DOCSLIB.ORG

Author of “THE PRAISE of FOLLY

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Author of “THE PRAISE of FOLLY ERASMUS Most respected and influential humanist in the FLANDERS , a part of the Netherlands and north center of the wool trade, was the center of the Northern Renaissance He argued that the Church had become greedy and corrupt, and called for the return to the Literature was deeply concerned with religious simple faith of early Christianity questions Author of “ THE PRAISE OF FOLLY ” which Art emphasized precision and reality criticized narrow-minded scholars, clergy, scientists, and philosophers SIR THOMAS MORE SIR THOMAS MORE Author of UTOPIA Author of UTOPIA describing an ideal, describing an ideal, peaceful society peaceful society On a diplomatic trip to Brussels, More Utopia is basically a fictional has a conversation with Raphael embodiment of his humanist sentiments Hythloday, who sailed with Amerigo and ideas. Sir Thomas More presents a Vespucci. Raphael tells them of the place of "no where" - the literal meaning of history, customs and culture of the Utopia - that developed a structured new Utopians. way of addressing crime, war, women, property, and religion. 1 JAN VAN EYCK ( 1395-1441) Developer of OIL PAINTS His naturalistic panel paintings, mostly portraits and religious subjects, made extensive use of disguised religious symbols. His masterpiece is the altarpiece in the cathedral at Ghent, the Adoration of the Lamb (1432). The Virgin of Chancellor Rolin 1433-34 Alterpiece at Alterpiece at Ghent Cathedral Ghent Cathedral Closed Alterpiece at JAN VAN EYCK Ghent Cathedral Details Giovanni Arnolfini and his wife (1434) 2 REMBRANDT Innovator in the use of darkness and light in paintings Dutch painter, draftsman, and etcher of the 17th century, a giant in the history of art. His paintings are characterized by luxuriant brushwork, rich color, and a mastery of chiaroscuro. Numerous portraits and self-portraits exhibit a profound penetration of character. REMBRANDT His drawings constitute a vivid record of contemporary Amsterdam life. The greatest artist of the Dutch school, he was a master of light and shadow whose paintings, drawings, and etchings made him a giant in the history of art. Nicolaes Ruts 1631 The Night Watch 1642 REMBRANDT The Anatomy Lecture of Dr. Nicolaes Tulp 1632 The Syndics of the Clothmaker's Guild (The Staalmeesters) 1662 3 ALBRECHT DURER 1471-1528 Was skilled in paintings, woodcuts and etchings German painter, printmaker, draughtsman and art theorist, generally regarded as the greatest German Renaissance artist. Self-Portrait at 28 (Self-Portrait in Furcoat) The Mill 1650 1500 ALBRECHT DURER 1471-1528 Was skilled in paintings, woodcuts and etchings His vast body of work includes altarpieces and religious works, numerous portraits and selfself----portraits,portraits, and copper engravings. His woodcuts, such as the Apocalypse series (1498), retain a more Gothic flavor than the rest of his work. The Knight, Death and The Devil 1514 The Four Horsemen of the Apocalypse 1498 ALBRECHT DURER ALBRECHT DURER Portrait of Durer's Father at 70 1497 A Young Hare 1502 4 The Paumgartner Altarpiece c. 1498-1504 Munich St. Michael's fight against the dragon 1498 HANS HOLBEIN 14971497----15431543 Holbein also illustrated other books, including Martin Luther's German translation of the Bible. Most famous portrait artist In addition he painted pictures and portraits and, like his father, designed of the Northern Renaissance stained-glass windows. He also created designs for a series of 41 woodcuts called Born in Augsburg, Bavaria, Hans received The Dance of his first lessons in art from his father. In 1515 Death . the younger Holbein went to Basel, Switzerland. Among the many scholars living in Basel at that time was the famous Dutch humanist Erasmus, who befriended the young artist and asked him to illustrate his satire, The Praise of Folly . Portrait of Erasmus of Rotterdam 1523 In 1526 Holbein, carrying a letter of introduction from Erasmus to the English statesman and author Sir Thomas More, set out for London. In England, where he became court painter to Henry VIII, Holbein was known chiefly as a painter of portraits. The more than 100 miniature and full-size portraits he completed at Henry's court provide a remarkable document of that colorful period. An old account of his services at court relates Portrait of Henry VIII 1540 that he painted the portrait of the king, "life size, so well that everyone who looks is astonished, since it seems to live as if it moved its head and limbs." In 1543 Holbein was in London working on another portrait of the king when he died, a victim of the plague. Portrait of Henry VIII 1536 5 Example of anamorphosis The Ambassadors (1533) The Ambassadors (1533) Portrait of Jane Small, born Pemberton about 1540 Watercolor on vellum, stuck to a playing card Inscribed on either side of her head in Latin, 'In the 23rd year of her age' Jane and her husband Nicholas Small, a wealthy merchant, lived in the neighboring parish to Hans Holbein in London. 6.
