identifier
stringlengths 1
43
| dataset
stringclasses 3
values | question
stringclasses 4
values | rank
int64 0
99
| url
stringlengths 14
1.88k
| read_more_link
stringclasses 1
value | language
stringclasses 1
value | title
stringlengths 0
200
| top_image
stringlengths 0
125k
| meta_img
stringlengths 0
125k
| images
listlengths 0
18.2k
| movies
listlengths 0
484
| keywords
listlengths 0
0
| meta_keywords
listlengths 1
48.5k
| tags
null | authors
listlengths 0
10
| publish_date
stringlengths 19
32
⌀ | summary
stringclasses 1
value | meta_description
stringlengths 0
258k
| meta_lang
stringclasses 68
values | meta_favicon
stringlengths 0
20.2k
| meta_site_name
stringlengths 0
641
| canonical_link
stringlengths 9
1.88k
⌀ | text
stringlengths 0
100k
|
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
202
|
dbpedia
|
2
| 59 |
https://variety.com/2010/film/markets-festivals/dino-de-laurentiis-dies-at-91-1118027321/
|
en
|
Dino De Laurentiis dies at 91
|
[
"https://sb.scorecardresearch.com/p?c1=2&c2=6035310&c4=&cv=3.9&cj=1",
"https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif",
"https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif",
"https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif",
"https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif",
"https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif",
"https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif",
"https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif",
"https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif",
"https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif",
"https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif",
"https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif",
"https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif",
"https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif",
"https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif",
"https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif",
"https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif",
"https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif",
"https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif",
"https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif",
"https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif",
"https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif",
"https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif",
"https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif",
"https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif",
"https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif",
"https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif",
"https://pixel.quantserve.com/pixel?a.1=&a.2=p-31f3D02tYU8zY",
"https://px.ads.linkedin.com/collect/?pid=1429113&fmt=gif"
] |
[] |
[] |
[
""
] | null |
[
"Richard Natale"
] |
2010-11-11T13:48:37+00:00
|
Dino De Laurentiis, who died Wednesday evening at his Beverly Hills home, leaves a legacy of showmanship and international financing innovations that will arguably be as long-lasting and influential as any of his films.
|
en
|
Variety
|
https://variety.com/2010/film/markets-festivals/dino-de-laurentiis-dies-at-91-1118027321/
|
Dino De Laurentiis, who died Wednesday evening at his Beverly Hills home, leaves a legacy of showmanship and international financing innovations that will arguably be as long-lasting and influential as any of his films.
De Laurentiis, who was 91, was one of the first producers to make an art of the foreign pre-sale in financing films and to supply the studios with international co-productions. The first of De Laurentiis’ epic films was the 1956 “War and Peace,” directed by King Vidor and starring Audrey Hepburn and Henry Fonda. A decade later, his international epics and his financing strategies flowered with titles like “The Bible” (1966), “Barbarella” (1968), “Flash Gordon” (1980), “Ragtime” (1981), “The Bounty” (1984), David Lynch’s $45 million “Dune” (1984) and perhaps most famously, his 1976 remake of “King Kong,” starring Jeff Bridges and a then-unknown Jessica Lange.
Though few of these were big box office performers, and critical reaction was mixed, he turned each of them into an “event” by wooing the press, throwing splashy events at international festivals such as Cannes, and relentlessly beating the PR drum.
He was so prolific his films were artistically all over the map, ranging from two Federico Fellini classics — “La Strada” (1954) and “Nights of Cabiria” (1957) — to “Death Wish” (1974) and “Serpico” (1973). Along the way, there were plenty of crime capers, gangster movies and exploitation pics with such titles as “Kiss the Girls and Make Them Die” and “Goliath and the Vampires.”
At the age of 22, he produced his first film, “L’amore canta” (1941), financed independently in Turin. He founded Real Cine in Turin that year and became exec producer of Lux Film in 1942.
He was one of the first producers of neo-realist films after the war, including 1945’s “La miserie del Signor Travet,” “Il bandito,” “La fighlia del capitano” and “Il brigante Musolino.” His first international success came in 1949 with “Bitter Rice,” a mixture of neo-realism and eroticism.
In a 2009 interview with Variety, De Laurentiis said the producer’s role is “to create a dream.” Talking about Italy’s post-war filmmaking scene, he said: “After the war, there was no industry. We lost the war. We had our whole city destroyed. No money. No studio. No film. No camera. No equipment. We would shoot in the street. We had no actors. Nothing. But we wanted to do movies. And we did the best movies in the world.”
In the early ’50s, he joined forces with Carlo Ponti on such films as “Anna,” and “Il lupo della sila.” Their 1954 “Ulysses” starring Kirk Douglas did nothing to bolster his international status.
But the 1954 Fellini production “La strada,” starring the helmer’s wife, Giulietta Masina, was a major event, winning the Grand Prize at the Venice Film Festival, the New York Film Critics Award and the Oscar for foreign-language film. De Laurentiis earned a second Oscar for Fellini’s “Nights of Cabiria” the following year, though he pulled out of producing “La Dolce Vita” (1960), Fellini’s biggest international success.
De Laurentiis also made gritty urban action films, including “Serpico,” “Three Days of the Condor” and “Death Wish,” which was a major success and spawned numerous sequels.
He was born Agostino De Laurentiis in Torre Annunziata, a small town near Naples. His family planned for him to take over its pasta manufacturing business, but the 17-year-old ran away to Rome and enrolled in the Cento Sperimentale di Cinematografia with plans to be an actor. His father cut off his allowance, but De Laurentiis persevered (he would eventually bring brothers Luigi and Alfredo into the business), working his way through school.
The budding thesp soon moved behind the scenes, working as an assistant director and unit production manager.
De Laurentiis was nothing if not visionary. He built Dinocitta, a $25 million state-of-the-art production facility outside Rome, in 1964, though it later went bankrupt.
In the mid-’90s he moved Stateside to make films and created De Laurentiis Entertainment. He bought the Embassy library and built production facilities in North Carolina. DEG went bankrupt by the end of the decade, plagued by costly failures. It was just one of many independent distribution entities that failed to compete effectively with the major studios.
