgow] Christie’s Education London Master’s Programme September 2000 © Mihail Vlasiu ProQuest Number: 13818866 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 13818866 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 GLASGOW 1 u n iv er sity .LIBRARY: \1S3lS Abstract This thesis focuses on issues of continuity and change in the evolution royal portraiture and examines the similarities and differences in portraying Elizabeth I in the 16th and 17th centuries and Elizabeth II in the 20th century. The thesis goes beyond the similarity of the shared name of the two monarchs; it shows the major changes not only in the way of portraying a queen but also in the way in which the public has changed its perception of the monarch and of the monarchy. Elizabeth I aimed to unite a nation by focusing the eye upon herself, while Elizabeth II triumphed through humanity and informality. -
This Leaflet Is Available to Download at for A
For a large print version, please ask a member of staff British Portraits Compton Verney This leaflet is available to download at www.comptonverney.org.uk 1. Marcus Gheeraerts the Younger (1561/2-1636), Flemish: A Boy Aged Two. Oil on panel, inscribed and dated Aetatis suae 2 / Anº 1608. 114.3 x 85.7 cm The child in this portrait wears a bodice and skirt over a farthingale frame. This was the fashion for dressing boys until they were ‘breeched’ (dressed in breeches or trousers) at the age of five or six. In his left hand he holds a bunch of flowers and a string attached to a robin. The flowers are pansies and signified innocence and transience, whilst birds are thought to symbolise the human soul flying away at the moment of death. 2. Jacopo da Trezzo (about 1514-89), Italian: Queen Mary Tudor. Silver, 1554. Diam: 6.8 cm After Jacopo da Trezzo: King Philip II of Spain, Silver electrotype, 1800s. Diam: 6.8 cm Jacopo da Trezzo was a Milanese goldsmith who specialised in elaborately-worked, cast medals, and worked for King Philip II of Spain. Queen Mary I of England reigned from 1553 until 1558, and she and Philip were married in 1554. The reverse of the Mary I medal suggests that England is a peaceful country under her rule, showing the figure of Peace burning armour and banishing storm clouds. This medal is listed in the inventory of the Chigi family of Rome, dated 22 March 1674. 3. Attributed to Daniel Marot, English: 5. -
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INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy subm itted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6’ x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. ProQuest Information and Learning 300 North Zeeb Road. Ann Arbor, Ml 48106-1346 USA 800-521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. NOTE TO USERS Copyrighted materials in this document have not been filmed at the request of the author. They are available for consultation at the author’s university library. -
The Humanist Studies of Princess Elizabeth, 1538-1558
University of Calgary PRISM: University of Calgary's Digital Repository Graduate Studies The Vault: Electronic Theses and Dissertations 2017 “Her mind has no womanly weakness”: The Humanist Studies of Princess Elizabeth, 1538-1558 Hamill, Kelsey Anne Hamill, K. A. (2017). “Her mind has no womanly weakness”: The Humanist Studies of Princess Elizabeth, 1538-1558 (Unpublished master's thesis). University of Calgary, Calgary, AB. doi:10.11575/PRISM/26352 http://hdl.handle.net/11023/3770 master thesis University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission. Downloaded from PRISM: https://prism.ucalgary.ca UNIVERSITY OF CALGARY “Her mind has no womanly weakness”: The Humanist Studies of Princess Elizabeth, 1538-1558 by Kelsey Anne Hamill A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGRAM IN HISTORY CALGARY, ALBERTA APRIL, 2017 © Kelsey Anne Hamill 2017 i ABSTRACT Elite women in early modern England and Europe were usually educated in the skills of embroidery, dance, music, and cooking, with some rudimentary training in writing, reading, and Latin. These were all skills that were believed necessary to attract stronger marriage prospects from, and be better partners to, elite men. This thesis examines Elizabeth I’s (1533–1603) education during the years before she assumed the crown, circa 1538–1558. -