Load more

Recommended publications
  • Music and Image Details from the Historical Association Film: An
    Music and Image details from the Historical Association Film: An Introduction to Tudor Royal Authority Music: 1. Serenity by Paul Werner. Licensed through Jamendo: https://licensing.jamendo.com/en/track/1532773/serenity Images: 1. Framed print, "Plucking the Red and White Roses in the Old Temple Gardens" after the original 1910 fresco painting by Henry Albert Payne (British, 1868-1940) based upon a scene in Shakespeare's Henry VI, the original in the Palace of Westminster and a later similar painting by Payne in the Birmingham Museum and Art Gallery, this print marked "copyright 1912 in London & Washington by "The Fine Art Publishing Co., Ltd. London", sight: 20.25"h, 21"w, overall: 27"h, 27.5"w, 9.25lbs. Public Domain. 2. King Henry VI. Purchased by National Portrait Gallery in 1930. Copyright NPG. 3. King Edward V, by unknown artist. Copyright National Portrait Gallery. 4. Portrait of Richard III of England. Copyright National Portrait Gallery. 5. King Henry VII, by unknown artist. Copyright National Portrait Gallery. 6. Portrait of Henry VIII (1491-1547). Galleria Nazionale d'Arte Antica. Public Domain. 7. Portrait of Thomas Cromwell. The Frick Collection. Public Domain. 8. Portrait of King Edward VI of England (1537–1553). Public Domain. 9. Portrait of Mary I, Museo del Prado. Public Domain. 10. Portrait of Elizabeth I of England of the 'Badminton' type. The Queen is shown in a black dress with gold embroidery, holding a red rose. Public Domain. 11. The Pelican Portrait by Nicholas Hilliard. The pelican was thought to nourish its young with its own blood and served to depict Elizabeth as the "mother of the Church of England".
    [Show full text]
  • The Opening of the Atlantic World: England's
    THE OPENING OF THE ATLANTIC WORLD: ENGLAND’S TRANSATLANTIC INTERESTS DURING THE REIGN OF HENRY VIII By LYDIA TOWNS DISSERTATION Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy at The University of Texas at Arlington May, 2019 Arlington, Texas Supervising Committee: Imre Demhardt, Supervising Professor John Garrigus Kathryne Beebe Alan Gallay ABSTRACT THE OPENING OF THE ATLANTIC WORLD: ENGLAND’S TRANSATLANTIC INTERESTS DURING THE REIGN OF HENRY VIII Lydia Towns, Ph.D. The University of Texas at Arlington, 2019 Supervising Professor: Imre Demhardt This dissertation explores the birth of the English Atlantic by looking at English activities and discussions of the Atlantic world from roughly 1481-1560. Rather than being disinterested in exploration during the reign of Henry VIII, this dissertation proves that the English were aware of what was happening in the Atlantic world through the transnational flow of information, imagined the potentials of the New World for both trade and colonization, and actively participated in the opening of transatlantic trade through transnational networks. To do this, the entirety of the Atlantic, all four continents, are considered and the English activity there analyzed. This dissertation uses a variety of methods, examining cartographic and literary interpretations and representations of the New World, familial ties, merchant networks, voyages of exploration and political and diplomatic material to explore my subject across the social strata of England, giving equal weight to common merchants’ and scholars’ perceptions of the Atlantic as I do to Henry VIII’s court. Through these varied methods, this dissertation proves that the creation of the British Atlantic was not state sponsored, like the Spanish Atlantic, but a transnational space inhabited and expanded by merchants, adventurers and the scholars who created imagined spaces for the English.