But he never stopped working. De Laurentiis Communications was founded in 1990 and produced several not-so-successful films including 1993’s “Body of Evidence,” starring Madonna. He even reopened Dinocitta at one point.
Rarely using his own money and creating handsome terms for himself on his productions, De Laurentiis enjoyed a comfortable life. He married his “Bitter Rice” star Silvana Mangano in 1949. After they divorced 34 years later, he wed 33-year-old producer Martha Schumacher, who was president of his new production company, with daughter Rafaella De Laurentiis as head of production.
According to Martha De Laurentiis, “It’s not that he cares about the money least, but he cares about it last.”Dino De Laurentiis agreed. “To me the only real star of the movie is the writer. And I work with writers very closely, from outline to first draft and on to the seventh draft, whatever it takes. Then my job is to support the director to make the best movie we can. Some producers try to go past them, but my job is to support them.”
Of the hundreds of films he oversaw, some were terrible, many are forgotten, but the list of notable efforts also include Fellini’s “Casanova” (1976), Bergman’s “The Serpent’s Egg” (1977), Robert Altman’s “Buffalo Bill and the Indians” (1976) and David Lynch’s “Blue Velvet” (1986).
His work continued through “Hannibal Rising,” a 2007 prequel to the Hannibal Lecter saga.
That film resulted from a long and bitter suit that he waged against Universal over sequel rights to “Silence of the Lambs,” which eventually allowed him to produce another film giving U first right of refusal. He continued working on several film projects until his death.
At the ceremony for the 2000 Oscars, he was awarded the prestigious Irving Thalberg Award.
“My grandfather was a true inspiration. He was my biggest champion in life and a constant source for wisdom and advice,” said granddaughter Giada De Laurentiis, a Food Network host and author.
A son, Federico, died in 1981 in a mid-air plane collision in Alaska while shooting a wildlife documentary. Aside from his wife and daughter Raffaella, he is survived by four other daughters, three sisters, five grandchildren including Giada, and two great-grandchildren.
|
|||||
202
|
dbpedia
|
0
| 40 |
https://knightleyemma.com/2023/04/18/impact-body-evidence/
|
en
|
Women, Power, & Desire: “Impulse” (1990) & “Body of Evidence” (1992) – Knightleyemma
|
[
"https://knightleyemma.com/wp-content/uploads/2016/10/cropped-denzel_muchado.jpg",
"https://2.gravatar.com/avatar/ec08b00aad41e536623c7a66b2e0b18ea9acd1d4be705d75e541f77403bf262e?s=50&d=identicon&r=PG",
"https://2.gravatar.com/avatar/bd68d4d2030cf010d5e952116a804927d777aa2c3eff94d19dac3f8c184e8555?s=50&d=identicon&r=PG",
"https://s2.wp.com/i/logo/wpcom-gray-white.png",
"https://s2.wp.com/i/logo/wpcom-gray-white.png",
"https://pixel.wp.com/b.gif?v=noscript"
] |
[] |
[] |
[
""
] | null |
[] |
2023-04-18T00:00:00
|
Impact (1990) starring Theresa Russell, Jeff Fahey, & George Dzundza She's an undercover cop. Seduced by a fantasy. Trapped in a mystery. Led by a dangerous impulse. It's easy to lose control. -Taglines for the film This is a psychological thriller co-written by a woman (Leigh Chapman) and directed by a woman- Sondra Locke (who…
|
en
|
https://s1.wp.com/i/favicon.ico
|
Knightleyemma
|
https://knightleyemma.com/2023/04/18/impact-body-evidence/
|
Impact (1990) starring Theresa Russell, Jeff Fahey, & George Dzundza
She’s an undercover cop. Seduced by a fantasy. Trapped in a mystery. Led by a dangerous impulse. It’s easy to lose control. -Taglines for the film
This is a psychological thriller co-written by a woman (Leigh Chapman) and directed by a woman- Sondra Locke (who had a palimony suit against Clint Eastwood while making this film). I learned re: Locke’s and Eastwood’s (turbulent) relationship on a recent ep of the podcast You Must Remember This (hosted by Karina Longworth). Yikes, Eastwood does NOT come out looking good! It was V difficult for Locke (who worked as an actress on Eastwood’s projects) to get funding for this small-budget movie (distributed by Warner Bros). In some ways, it’s ahead of it’s time!
Lottie Mason (Russell) is an undercover cop in the LAPD; she’s tall, blonde, and tough (ONLY trusts in herself). Her boss, Lt. Joe Morgan (Dzundza), has been sexually harassing her; we learn this in an early scene. Her bills are piling up and she is TOO invested in her job. While Lottie is helping an ADA- Stan (Fahey)- set-up a drug buy w/ a witness he needs for a case, they become romantically involved. They have a love scene which is unusual for that era, as it’s mainly re: intense gazes (which build tension).
It’s rare (even today) to see a movie centered on a female cop; it has become common on TV/streaming shows. Impulse is gritty, moody, and Russell is believable as a street-smart/independent-minded woman (w/ a hidden soft side). Lottie’s nights of dealing w/ lowlifes has affected her personal life; her Vice assignments incl. impersonating streetwalkers and junkies. She has mandated therapy sessions w/ Dr. Gardner (Lynn Thigpen), where she admits to having a fantasy of losing control and acting on (darker) impulses. Though some viewers felt it was a BIT slow, I think fans of the noir genre or cop dramas may like it. Both Gene Siskel and Roger Ebert called this “a V good thriller.” You can see it on Freevee.)
Body of Evidence (1992) starring Madonna & Willem Dafoe
An act of love, or an act of murder? -Tagline for the film
An elderly millionaire in Portland is found dead of heart failure handcuffed to his bed; a home video of him and a woman is running in the background. When cocaine is found in his system, and his will leaves $8 million to this woman (his lover)- Rebecca Carlson (Madonna)- police arrest her on suspicion of murder. Her lawyer, Frank Dulaney (Dafoe), succumbs to her charms and they start a (reckless) affair. As new evidence turns up during trial, Frank begins to wonder if he’s defending a murderer. (I saw the R-rated version on Freevee; many yrs. ago, I saw it on cable.)
Frank Dulaney: It’s not a crime to be a great lay!
