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Charles I and Anthony Van Dyck Portraiture : Images of Authority and Masculinity

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Charles I and Anthony Van Dyck Portraiture : Images of Authority and Masculinity University of Lethbridge Research Repository OPUS http://opus.uleth.ca Theses Arts and Science, Faculty of 2013 Charles I and Anthony van Dyck portraiture : images of authority and masculinity Lawrence, Clinton Martin Norman Lethbridge, Alta. : University of Lethbridge, Dept. of History, c2013 http://hdl.handle.net/10133/3370 Downloaded from University of Lethbridge Research Repository, OPUS CHARLES I AND ANTHONY VAN DYCK PORTRAITURE: IMAGES OF AUTHORITY AND MASCULINITY CLINTON MARTIN NORMAN LAWRENCE Bachelor of Arts, University of Lethbridge, 2011 A Thesis Submitted to the School of Graduate Studies of the University of Lethbridge in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS Department of History University of Lethbridge LETHBRIDGE, ALBERTA, CANADA © Clinton Lawrence, 2013 Dedication I dedicate this thesis to the memory of my parents, Joseph and Helen. To my patient partner these last fifteen years, Brent. And of course to King Charles, Without whom these pages would be blank. iii Abstract This thesis is an examination of Charles I of England’s projection of kingship through Sir Anthony van Dyck portraits during his personal rule. These portraits provide important insight into Charles’ vision of kingship because they were commissioned by the king and displayed at court, revealing that his kingship rested on complementary ideals of traditional kingship in addition to divine right. In this thesis, Charles’ van Dyck portraits are studied in the context of seventeenth-century ideals of paterfamilias, knight, and gentleman. These ideals provide important cultural narratives which were seen to be reflective of legitimacy, power, and masculinity, which in turn gave legitimacy to Charles’ kingship. The system of values and ideals represented in Charles’ portraits reveal that his vision of kingship was complex and nuanced, demonstrating that divine right was just one aspect of many, upon which his kingship was premised. iv Acknowledgements As with all major undertakings, this thesis would not have been possible without the support and encouragement of a number of people. First, I would thank my supervisors Drs. Janay Nugent and Malcolm Greenshields for their patient mentorship. Their steadfast dedication to my success and the completion of this thesis is genuinely appreciated. In addition, thank you to the other members of my supervisory committee, Drs. David Hay and Ian McAdam, for their thoughtful suggestions and encouragement. I am privileged to have studied under the guidance of these scholars. I thank my partner, Brent Carless, for being my champion throughout my undergraduate and graduate degrees. His assistance in clarifying muddied lines of argument and strained prose has been of a titanic help and worth more than the few words of thanks mentioned here. I am certain he learned more about Charles I, Anthony van Dyck, and Caroline England than he ever imagined he would or ever even cared to. Brent, for all of your encouragement and assistance, you have my sincere thanks! I have also been fortunate to have had the overwhelming support of friends and family and so to all of them, named and unnamed, thank you. I would especially like to thank Bryan and Mary Ann Lawrence for their friendship, delicious dinners, and providing me with a comfortable place to live during my studies. Thanks to Sandra Klevgaard for her assistance in completing necessary research. Sandra, your help was invaluable. To my aunt, Jane Sheils, thank you for your confidence and trust in helping me to achieve my goals. Dr. Terry Chapman, thanks for your enthusiastic history classes that sparked my passion for history. For kindly opening their doors and providing much- needed fun, drink, and conversation over the years, thanks to Nancy Carless and Myron v Deis. To Ian Walker, for your unnatural attention to the nuances of English grammar, you have my sincere appreciation! Finally, to my grandmother, Scholastica Hammel, I owe a debt of gratitude for the wisdom, patience, and perseverance she modelled with kind cheerfulness over the years. And for all of the lessons she taught me because “there are some things you can’t learn in school,” -- thank you. Thank you to the University of Lethbridge - School of Graduate Studies for their professional and financial support. As well, I would acknowledge the donors of the awards and scholarships I received during the course of my studies which lightened my financial burden. To the interlibrary loan departments of the University of Lethbridge and Medicine Hat College you are owed a tremendous thank you for your efforts. For permission to reproduce the beautiful portraits in this thesis, thank