    [Show full text]
  • Tudors to Windsors: British Royal Portraits 16 March – 14 July
    Tudors to Windsors: British Royal Portraits 16 March – 14 July Chris Levine, Queen Elizabeth II (Lightness of being), 2007 National Portrait Gallery, London • Founded in 1856, the National Portrait Gallery was the first gallery established exclusively for displaying portraiture. The Gallery’s collection includes a wide variety of works such as painting, sculpture, photography, prints and caricatures. Tudors to Windsors is the first time the NPG has toured their outstanding collection of royal portraiture. Bendigo Art Gallery has collaborated with the National Portrait Gallery on several occasions but this is by far the most extensive exhibition the NPG has ever sent to Australia and Bendigo Art Gallery is one of only two venues in the world, the other being Houston, Texas. The exhibition traces many of the major events in British history, examining the ways in which royal portraits were impacted by both the personalities of individual monarchs and wider historical change. The exhibition explores five royal dynasties, from the Tudors to the Windsors, and includes works by many of the most important artists to have worked in Britain. • Alongside the works of art from the National Portrait Gallery, Bendigo Art Gallery has secured some additional loans to further explain the lives of these fascinating characters. Special loans from the Royal Armouries and Historic Royal Palaces add a further dimension to this exhibition. 1483-1603 Above after Titian, Philip II, king of Spain 1555, oil on panel Right after Hans Holbein the younger King Henry VIII, c.1540s, oil on wood panel Art Gallery of South Australia, Adelaide • The Tudors are one of the most famous royal dynasties in the world.
    [Show full text]
  • 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.
    [Show full text]
  • On a Votive Painting of St. George and the Dragon, With
    Archaeologia http://journals.cambridge.org/ACH Additional services for Archaeologia: Email alerts: Click here Subscriptions: Click here Commercial reprints: Click here Terms of use : Click here VII.—On a Votive Painting of St. George and the Dragon, with kneeling Figures of Henry VII., his Queen and Children, formerly at Strawberry Hill, and now in the possession of Her Majesty the Queen George Scharf Archaeologia / Volume 49 / Issue 02 / January 1886, pp 243 ­ 300 DOI: 10.1017/S0261340900006287, Published online: 25 January 2012 Link to this article: http://journals.cambridge.org/abstract_S0261340900006287 How to cite this article: George Scharf (1886). VII.—On a Votive Painting of St. George and the Dragon, with kneeling Figures of Henry VII., his Queen and Children, formerly at Strawberry Hill, and now in the possession of Her Majesty the Queen. Archaeologia, 49, pp 243­300 doi:10.1017/S0261340900006287 Request Permissions : Click here Downloaded from http://journals.cambridge.org/ACH, IP address: 128.250.144.144 on 20 Mar 2013 VII.—On a Votive Painting of St. George and the Dragon, with kneeling Figures of Henri/ VII., his Queen and Children, formerly at Strawberry Hill, and now in the possession of Her Majesty the Queen. By G-EOBGE SCHARF, G.B., F.S.A., Director of the National Portrait Gallery. Read November 29, 1883. THE PICTUEE. THE Picture which, by Her Majesty's gracious permission, is exhibited before the Society this evening, may be regarded as one of the accepted landmarks of historical painting in England. The grouping of the figures has been made familiar to all students of art by a well executed line engraving taken from the picture in 1762, by Ch.