Robert Garrett: Well, sure. l’d have to have myself indicted.
Body of Evidence is often (negatively) compared to Basic Instinct; shooting began only 2 weeks after that film was released, so the similarities are probably coincidental. However, the huge success of Paul Verhoeven’s film could still have influenced the direction and editing. Madonna met w/ a (real-life) dominatrix, who taught her how to tie someone’s arms behind their back using a belt. Dafoe attended a criminal trial; it was interrupted when several people (incl. the judge and many jurors) recognized him and wanted to talk. This is on Roger Ebert’s 2005 list of his most hated films. If you enjoy comedy podcasts, check out the ep reviewing this movie on How Did This Get Made?
Frank Dulaney: Counsel for the Prosecution has already used this witness to establish the state of mind of the deceased. He opened the can, Your Honor.
Judge Burnham: And I do see worms crawling all around you, Mr. Garrett.
Madonna was the 1st choice to play Rebecca; producer Dino De Laurentiis purchased the script b/c he believed it was the perfect role for her. She has short/platinum hair, V pale (unflattering) makeup, red lipstick, and designer clothes. Madonna personally selected Dafoe as her co-star, BUT they have no romantic chemistry together! As many filmmakers have noted over the yrs, casting is V important. Also, where is the development of the characters!? Frank seems eager (quite early on) to do what Rebecca prefers. In one of the (later) steamy scenes, Dafoe looks hesitant (as if performing a chore). Madonna’s acting coach quit just before production began, claiming that “she thinks she knows everything.” As this movie will show, she is a V limited actress. The dialogue given to her is NO help at all! The movie’s (German) director, Uli Edel, said Madonna refused to be directed in the sex scenes. She insisted on pouring (real/hot) wax on Dafoe’s chest in (perhaps the most controversial) scene- ouch! To y’all younger gen viewers, little of this content will look daring.
I was too young to know better. It was the first time I’d been asked to get naked and it turned out to be completely extraneous and gratuitous. Ugh. It was a terrible film and a terrible performance by me. It was about nothing, and I didn’t need to be doing it. -Julianne Moore
Joe Mantegna (who plays prosecutor Robert Garrett) said filming the courtroom scenes was so tedious that 2 extras (jurors) fell asleep during Dafoe’s closing statement. Mantegna (always reliable) yelled at them to wake them up- LOL! The director doesn’t know how to make the trial visually interesting. The judge has lines which (in retrospect) are sassy/funny. Anne Archer does OK what little she is given. A young Julianne Moore plays Sharon (Frank’s wife); she runs a successful restaurant and is mom to a preteen son (seen in just one scene). Moore (who can tackle any role) later said she regretted taking this on; she was then new to movies. Frank Langella has a small/pivotal role as a man from Rebecca’s past. One of Madonna’s besties (actress Sandra Bernhard) was heard laughing at the premiere, commenting: “This is not a serious movie!”
[1] It is both as bad as you remember it, but somehow endlessly entertaining.
[2] The movie goes from the ridiculous to the sublime and every thing else in between, and by the time the movie is over, you feel like you went over Niagara Falls on a surf board.
[3] The courtroom and crime scenes is just background to what the movie is, Madonna in the bedroom.
[4] …might have been much more fun had it the slightest sense of humor. Alas, all the laughs here are unintentional, and the straight-faced actors just end up looking foolish. […] For camp-addicts, a hoot; all others beware.
-Excerpts from IMDb reviews
|
||||
202
|
dbpedia
|
3
| 54 |
https://www.amazon.com/Dino-Life-Film-Laurentiis/dp/078686902X
|
en
|
Amazon.com
|
[
"https://images-na.ssl-images-amazon.com/captcha/bcxmjlko/Captcha_blrkwzesiq.jpg",
"https://fls-na.amazon.com/1/oc-csi/1/OP/requestId=V7EDP0T6CNQ4X6KRFQBB&js=0"
] |
[] |
[] |
[
""
] | null |
[] | null |
en
| null |
Enter the characters you see below
Sorry, we just need to make sure you're not a robot. For best results, please make sure your browser is accepting cookies.
|
|||||||
202
|
dbpedia
|
2
| 18 |
http://italiancinemaarttoday.blogspot.com/2019/12/the-extraordinary-career-and-legacy-of.html
|
en
|
The Extraordinary Career and Legacy of Dino De Laurentiis
|
[
"https://1.bp.blogspot.com/-nWNVx2RIg50/Xgq-gHJDJwI/AAAAAAAAHaA/f96RPYogwV0Q99iEr7pteH5Zi7mympzVwCLcBGAsYHQ/s400/Dino_de_laurentiis_crop.jpg",
"https://1.bp.blogspot.com/-VZXCl5eK1EQ/Xgq-XUyDdEI/AAAAAAAAHZ8/08NyD2HrmrAOAI9DlLPRrc6QH2zoLnkRQCLcBGAsYHQ/s400/Bitter%2BRice.png",
"https://1.bp.blogspot.com/-f2os2CipNpo/XgrAiOSXnpI/AAAAAAAAHaU/Tk2Auyekq4shgK-bf1gQBSpFhmjq3__6gCLcBGAsYHQ/s400/Screen%2BShot%2B2019-12-14%2Bat%2B8.05.46%2BAM.png",
"https://1.bp.blogspot.com/-9lnF6WnFC8E/XgrBZHiaOlI/AAAAAAAAHak/SOBWk4UMC9QEllqgfHD6VEmzNjZfLPZJACLcBGAsYHQ/s400/2293.jpg",
"https://1.bp.blogspot.com/-hQaafgSNwNI/XgrCmkomDKI/AAAAAAAAHaw/1qdwXmHQnc0pGc7_zDjD5rHgJDm8sibNQCLcBGAsYHQ/s400/dune.png",
"https://1.bp.blogspot.com/-8NT6jD86Ss4/Xgrnc95AMqI/AAAAAAAAHbI/aAtU-WJhBREu8tdz-STtRF2MMcyDhQYWgCLcBGAsYHQ/s400/giada.JPG",
"https://1.bp.blogspot.com/-7SDKtbKkqhg/XgrLSTPUjAI/AAAAAAAAHa8/cxqtB3f3L7oTileWBXCdqQM_oEKqosI8gCLcBGAsYHQ/s400/Cortodino.jpg",
"http://ir-na.amazon-adsystem.com/e/ir?t=jeannineguily-20&l=ur2&o=1"
] |
[
"https://www.youtube.com/embed/0yuM3pY6scg?feature=player_embedded",
"https://www.youtube.com/embed/MXyLnQKbG8A?feature=player_embedded"
] |
[] |
[
""
] | null |
[] |
2019-12-30T22:18:00-08:00
|
Producer Dino De Laurentiis was one of the most prolific filmmakers ever, having produced or co-produced more than 600 films during a car...