Royal Portraits and Sporting Pictures
ROYAL PORTRAITS AND SPORTING PICTURES FROM THE COLLECTIONS OF THEIR EXCELLENCIES THE GOVERNOR GENERAL AND LADY NORRIE AUCKLAND C TY ART GAL :RY ROYAL PORTRAITS AND SPORTING PICTURES FROM THE COLLECTIONS OF THEIR EXCELLENCIES THE GOVERNOR GENERAL AND LADY NORRIE AUCKLAND CITY ART GALLERY during the FESTIVAL OF THE ARTS 1955 HIS is ONE OF THE RARE OCCASIONS when the general public > is given the opportunity or seeing a well chosen and well > balanced private collection or valuable pictures, which in the ' ordinary course of things would not be seen outside an English country house. So what a great pleasure, as well as a privilege, it is for us in Auckland to be allowed to see this selection of royal portraits and sporting pictures from the collections of Their Excellencies the Governor- General and Lady Norrie. A private collection should reflect its owner; and that is exactly what the collection now being exhibited does. Even if we knew nothing previously of the special interests of Their Excellencies, we would be aware immediately from these works, of Their Excellencies' deep love of British history and those activities of country life which have played such an important part in forming the character of rural England. The paintings which form part of these collections demonstrate also the artistic judgment and taste of Their Excellencies, for all of them have been chosen not only for the personages and events represented, but for their qualities as works of art as well. Their Excellencies' pictures have not been exhibited previously in New Zealand, and Auckland feels proud that the exhibition should form part of its 1955 Festival of the Arts, which has already become a dominant feature in the life of our City. -
Images of Elizabeth I by Contrasting These Two Pictures
Lecture (2 hours with a 15 minute break) • When Elizabeth came to the throne in 1558 she was besieged by problems. The had been terrible harvests in the previous two years and rampant inflation partly caused by Henry VIII’s reducing the silver content of coins. In the previous eleven years the country had veered from extreme Protestantism to extreme Catholicism and in 1558 the country had lost Calais, its last remnant of French territory. In addition to all this Elizabeth was a woman and it was assumed she would soon marry with the danger of the country being run by a foreigner for their own country’s interests. • Yet, by the end of her reign, England was a world power. Pope Sixtus V could not understand it: "She is only a woman, only mistress of half an island, and yet she makes herself feared by Spain, by France, by all". • How did she do it? She was intelligent, shrewd, chose her advisers well and became popular by creating and reinforcing powerful images of herself. This talk explores those images and we start by comparing two. Notes (Wikipedia and other sites & books) • Education. The nobility had a different education from us, Lady Elizabeth for example, was taught grammar, theology, history, rhetoric, logic, philosophy, arithmetic, literature, geometry, music and above all languages. By the age of eleven Elizabeth was able to speak fluently in six languages - French, Greek, Latin, Spanish, Welsh and of course English. • Many of her closest advisors were similarly schooled and Elizabethans loved puzzles, word play, and decoding obscure references. -
London | 24 March 2021 March | 24 London
LONDON | 24 MARCH 2021 MARCH | 24 LONDON LONDON THE FAMILY COLLECTION OF THE LATE COUNTESS MOUNTBATTEN OF BURMA 24 MARCH 2021 L21300 AUCTION IN LONDON ALL EXHIBITIONS FREE 24 MARCH 2021 AND OPEN TO THE PUBLIC 10 AM Saturday 20 March 12 NOON–5 PM 34-35 New Bond Street Sunday 21 March London, W1A 2AA 12 NOON–5 PM +44 (0)20 7293 5000 sothebys.com Monday 22 March FOLLOW US @SOTHEBYS 10 AM–5 PM #SothebysMountbatten Tuesday 23 March 10 AM–5 PM TO LEARN MORE ABOUT THE PROPERTY IN THIS SALE, PLEASE VISIT This page SOTHEBYS.COM/L21300 LOT XXX UNIQUE COLLECTIONS SPECIALISTS ENQUIRIES FURNITURE & DECORATIVE ART MIDDLE EAST & INDIAN SALE NUMBER David Macdonald Alexandra Roy L21300 “BURM” [email protected] [email protected] +44 20 7293 5107 +44 20 7293 5507 BIDS DEPARTMENT Thomas Williams MODERN & POST-WAR BRITISH ART +44 (0)20 7293 5283 Mario Tavella Harry Dalmeny Henry House [email protected] Thomas Podd fax +44 (0)20 7293 6255 +44 20 7293 6211 Chairman, Sotheby’s Europe, Chairman, UK & Ireland Senior Director [email protected] [email protected] +44 20 7293 5497 Chairman Private European +44 (0)20 7293 5848 Head of Furniture & Decorative Arts ANCIENT SCULPTURE & WORKS Collections and Decorative Arts [email protected] +44 (0)20 7293 5486 OF ART Telephone bid requests should OLD MASTER PAINTINGS be received 24 hours prior +44 (0)20 7293 5052 [email protected] Florent Heintz Julian Gascoigne to the sale. This service is [email protected] [email protected] [email protected] offered for lots with a low estimate +44 20 7293 5526 +44 20 7293 5482 of £3,000 and above. -
The Tudors the Early Tudors King Henry VII 1457
The Tudors The Early Tudors King Henry VII 1457 – 1509 By an unknown artist Oil on panel, 1505 16 3/4 x 12 in. (42.5 x 30.5 cm) The picture is shaped like a rounded arch. Within this, the upper half of King Henry VII (1457 – 1509) appears against a sky-blue background. His hands rest on a stone sill and in his right he holds a red rose; a symbol of the House of Lancaster and of love. A black Tudor hat arches over his brow. Dark bushy shoulder length hair emerges at the sides of his face to be swept back over his ears. His long proud nose is turned away to his right, while Henry looks brightly at the viewer with narrowed almond- shaped eyes. His wide narrow-lipped mouth bears an assured expression. Henry wears a black tunic against which the white lapels of his gown stand out strongly. The red of his gown is embroidered with gold. Parting at his neck, a dark brown fur collar spreads across his shoulders to hang behind him. The Order of the Golden Fleece is suspended from a gold chain that lies across his chest. This honour was conferred on Henry by Maximilian I whose daughter, Margaret, NPG 416 The Tudors: King Henry VII, 1 of 4 The Tudors The Early Tudors Henry intended to marry. An inscription on the sill records that the painting was made at the order of Herman Rinck, agent of Maximilian I, on October 29 1505. NPG 416 The Tudors: King Henry VII, 2 of 4 The Tudors The Early Tudors King Henry VII 1457 – 1509 NPG 416 The Tudors: King Henry VII, 3 of 4 The Tudors The Early Tudors King Henry VII 1457 – 1509 NPG 416 The Tudors: King Henry VII, 4 of 4 The Tudors The Early Tudors Elizabeth of York 1465 – 1503 By an unknown artist Oil on panel; a late sixteenth-century copy from a portrait of about 1500 22 1/4 x 16 3/8 in. -
From the Commonwealth to the Georgian Period, 1650-1730
A STROLL THROUGH TATE BRITAIN This two-hour talk is part of a series of twenty talks on the works of art displayed in Tate Britain, London, in June 2017. Unless otherwise mentioned all works of art are at Tate Britain. References and Copyright • The talk is given to a small group of people and all the proceeds, after the cost of the hall is deducted, are given to charity. • Our sponsored charities are Save the Children and Cancer UK. • Unless otherwise mentioned all works of art are at Tate Britain and the Tate’s online notes, display captions, articles and other information are used. • Each page has a section called ‘References’ that gives a link or links to sources of information. • Wikipedia, the Oxford Dictionary of National Biography, Khan Academy and the Art Story are used as additional sources of information. • The information from Wikipedia is under an Attribution-Share Alike Creative Commons License. • Other books and articles are used and referenced. • If I have forgotten to reference your work then please let me know and I will add a reference or delete the information. 1 A STROLL THROUGH TATE BRITAIN • The History of the Tate • From Absolute Monarch to Civil War, 1540-1650 • From Commonwealth to the Georgians, 1650-1730 • The Georgians, 1730-1780 • Revolutionary Times, 1780-1810 • Regency to Victorian, 1810-1840 • William Blake • J. M. W. Turner • John Constable • The Pre-Raphaelites, 1840-1860 West galleries are 1540, 1650, 1730, 1760, 1780, 1810, 1840, 1890, 1900, 1910 East galleries are 1930, 1940, 1950, 1960, 1970, 1980, 1990, 2000 Turner Wing includes Turner, Constable, Blake and Pre-Raphaelite drawings Agenda 1.