    [Show full text]
  • Fur Dress, Art, and Class Identity in Sixteenth- and Seventeenth-Century England and Holland by Elizabeth Mcfadden a Dissertatio
    Fur Dress, Art, and Class Identity in Sixteenth- and Seventeenth-Century England and Holland By Elizabeth McFadden A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in History of Art and the Designated Emphasis in Dutch Studies in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Elizabeth Honig, Chair Professor Todd Olson Professor Margaretta Lovell Professor Jeroen Dewulf Fall 2019 Abstract Fur Dress, Art, and Class Identity in Sixteenth- and Seventeenth-Century England and Holland by Elizabeth McFadden Doctor of Philosophy in History of Art Designated Emphasis in Dutch Studies University of California, Berkeley Professor Elizabeth Honig, Chair My dissertation examines painted representations of fur clothing in early modern England and the Netherlands. Looking at portraits of elites and urban professionals from 1509 to 1670, I argue that fur dress played a fundamentally important role in actively remaking the image of middle- class and noble subjects. While demonstrating that fur was important to establishing male authority in court culture, my project shows that, by the late sixteenth century, the iconographic status and fashionability of fur garments were changing, rendering furs less central to elite displays of magnificence and more apt to bourgeois demonstrations of virtue and gravitas. This project explores the changing meanings of fur dress as it moved over the bodies of different social groups, male and female, European and non-European. My project deploys methods from several disciplines to discuss how fur’s shifting status was related to emerging technologies in art and fashion, new concepts of luxury, and contemporary knowledge in medicine and health.
    [Show full text]
  • British Miniature Painters and Their Works
    DUKE UNIVERSITY LIBRARY Treasure %Qom # : ^25 Copies of this book have been printed for sale, of which 12^ are on large paper. No. /a: Vlottingbam Printed by R. B. Earp & Sons, Ltd., Goldsmith Street. -* # *: « ' '^ ! ^H MINIAi PAINTEko AND THEIR \ RKS, BY J. J FOSTER, Asti-iUift 'istft'iKsijiCl at-aiyv n\iS\K .oi;8i ,f;noJyiV naaup ifJasjfiM lyH Xonfcon SAMPSON LOW, MARSTOxN St. Dunstan's House, Fet. DICKINSONS , ,fT W -^y:im ir Portrait. Her Majesty Queen Victoria, 1870. After Messrs. Dickinsons' : BRITISH MINIATURE PAINTERS AND THEIR WORKS, BY J. J. FOSTER. Xonbon SAMPSON LOW, MARSTON & COMPANY, Limited, St. Dunstan's House, Fetter Lane, E.G. AND DICKINSONS, 114, New Bond Street, W. 1898. m. Iber fIDost (5raciou6 flDajest^ IDictotia, of tbe •Clnite^ •RiiiQ&om of (great IBritain anb 5relanb> an& of tbe Colonteg an& Dependencies tbereot Empress of 5n&ia, tbis worft is, bg special permls* IV. Tfar-igrncr-JTiiriinincrir'.j-'.iij TinaTTi FTt'-nTj-iQ niun£TTjj~.irar^riLn^n^ri^nrriitn!r'.L^ PREFACE. HE follotving lines should be called, perhaps, an acknowledgment rather than a Preface, inasmuch as what I have to say in them is mainly to express gratittide for favours received. First then, let me record my sense of the honour and the favour done me by Her Majesty The Queen, in giving Her gracious permission to reproduce such miniatures as I might select from the Royal Library. The like acknowledgment is due to many noble and private owners (too numerous to mention here) of similar treasures. I have appended their names in the list of Illustrations, and to each and to all I beg to offer most sincere thanks for their courtesy.