|
en
|
http://italiancinemaarttoday.blogspot.com/favicon.ico
|
http://italiancinemaarttoday.blogspot.com/2019/12/the-extraordinary-career-and-legacy-of.html
|
Producer Dino De Laurentiis was one of the most prolific filmmakers ever, having produced or co-produced more than 600 films during a career that spanned seven decades. His legacy continues not only through the work of his children and grandchildren but also through a new generation of filmmakers in his Italian hometown.
De Laurentiis was born in the shadow of Mount Vesuvius on Aug. 8, 1919, in the city of Torre Annunziata, located just minutes from the ruins of Pompeii. As a child, he worked at a local pasta factory owned and operated by his father. That experience had a profound effect on him, shaping a lifelong passion for food and an appreciation for business.
At the age of 17, he decided to leave home for the big city. He arrived in Rome and enrolled in the prestigious film school, Centro Sperimentale di Cinematografia. After attending the school for about a year, he managed to produce one film in 1940, The Last Combat, before having to leave Rome temporarily for military duty during the years leading up to World War II.
Vittorio Gassman and Silvana Mangano in Bitter Rice
He found his way back to Rome in 1944, starting his own production company in 1947 and releasing the first of many blockbusters two years later with the neorealist classic, Riso amaro (Bitter Rice). The film follows seasonal workers in the rice fields of northern Italy during the post-war economic depression. It stars Silvana Mangano and Vittorio Gassman, two stunning young actors at the beginning of their legendary careers. De Laurentiis not only had a hit movie on his hands, but he also found a life partner in Mangano. The couple wed that year and went on to have four children: Veronica, Raffaella, Francesca, and Federico.
De Laurentiis teamed up the following year with another prolific producer, Carlo Ponti. Their collaboration lasted seven years. Among the many successful films they produced were The Unfaithfuls by Mario Monicelli (1953); Where Is Freedom? by Roberto Rossellini (1954); La Strada by Federico Fellini (1954); The Gold of Naples by Vittorio De Sica (1954); Ulysses by Mario Camerini, starring Kirk Douglas and Anthony Quinn along with Mangano (1954); and the 1956 Italy/America production of War and Peace, directed by King Wallis Vidor and starring Audrey Hepburn and Henry Fonda.
After parting ways with Ponti, De Laurentiis established his own film studios on the outskirts of Rome in an area known as the Castelli Romani. He named it Dinocittà, to mimic Rome’s Cinecittà. The idea came after the worldwide success of the 1957 Ben Hur which was filmed at the iconic Rome studio. The production ignited an international desire to shoot in Rome, so De Laurentiis, being the businessman that he was, capitalized on this new demand and built the enormous production facility. The studio was quite popular during the 1960s and early 70s and attracted big names in Italy and the United States. On any given day, there would be the likes of Vittorio De Sica, Michelangelo Antonioni, John Huston, Charlton Heston, Bette Davis, Elizabeth Taylor, and Jane Fonda.
It was a time of experimentation with a bit of fun thrown in. Italian directors worked with American actors and vice versa. B-grade westerns and war pictures were made, like Sergio Corbucci’s Navajo Joe (1966), starring Burt Reynolds, and the Civil War drama The Hills Run Red, starring American writer/actor Thomas Hunter. A couple of the more high-profile films to come out of Dinocittà were The Taming of the Shrew by Franco Zeffirelli, starring Elizabeth Taylor and Richard Burton (1967); Barbarella, starring Jane Fonda (1968); Anzio, starring Robert Mitchum (1968); and Waterloo with Orson Welles and Christopher Plummer (1970).
Although production continued at Dinocittà through the 70s, it was arguably one costly 1966 production that marked the beginning of financial problems that would eventually lead to the demise of the facility. The 1966 film, The Bible: In the Beginning, was a big-budget, elaborate production directed by John Huston with an ensemble cast that included Ava Gardner and Peter O’Toole. The plot covered the major events of the Bible in an abstract, artistic way but lacks in-depth storytelling. It was the highest-grossing film of the year in 1966 but was not able to turn a profit. The property was seized by the government for nonpayment of taxes, in the 1970s. Shortly thereafter, De Laurentiis picked up and moved his film career and his family to the United States. He told the Italian press, "I left Rome because of intolerance towards politicians, trade unions, wrong laws, the impossibility of turning an artisanal cinema like the Italian one into an industrial and international cinema."
Dinocittà was no longer in business but his production company was. Shortly after moving to Hollywood, he made his mark there with a string of hits that included Serpico (1973), Death Wish (1974), and Three Days of the Condor (1975). The success of Steven Spielberg’s Jaws inspired him to remake the 1933 King Kong but with a sentimentality that he felt Jaws lacked. One of his infamous quotes was "When Jaws dies, nobody cries. When Kong dies, we all cry." With that thought in mind, De Laurentiis got to work on his big-budget remake. The 1976 film starring Jessica Lange, Jeff Bridges, and Charles Grodin turned out to be an international hit, even though critics did not completely embrace it.
Silvana Mangano in Dune
A trio of box office successes followed with Flash Gordon (1980) Ragtime (1981) and Conan the Barbarian (1982). Then in 1984, De Laurentiis released Dune which at the time was called “his most ambitious project yet.” Adapted from Frank Herbert's popular sci-fi novel by the same name, Dune, although not a great commercial success at the time, was responsible for the launch of numerous careers in the 1980s, including director David Lynch and cast members Kyle MacLachlan and Virginia Madsen. The period of the early 80s also marked the beginning of De Laurentiis’ collaboration with his daughter Raffaele, who followed in his footsteps becoming a producer in her own right.