you to Her Majesty Queen Elizabeth II, the Royal Collection, and Daniel Bell of the Royal Collection; the Archbishopric of Olomouc; the Rijksmusuem; and the musée de Beaux- Arts (Rouen). Clint Lawrence Medicine Hat, Alberta vi Table of Contents Approval Page ................................................................................................................... ii Dedication ........................................................................................................................ iii Abstract ............................................................................................................................ iv Acknowledgements ....................................................................................................... v-vi Table of Contents ............................................................................................................ vii List of Figures ................................................................................................................ viii INTRODUCTION ....................................................................................................... 1-29 CHAPTER 1 Paterfamilias .............................................................................................................. 30-70 CHAPTER 2 Virtue and the Knightly Ideal: Equestrian Representations of Charles I .................................................................. 71-106 CHAPTER 3 Charles I and the Gentlemanly Ideal: His Worthiness to Lead .......................................................................................... 107-140 CONCLUSION ...................................................................................................... 141-144 Bibliography .......................................................................................................... 145-164 Appendix A: Portraits Appendix B: Archbishopric of Olomouc – Permission to Reproduce Appendix C: Art Resource – Permission to Reproduce vii List of Figures Fig. Artist Title 2.1 Daniel Mytens Charles I and Henrietta Maria, c. 1630-1632 2.2 Anthony van Dyck King Charles I and Queen Henrietta Maria, 1632 2.3 Anthony van Dyck The Five Eldest Children of Charles I, 1637 2.4 Anthony van Dyck Charles I, Henrietta Maria and their Two Eldest Children Prince Charles and Princess Mary (The Greate Peece, of Or royal self, consort and children), c. 1632 2.5 Gerrit von Honthorst Frederik Hendrik Prince of Orange with His Wife Amalia van Solms and Their Three Youngest Daughters, 1647 2.6 Diego Velázquez Las Meninas, 1656 2.7 Phillipe Louis XIV Consecrating Sceptre and Crown to de Champaigne the Mother of God, 1643 3.1 Anthony van Dyck Charles I on Horseback with Seigneur de St. Antoine, c. 1633 3.2 Justus van Egmont Portrait équestre de Louis XIII, c. 1630 3.3 Anthony van Dyck Charles II as Prince of Wales in Armour, c. 1637-1638 3.4 Peter Paul Rubens Landscape with St. George and the Dragon, 1634-1635 3.5 Anthony van Dyck Charles I on Horseback, c. 1635-1636 3.6 Diego Velázquez, Philip IV on Horseback, c. 1635-1636 4.1 Anthony van Dyck Charles I in the Hunting Field, c. 1635 4.2 Hyacinthe Rigaud Louis XIV, King Of France, Full-Length Portrait in Royal Costume, 1701 4.3 Diego Velázquez, Philip IV as a Hunter, c. 1636-1638 4.4 Anthony van Dyck Charles I in Garter Robes, 1636 4.5 Philippe Louis XIII, King of France, c. 1622-1639 de Champaigne viii INTRODUCTION Let your own life be a Law-book and a mirror to your people; that therein they may read the practise of their own Laws; and therein they may see, by your shadow, what life they should lead.1 James I, Basilikon Doron, (1599). Charles I of England (r. 1625-1649) has been considered a haughty king, focused on establishing absolutism in his kingdoms. Historians have traditionally put a great deal of emphasis on Charles’ contentious relationship with Parliament as he asserted his right to rule.2 Whereas Charles’ father James considered divine right kingship to be a political tool, for Charles, it was an intensely emotional and spiritual belief.3 Moreover, Charles did not write a justification for kingship like his father. Instead he presented it in magnificent displays.4 This distinction is reflected in Charles’ complex and nuanced representation in portraiture. Undoubtedly, divine right was an important ideology for Charles, but his representation in portraiture demonstrates the importance he placed on portraying other attributes of legitimate kingship. Sir Anthony van Dyck’s court portraits provide important nuanced insight into Charles’ vision of kingship. These portraits express the king’s political theory and justify his right to rule, demonstrating that his foundations for kingship went beyond divine right theory. 1 James VI/I, Basilikon Doron or His Majesty’s Instructions to His Dearest Sonne, Henry the Prince, ed. Charles
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