    [Show full text]
  • By Catherine Daunt
    A University of Sussex DPhil thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details PORTRAIT SETS IN TUDOR AND JACOBEAN ENGLAND Two Volumes (Volume One) Catherine Daunt Thesis submitted for the degree of DPhil at the University of Sussex May 2015 ii Declaration I hereby declare that this thesis has not been and will not be, submitted in whole or in part to another university for the award of any other degree. Catherine Daunt iii CONTENTS Volume One Acknowledgements x Summary xi List of Abbreviations xii Introduction 1 Chapter 1: The Origins of Portrait Sets in England 5 The Crown’s Use of Portraiture Under Henry VII 6 The Influence of Henry VIII’s Collections 13 An Emerging Market for Historical Royal Portraits 17 The Earliest Evidence for Sets in Aristocratic Collections 19 A Bishop’s Set of Heroes and Heroines 27 Mid-Century Sets of Protestant Reformers 28 An Early Set of Benefactors 31 Conclusions 33 Chapter 2: Continental Influences on English Painted Sets 34 Uomini Famosi 35 Channels of Influence 38 The Intellectual Context: Humanism 39 Numerical Series and Moralizing Imagery 42 Sibyls and Prophets 43 Roman Emperors 47 Prints and Effigy Books 49 Conclusions 53 Chapter 3: History, Antiquarianism and Genealogy 55 A New History for England 55 Antiquarianism 56 The Search for Authentic Likenesses 57 The Use of Portrait Sets to Denote Antiquity 65 i.
    [Show full text]
  • Displays of Power in English Tudor Painting Laura Meisner University of Lynchburg
    University of Lynchburg Digital Showcase @ University of Lynchburg Undergraduate Theses and Capstone Projects Spring 3-2017 Displays of Power in English Tudor Painting Laura Meisner University of Lynchburg Follow this and additional works at: https://digitalshowcase.lynchburg.edu/utcp Part of the European History Commons, and the Other History Commons Recommended Citation Meisner, Laura, "Displays of Power in English Tudor Painting" (2017). Undergraduate Theses and Capstone Projects. 88. https://digitalshowcase.lynchburg.edu/utcp/88 This Thesis is brought to you for free and open access by Digital Showcase @ University of Lynchburg. It has been accepted for inclusion in Undergraduate Theses and Capstone Projects by an authorized administrator of Digital Showcase @ University of Lynchburg. For more information, please contact [email protected]. Displays of Power in English Tudor Painting (1485-1558) Submitted in Partial Fulfillment of the Requirements of History 402 Laura Meisner March, 2017 Dr. Scott Amos Dr. Adam Dean Dr. Clifton Potter History passes down the visages of Tudor monarchs and their contemporaries through paintings that attempt to show us more than their mere likenesses. The faces of these monarchs reveal not only individual physiognomies of appearance, but also characteristics of the times. Painting in Tudor England, up to the reign of Queen Elizabeth I (1485-1558) reflected, and at times contributed, to shifting political and social structures in England. Patrons exercised great influence on the kind of art created and brought into England, and a study of this and how patrons utilized art as a means of propaganda reveals the way that given situations shaped art. An analysis of specific works leads to a better understanding of this period in English History and its social and political influences.
    [Show full text]
  • Duveen Brothers Stock Photographs and Records, 1829-1965
    http://oac.cdlib.org/findaid/ark:/13030/c83j3dsc No online items INVENTORY OF THE DUVEEN BROTHERS STOCK PHOTOGRAPHS AND RECORDS, 1829-1965 Finding aid prepared by Arsineh Zargarian, Emmabeth Nanol, and Karen Meyer-Roux INVENTORY OF THE DUVEEN 2007.D.1 1 BROTHERS STOCK PHOTOGRAPHS AND RECORDS, 1829-1965 ... Descriptive Summary Title: Duveen Brothers stock photographs and records Date (inclusive): 1829-1965 Number: 2007.D.1 Creator/Collector: Duveen Brothers Physical Description: 755.0 linear feet(737 boxes, 10 flatfiles, 2 rolls) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles, California, 90049-1688 (310) 440-7390 Abstract: The archive documents the Duveen Brothers' exhibition, cataloguing, researching, and publishing of works of art and collections. It traces the firm's dealings in porcelain, tapestries, objets d'art, and Old Masters' paintings, in particular of the Italian Renaissance. The archive comprises brochures, photographs, collectors' files, scrapbooks, correspondence and authentication records from art experts, notably Bernard Berenson. It also includes the papers of Italian Renaissance art historian R. (Robert) Langton Douglas. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in English Biographical/Historical Note The Duveen Brothers firm was an influential art dealer from the late nineteenth to the mid-twentieth century with offices in London, Paris, and New York. Under the guidance of Joseph Duveen (1869-1939), and assisted by art experts, most notably Bernard Berenson (1865-1959), Duveen Brothers played a prominent role in the transfer of works of art from Europe to the United States.