Apart from those over-the-top, action-adventure, and sci-fi films, De Laurentiis produced two exceptional dramas in the mid-80s. He teamed up again in 1986 with director David Lynch and actor Kyle MacLachlan for Blue Velvet. Isabella Rossellini accepted the lead role of tortured nightclub singer Dorothy Vallens after Helen Mirren reportedly turned it down due to the provocative nature of the character. Laura Dern and Dennis Hopper costar. Lynch created a surreal world inside this film, making it a cult classic.
One year later, De Laurentiis produced the lesser-known Black Eyes (also called Dark Eyes), a 19th-century period film recounting the story of an Italian who falls in love with a Russian woman. A 1987 Italy/Russia coproduction starring Marcello Mastroianni and Silvana Mangano, the film was made two years before Mangano passed away. She was 57 years old and still so beautiful. It is no longer in print or available on VOD. However, there are clips on YouTube worth checking out to see two legendary actors together in the twilight of their careers. It was Mangano’s last principal role. She and De Laurentiis separated in 1983 and divorced in 1988 but continued to work together until her untimely death at the age of 59.
Watch the trailer for Black Eyes...
De Laurentiis married fellow producer Martha Schumacher in 1990 and the couple continued to produce films. Among them were Hannibal (2001) and Hannibal Rising (2007). He passed away on Nov. 10, 2010, at the age of 91 at his home in Beverly Hills, but his legacy lives on in so many ways.
His widow, Martha, is at the helm of the De Laurentiis Company, which has studios in Vermont, Australia, and Morocco, and has provided production facilities for recent blockbusters like Aquaman, Iron Man 3, and Fox Television’s Sleepy Hollow. Dino’s nephew Aurelio De Laurentiis has his production company, Filmauro, and is a long-time collaborator of Carlo Verdone in particular. On this side of the Atlantic, Dino’s daughter Raffaella continues to work as a film producer.
De Laurentiis’ daughter Veronica has found her niche in activism, in particular, empowering women and helping them overcome abuse and get their lives back on track. In 2011, she started the non-profit Silvana Mangano Center “to create a network to help, educate and give a second chance to all victims of violence, abuse, and stalking.” She also started her own web series that invites abused women to tell their stories. “Dillo a Veronica” (Tell Veronica) is broadcast on YouTube and Facebook. Visit veronicadelaurentiis.com for more information.
Giada De Laurentiis on location in Florence for Giada in Italy
In the spirit of his humble beginnings and the DDL Food Show, an Italian specialty foods store that Dino De Laurentiis started in New York and California in the early1980s, his granddaughter, celebrity chef Giada De Laurentiis has carried on his legacy and passion for food. Since she made her debut on the Food Network in 2003, Giada has always been open about the influence her grandfather has had on her becoming a chef.
During the first season of her Food Network series, Giada in Italy, she went right back to where it all started. In the episode titled, Dino’s Pasta Factory, Giada and her Aunt Raffaella (Aunt Raffy) visited Torre Annunziata, birthplace of Dino and where her great-grandparents once owned a pasta factory. Afterward, they created some regional dishes inspired by the day. Click here to watch clips from the episode.
During Season 3, Giada brought her mother, aunt, and daughter to Capri, Italy, the family’s longtime vacation spot and a stone’s throw from Torre Annunziata, to celebrate her grandfather’s 100th birthday. The episode, titled, “Dino's 100th Birthday Party” is a moving, sentimental tribute to her grandfather’s legacy and her own Italian origins. Season 3 is still available on VOD. Recipes from all three seasons of Giada in Italy are available on the Food Network’s website.
Presenting my short film at the 2018 Cortodino Film Festival
Founded in 2010, the Cortodino Film Festival showcases short films from all over the world and carries on De Laurentiis' legacy. Held at a high school, the audience is made up of students during the day, and then in the evening, the adults come together to discuss cinema with guest filmmakers. I presented my short documentary, Luigi Di Gianni: Soul of the South, at the 2019 edition and spoke with the festival’s director, Filippo Germano, about its significance. “The festival is dedicated to Dino De Laurentiis because he was born here in Torre Annunziata and it’s the hometown of his family. We also remember his brothers, producers Luigi and Aurelio De Laurentiis.” Germano went on to explain how the screenings are continuing Dino’s legacy for the next generation of filmmakers. “Dino De Laurentiis was known in his career as a producer for discovering new talents. So our festival is aimed at young filmmakers under the age of 35 in Italian cinema to pull up new, young talent for Italian cinema. Many of the films are presented by the filmmakers, creating a path of film literacy for the young people of our community to ensure that they can also be inspired by the world of cinema and find their own creative voice.”
Watch a clip from my interview with Filippo Germano...
Many films that De Laurentiis produced or coproduced are easily available online. Today, the grounds of Dinocittà are being enjoyed by a whole new generation. Cinecittà World, a theme park with spectacular recreations of famous movie sets, was built on the site of the old studios. Visit https://www.cinecittaworld.it for more information.
