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Tudor & Jacobean Portraits
The Collection of the National Portrait Gallery, London, is renowned for its portraits from the Tudor and Jacobean eras, many of which are on display at the Gallery or at Montacute House, our regional partner in Somerset. This book presents portraits of key individuals from this period, from the monarchs and members of the ruling elite to the writers, artists and artisans that characterised the literary and artistic flourishing of the sixteenth and seventeenth centuries. An introductory essay provides important historical context, and the ninety works selected from the collections of the National Portrait Gallery and National Trust are accompanied by extended captions exploring the sitter an...
The Tudors
Situating the Tudor dynasty, their court, and the country, in an international context, this book will be highly illustrated and feature contemporary research in an accessible way. It will provide an overview of the ways in which the Tudors engaged with the world and were impacted by broader currents: the internationalism of court culture, religious shifts, trade, naval conflict and the expansion in the Americas. The introductory text will consider the legacies of the Tudors, as the monarchs who reigned during the tumultuous years of the Reformation and the emergence of the transatlantic slave trade and English colonialism. Taking a thematic and biographical approach, the book will feature s...
The Encounter
This book brings together fifty exquisite observational portrait drawings from the Renaissance and Baroque periods , including works by Leonardo da Vinci, D�rer, Holbein, Bernini, Carracci, Clouet , Rubens and Rembrandt . More than a record of the sitters ' appearance, these works capture a moment of connection between artist and sitter: an encounter.
The Real Tudors
Who were the Tudor kings and queens and what did they really look like? Mention Henry VIII and the familiar image of the rotund, bearded fellow of Hans Holbein the Younger's portraits immediately springs to mind - reinforced, perhaps, by memories of a monochromatic Charles Laughton wielding a chicken leg in a fanciful biopic. With Elizabeth I it's frilly ruffs, white make-up and pink lips - in fact, just as she appears in a number of very well-known portraits held in the Collection of the National Portrait Gallery in London. But the familiarity of these representations has overshadowed the other images of the Tudor monarchs that were produced throughout their reigns. During the sixteenth cen...
Tacita Dean
Catalogues of three concurrent exhibitions in London galleries, 2018.
Painting in Britain, 1500-1630
This overview answers key questions about the production and consumption of art in Britain in the 16th and early 17th century, integrating art history, history and conservation science. The illustrations allow the reader to engage directly and to see some of the most famous Tudor and Jacobean paintings in a new light.
The Elizabethan Image
Fifty years after his seminal Tate gallery London exhibition, 'The Elizabethan Image', leading authority Roy Strong returns with fresh eyes to the subject closest to his heart, The Virgin Queen, her court and our first Elizabethan age From celebrated portraits of the Queen and paintings of knights and courtiers, to works depicting an aspiring 'middle class', Strong presents a detailed and authoritative examination of one of the most fascinating periods of British art. Enriching previous perceptions and ways of seeing the Elizabethans in their world, he reveals an age parallel in many ways to our own--a country aspiring professionally and changing socially. The gaze is from the inside, captur...
Citizen Portrait
For much of early modern history, the opportunity to be immortalized in a portrait was explicitly tied to social class: only landed elite and royalty had the money and power to commission such an endeavor. But in the second half of the 16th century, access began to widen to the urban middle class, including merchants, lawyers, physicians, clergy, writers, and musicians. As portraiture proliferated in English cities and towns, the middle class gained social visibility--not just for themselves as individuals, but for their entire class or industry. In Citizen Portrait, Tarnya Cooper examines the patronage and production of portraits in Tudor and Jacobean England, focusing on the motivations of those who chose to be painted and the impact of the resulting images. Highlighting the opposing, yet common, themes of piety and self-promotion, Cooper has revealed a fresh area of interest for scholars of early modern British art. Published for the Paul Mellon Centre for Studies in British Art
Writing Mary I
This book—along with its companion volume Mary I in Writing: Letters, Literature, and Representations—centers on representations of Queen Mary I in writing, broadly construed, and the process of writing that queen into literature and other textual sources. It spans an equally wide chronological and geographical scope, accounting for the years prior to her accession in July 1553 through the centuries that followed her death in November 1558 and for her reach across England, and into Ireland, Spain, Italy, Russia, and Africa. Its intent is to foreground words and language—written, spoken, and acted out—and, by extension, to draw out matters of and conversations about rhetoric, imagery, methodology, source base, genre, narrative, form, and more. Taken together, these volumes find in England’s first crowned queen regnant an incomparable opportunity to ask new questions and seek new answers that deepen our understanding of queenship, the early modern era, and modern popular culture.
The Paston Treasure
"This publication accompanies the exhibitions 'The Paston Treasure: Microcosm of the Known World' and 'The Paston Treasure: Riches and Rarities of the Known World', co-organized by the Yale Center for British Art, New Haven, on view 15 February-27 May 2018, and Norwich Castle Museum & Art Gallery, on view 23 June-23 September 2018"--Colophon.