    [Show full text]
  • British Art Studies September 2020 Elizabethan and Jacobean Miniature Paintings in Context Edited by Catharine Macleod and Alexa
    British Art Studies September 2020 Elizabethan and Jacobean Miniature Paintings in Context Edited by Catharine MacLeod and Alexander Marr British Art Studies Issue 17, published 30 September 2020 Elizabethan and Jacobean Miniature Paintings in Context Edited by Catharine MacLeod and Alexander Marr Cover image: Left portrait: Isaac Oliver, Ludovick Stuart, 2nd Duke of Lennox, later Duke of Richmond, ca. 1605, watercolour on vellum, laid onto table-book leaf, 5.7 x 4.4 cm. Collection of National Portrait Gallery, London (NPG 3063); Right portrait: Isaac Oliver, Ludovick Stuart, 2nd Duke of Lennox, later Duke of Richmond, ca. 1603, watercolour on vellum, laid on card, 4.9 x 4 cm. Collection of Fitzwilliam Museum, Cambridge (FM 3869). Digital image courtesy of National Portrait Gallery, London (All rights reserved); Fitzwilliam Museum, Cambridge (All rights reserved). PDF generated on 26 February 2021 Note: British Art Studies is a digital publication and intended to be experienced online and referenced digitally. PDFs are provided for ease of reading offline. Please do not reference the PDF in academic citations: we recommend the use of DOIs (digital object identifiers) provided within the online article. Theseunique alphanumeric strings identify content and provide a persistent link to a location on the internet. A DOI is guaranteed never to change, so you can use it to link permanently to electronic documents with confidence. Published by: Paul Mellon Centre 16 Bedford Square London, WC1B 3JA https://www.paul-mellon-centre.ac.uk In partnership with: Yale Center for British Art 1080 Chapel Street New Haven, Connecticut https://britishart.yale.edu ISSN: 2058-5462 DOI: 10.17658/issn.2058-5462 URL: https://www.britishartstudies.ac.uk Editorial team: https://www.britishartstudies.ac.uk/about/editorial-team Advisory board: https://www.britishartstudies.ac.uk/about/advisory-board Produced in the United Kingdom.
    [Show full text]
  • Windsor Castle
    WINDSOR CASTLE Historical Interpretations: Evaluating Sources at Windsor Castle, Teachers' Notes These notes are designed to complement our A level session in the beautiful State Apartments at Windsor Castle. You will find details of the portraits and objects referred to in the session that are on display. All details are extracted from collections online and can be easily found using the RCIN number as a search tool: www.royalcollection.org.uk Edward IV (1442-83) Oil on panel | RCIN 403435 This is one of the five earliest paintings surviving in the Royal Collection. The others depict Henry V, Henry VI, Richard III and Elizabeth Woodville. Recent dendrochronological (tree-ring) analysis indicates that this panel was painted between 1524 and 1556, which is later than the Henry V, Henry VI and Richard III panels. It was possibly made in order to join this set of royal portraits and is listed with them in the 1542 inventory of the contents of Whitehall Palace. This is slightly different in format from RCIN 403442, 403443 and 403435. Painted on a wider panel, it has a striped background which probably indicates that it was made in a different artist’s workshop. The Yorkist king is shown in head and shoulders view wearing a black cap and a richly brocaded gown. He holds a ring in his hands, which probably has royal significance. The artist is unidentified but would probably have been either British or Flemish, working at the Tudor court. Originally the painting would have been in a gilded, engaged frame which has been dismantled at some point in the painting’s history.
    [Show full text]