Labels
A photo exhibit dedicated to actor Franco Gasparri, a heartthrob of the 1970s, is underway at the Casa del Cinema in Rome. The exhibit opened in May with a documentary by his daughter Stella, a tireless promoter of her father's work. The exhibit consists of 150 photos chosen by the actor's family. Born on Halloween 1948, Gasparri began his film career as a teenager in the early sixties taking on small parts and supporting roles. He appeared in films of the Italian Peplum genre such as "Goliath against the Giants" (1961), "Sansone" (1961) and "The Fury of Hercules" (1962). A symbol of masculine perfection, he was known for his trademark male tresses, Greek God-like profile and green eyes. He enjoyed widespread popularity as an actor during the launch of fotoromanzi, a form of comicstrip storytelling that uses photographs rather than illustrations for the images. Gasparri rose to cinematic stardom in the mid-seventies with a police-themed
Ornella Muti was born Francesca Romana Rivelli in Rome in 1955 to a Neapolitan father and an Estonian mother. She began her career as a model during her teenage years and made her film debut in 1970 with La Moglie più bella (The Most Beautiful Wife). Her follow-up role was in the 1971 film, Sole nella pelle (Sun on the Skin) in which she played the daughter of wealthy parents who runs off with a hippie they don’t approve of. The film offers a telling journey through Italian society in the seventies with the political climate, the breathtaking seaside as well as the styles and cars of that time. Much of the film is set amid the sunny Italian seaside and succeeds in capturing the innocence and beauty of first love. Muti made her American film debut in 1980 with Flash Gordon . She played the role of Princess Aura. She’s appeared in two other American films, including, Oscar , which was directed by John Landis and featured Don Ameche, Chaz Palminteri, and Sylvester Stallone
A compelling 2018 documentary by Claudio Poli aims to shed light on a chapter of Nazi history that is still relevant today. “Hitler Versus Picasso and the Others” is the story of how the Führer didn’t just take countless human lives but also robbed a whole culture of its artistic heritage. Narrated by actor Toni Servillo, “Hitler Versus Picasso and the Others” takes viewers on an incredible journey in search of masterpieces stolen during World War II. The stories of individual works are told by people who witnessed the looting, much of which took place during raids on homes and galleries belonging to Jewish collectors. The documentary reveals that 600,000 works of art were stolen from private owners, museums, churches and galleries. The confiscated artwork was either kept by the Nazi elite, warehoused, sold or destroyed in bonfires. Few benefited more from this large-scale heist than Hildebrand Gurlitt, Hitler’s so-called art dealer, who kept many of the most priceless treasures for
Monica Bellucci as Malèna Born in Umbria in 1964, Monica Bellucci is one of the most recognizable faces of international cinema. But she didn't always have her sights set on the spotlight. She went to college to study law and modeled to pay her tuition. Her success in the fashion world coupled with the offers that were pouring in to appear on the big screen eventually took over, changing her fate. Bellucci made her on-screen debut in the 1990 television movie, " Vita coi figli." Just two years later, she scored her first American role in Francis Ford Coppola's "Dracula." In addition to her native language, she speaks fluent English and French, which has made for a smooth transition from Italian to international cinema. Stateside, she has acted in blockbusters such as "The Matrix-Reloaded," " The Passion of the Christ" and " The Sorcerer's Apprentice." She has also appeared in several French films, a
The Toronto International Film Festival is wrapping up its retrospective of the cinematic collaboration of husband and wife team, Nicoletta Braschi and Roberto Benigni. Over the last few days, the couple have participated in discussions, Q & A sessions and have introduced several of their films. Today, I attended a screening of "La voce della luna" (The voice of the moon). It was Federico Fellini's last film and is a wonderful tribute to the director's signature poetic madness. The film gave Benigni the opportunity to team up with fellow beloved comic, Paolo Villaggio, and the two created a truly unforgettable adventure. Today's screening began with an introduction by Benigni. The moments leading up to his introduction were noticeably serious and somewhat tense. Benigni's publicist and TIFF security staunchly guarded his privacy. There was no interaction and no photos were allowed. Guided by his entourage, he walked quickly from the Green Room to th
|
|||||
202
|
dbpedia
|
0
| 6 |
https://www.imdb.com/title/tt0106453/
|
en
|
Body of Evidence (1992)
|
[
"https://fls-na.amazon.com/1/batch/1/OP/A1EVAM02EL8SFB:133-4329210-2829402:W94M3FZEH6YZZFZ0BEEV$uedata=s:%2Fuedata%2Fuedata%3Fstaticb%26id%3DW94M3FZEH6YZZFZ0BEEV:0",
"https://m.media-amazon.com/images/M/MV5BOTQyYmYxNTctMjM5Zi00ODk4LWE5YWItMmUxMjY3ZmM4YTY1XkEyXkFqcGdeQXVyMjgyNjk3MzE@._V1_QL75_UY281_CR2,0,190,281_.jpg",
"https://m.media-amazon.com/images/M/MV5BYjkzZGI4ZjgtYmRiNC00ZWM4LThmYWYtZTk4MzZhYTg3MDkzXkEyXkFqcGdeQTNwaW5nZXN0._V1_QL75_UX500_CR0,0,500,281_.jpg",
"https://m.media-amazon.com/images/M/MV5BYjkzZGI4ZjgtYmRiNC00ZWM4LThmYWYtZTk4MzZhYTg3MDkzXkEyXkFqcGdeQTNwaW5nZXN0._V1_QL75_UX500_CR0,0,500,281_.jpg",
"https://m.media-amazon.com/images/M/MV5BNjY3Njk5NDUyOF5BMl5BanBnXkFtZTcwMTg3NDcyNA@@._V1_QL75_UY140_CR34,0,140,140_.jpg",
"https://m.media-amazon.com/images/M/MV5BMTM1NzU3MDc1OV5BMl5BanBnXkFtZTcwMjg3NDcyNA@@._V1_QL75_UY140_CR35,0,140,140_.jpg",
"https://m.media-amazon.com/images/M/MV5BNDUzNzczNDIyNl5BMl5BanBnXkFtZTcwMzg3NDcyNA@@._V1_QL75_UX140_CR0,0,140,140_.jpg",
"https://m.media-amazon.com/images/M/MV5BMTQ0OTMzNjg2NV5BMl5BanBnXkFtZTcwNDg3NDcyNA@@._V1_QL75_UY140_CR35,0,140,140_.jpg",
"https://m.media-amazon.com/images/M/MV5BNjMwNTQ3ODc0M15BMl5BanBnXkFtZTcwNTg3NDcyNA@@._V1_QL75_UY140_CR35,0,140,140_.jpg",
"https://m.media-amazon.com/images/M/MV5BMTM4NDcwOTE1Nl5BMl5BanBnXkFtZTcwNjg3NDcyNA@@._V1_QL75_UY140_CR35,0,140,140_.jpg",
"https://m.media-amazon.com/images/M/MV5BMTMzMjM2OTkyOV5BMl5BanBnXkFtZTcwNzg3NDcyNA@@._V1_QL75_UY140_CR34,0,140,140_.jpg",
"https://m.media-amazon.com/images/M/MV5BMzc2NjI4Mjk1NV5BMl5BanBnXkFtZTcwODg3NDcyNA@@._V1_QL75_UY140_CR32,0,140,140_.jpg",
"https://m.media-amazon.com/images/M/MV5BMTk4MDY5NjIyMl5BMl5BanBnXkFtZTcwOTg3NDcyNA@@._V1_QL75_UY140_CR34,0,140,140_.jpg",
"https://m.media-amazon.com/images/M/MV5BMTU4NDU1NjY3NV5BMl5BanBnXkFtZTcwMDk3NDcyNA@@._V1_QL75_UY140_CR35,0,140,140_.jpg",
"https://m.media-amazon.com/images/M/MV5BMTgxMjIxNDk4NV5BMl5BanBnXkFtZTYwNDYwMjA5._V1_QL75_UX140_CR0,0,140,140_.jpg",
"https://m.media-amazon.com/images/M/MV5BMTg2NTU0Mjc3OF5BMl5BanBnXkFtZTYwNjE5MTE5._V1_QL75_UX140_CR0,0,140,140_.jpg",
"https://m.media-amazon.com/images/M/MV5BMTA3NDQ3NTAxNDVeQTJeQWpwZ15BbWU3MDI1MjQ1OTY@._V1_QL75_UX140_CR0,12,140,140_.jpg",
"https://m.media-amazon.com/images/M/MV5BOWU4MTI2OTctODQ1ZS00MGM1LWJkM2EtODE3MGNkNmIyZDEwXkEyXkFqcGdeQXVyMjQwMDg0Ng@@._V1_QL75_UX140_CR0,0,140,140_.jpg",
"https://m.media-amazon.com/images/M/MV5BZDU3MTQyMDUtMmMyOC00NzMzLTg3OTEtY2Q5ZWQ1MWE0Y2JjXkEyXkFqcGdeQXVyMTU0MTk2ODEz._V1_QL75_UX140_CR0,12,140,140_.jpg",
"https://m.media-amazon.com/images/M/MV5BZTY1MTUzMjQtMjI5NC00MDk4LWJkMjAtODEyYzQxOGUyNjI3XkEyXkFqcGdeQXVyMTg2MTM5OTM@._V1_QL75_UX140_CR0,0,140,140_.jpg",
"https://m.media-amazon.com/images/M/MV5BMTY0NTcyODIxMl5BMl5BanBnXkFtZTcwMDM5MTYxOA@@._V1_QL75_UX140_CR0,14,140,140_.jpg",
"https://m.media-amazon.com/images/M/MV5BMTgwNjA2NTcyN15BMl5BanBnXkFtZTgwNTk2OTI0MjE@._V1_QL75_UY140_CR24,0,140,140_.jpg",
"https://m.media-amazon.com/images/M/MV5BODE5NDRlZTctMjkzNC00NGY3LThhYTItNzUxZjgzYzFmMjQxXkEyXkFqcGdeQXVyNjUxMjc1OTM@._V1_QL75_UX140_CR0,0,140,140_.jpg",
"https://m.media-amazon.com/images/M/MV5BMjM0NjI0MTIyNl5BMl5BanBnXkFtZTgwMzMxOTQ3NjM@._V1_QL75_UX140_CR0,8,140,140_.jpg",
"https://m.media-amazon.com/images/M/MV5BMTM5NDI1MjE2Ml5BMl5BanBnXkFtZTgwNDE0Nzk0MDE@._V1_QL75_UX140_CR0,4,140,140_.jpg",
"https://m.media-amazon.com/images/M/MV5BMTU0ODM3MzA3MF5BMl5BanBnXkFtZTcwNDEzNzEzMQ@@._V1_QL75_UX140_CR0,15,140,140_.jpg",
"https://m.media-amazon.com/images/M/MV5BMjEzMjI0OTM4N15BMl5BanBnXkFtZTgwMDg0MjE0NzE@._V1_QL75_UY140_CR24,0,140,140_.jpg",
"https://m.media-amazon.com/images/M/MV5BYWM4NTI2N2MtMWY2Mi00YzUwLTg4MDEtOWRjMTY4Njg0MDU4XkEyXkFqcGdeQXVyNjQ2MjQ5NzM@._V1_QL75_UX140_CR0,0,140,207_.jpg",
"https://m.media-amazon.com/images/M/MV5BY2VhNzI1ZTYtZGEyYy00Y2QzLTliYzYtMGM0ZTc1OGUzYTRkXkEyXkFqcGdeQXVyMTMxMTY0OTQ@._V1_QL75_UY207_CR2,0,140,207_.jpg",
"https://m.media-amazon.com/images/M/MV5BN2EwMDJiNjEtNWIzZS00MDRlLTkwNTItNDllMDg1NDBiNjQ0XkEyXkFqcGdeQXVyMTA0MjU0Ng@@._V1_QL75_UX140_CR0,1,140,207_.jpg",
"https://m.media-amazon.com/images/M/MV5BMzU2MGJmMWUtZDU3Zi00NDE1LTliMWQtN2E2ZDVmOTBkZjNmXkEyXkFqcGdeQXVyNDAxNjkxNjQ@._V1_QL75_UX140_CR0,0,140,207_.jpg",
"https://m.media-amazon.com/images/M/MV5BYWEwOWJmZDEtMjdhMy00MjA1LTlkOWItNTFkNjczYjY5ZjRjXkEyXkFqcGdeQXVyMzExODEzNDA@._V1_QL75_UY207_CR3,0,140,207_.jpg",
"https://m.media-amazon.com/images/M/MV5BNzg1ZjgxNDAtNmVmZC00ODM2LWEyY2EtMzk2ODU2MThhMDgxXkEyXkFqcGdeQXVyMTQxNzMzNDI@._V1_QL75_UX140_CR0,6,140,207_.jpg",
"https://m.media-amazon.com/images/M/MV5BMTM2Njg5NDEtNDFkMC00YmVlLWEyMjUtZWZiNWY1OGQ2ZTI1XkEyXkFqcGdeQXVyNzc5MjA3OA@@._V1_QL75_UX140_CR0,3,140,207_.jpg",
"https://m.media-amazon.com/images/M/MV5BYTFkMzZkN2UtYzI2My00MjUxLWIzYmItNGRhNDFlMTQ3MzE1XkEyXkFqcGdeQXVyMTU0OTc4MjA2._V1_QL75_UY207_CR3,0,140,207_.jpg",
"https://m.media-amazon.com/images/M/MV5BMTc1MTM1MjcwN15BMl5BanBnXkFtZTcwODQwNjEyMQ@@._V1_QL75_UY207_CR7,0,140,207_.jpg",
"https://m.media-amazon.com/images/M/MV5BYjJhZGJlNGEtZWE3Ny00NWJhLTgyZTUtMTQ1NDZiZjNmY2VhXkEyXkFqcGdeQXVyMjUzOTY1NTc@._V1_QL75_UX140_CR0,1,140,207_.jpg",
"https://m.media-amazon.com/images/M/MV5BMTk1MDI4NjM1Nl5BMl5BanBnXkFtZTcwNjcyNTAyMQ@@._V1_QL75_UY207_CR7,0,140,207_.jpg",
"https://m.media-amazon.com/images/M/MV5BYzMxMjhlNjktMzBjNC00NDJhLWE4OWEtODY4NTA1ZTJkNjdiXkEyXkFqcGdeQXVyMTAyNjg4NjE0._V1_QL75_UX140_CR0,6,140,207_.jpg",
"https://m.media-amazon.com/images/M/MV5BOTQyYmYxNTctMjM5Zi00ODk4LWE5YWItMmUxMjY3ZmM4YTY1XkEyXkFqcGdeQXVyMjgyNjk3MzE@._V1_QL75_UY133_CR1,0,90,133_.jpg",
"https://m.media-amazon.com/images/G/01/IMDb/Mobile/DesktopQRCode-png.png",
"https://fls-na.amazon.com/1/batch/1/OP/A1EVAM02EL8SFB:133-4329210-2829402:W94M3FZEH6YZZFZ0BEEV$uedata=s:%2Fuedata%2Fuedata%3Fnoscript%26id%3DW94M3FZEH6YZZFZ0BEEV:0"
] |
[] |
[] |
[
"Reviews",
"Showtimes",
"DVDs",
"Photos",
"User Ratings",
"Synopsis",
"Trailers",
"Credits"
] | null |
[] |
1993-04-08T00:00:00
|
Body of Evidence: Directed by Uli Edel. With Madonna, Michael Forest, Joe Mantegna, Charles Hallahan. A lawyer defends a woman accused of killing her older lover by having sex with him.
|
en
|
IMDb
|
https://www.imdb.com/title/tt0106453/
|
Rebecca Carlson: All we did was make love.
Frank Dulaney: In handcuffs.
Rebecca Carlson: It was different, but it was still making love. Have you ever seen animals make love, Frank? It's intense. It's violent. But they never really hurt each other.
Frank Dulaney: We're not animals.
|
|||||
202
|
dbpedia
|
3
| 97 |
https://ohnotheydidnt.livejournal.com/53200270.html
|
en
|
Legendary movie producer Dino De Laurentiis dies at 91
|
http://i56.tinypic.com/etrztx.png
|
http://i56.tinypic.com/etrztx.png
|
[
"https://top-fwz1.mail.ru/counter?id=3402139;js=na",
"https://sb.scorecardresearch.com/p?c1=2&c2=10463284&cv=2.0&cj=1",
"https://l-userpic.livejournal.com/85136020/3616053",
"https://l-stat.livejournal.net/img/community.gif?v=556&v=774.1",
"https://l-userpic.livejournal.com/126963364/12035999",
"https://l-stat.livejournal.net/img/userinfo_v8.svg?v=17080&v=774.1",
"https://imgprx.livejournal.net/936e647075813484cb0cd8c571f4cccd919bcfac/zTvlEOyy-OxuhQQfgVHv_Kiv7qRdsAkX2-_wQseu4MzEXHb27R1tJHTdXrJkUcNVBxqjQNZnWW9E03al_bfJzg",
"https://l-userpic.livejournal.com/129916528/3276912",
"https://l-stat.livejournal.net/img/user_ontd.gif?v=774.1",
"https://l-userpic.livejournal.com/92239226/18122799",
"https://l-stat.livejournal.net/img/userinfo_v8.svg?v=17080&v=774.1",
"https://l-userpic.livejournal.com/129372309/19353437",
"https://l-stat.livejournal.net/img/user_ontd.gif?v=15718&v=774.1",
"https://l-userpic.livejournal.com/120769302/63503027",
"https://l-stat.livejournal.net/img/userinfo_v8.svg?v=17080&v=774.1",
"https://l-userpic.livejournal.com/130493265/65070705",
"https://l-stat.livejournal.net/img/userinfo_v8.svg?v=17080&v=774.1",
"https://l-userpic.livejournal.com/105682344/16485960",
"https://l-stat.livejournal.net/img/userinfo_v8.svg?v=17080&v=774.1",
"https://l-userpic.livejournal.com/126963364/12035999",
"https://l-stat.livejournal.net/img/userinfo_v8.svg?v=17080&v=774.1",
"https://l-stat.livejournal.net/img/userinfo_v8.svg?v=17080&v=774.1",
"https://l-userpic.livejournal.com/64607919/12795049",
"https://l-stat.livejournal.net/img/user_ontd.gif?v=774.1",
"https://l-userpic.livejournal.com/75923707/576415",
"https://l-stat.livejournal.net/img/user_ontd.gif?v=774.1",
"https://l-userpic.livejournal.com/105470488/15054193",
"https://l-stat.livejournal.net/img/userinfo_v8.svg?v=17080&v=774.1",
"https://l-userpic.livejournal.com/126963364/12035999",
"https://l-stat.livejournal.net/img/userinfo_v8.svg?v=17080&v=774.1",
"https://l-userpic.livejournal.com/84085891/601260",
"https://l-stat.livejournal.net/img/userinfo_v8.svg?v=17080&v=774.1",
"https://l-userpic.livejournal.com/131173164/13273945",
"https://l-stat.livejournal.net/img/user_ontd.gif?v=774.1",
"https://l-userpic.livejournal.com/130567532/21420295",
"https://l-stat.livejournal.net/img/userinfo_v8.svg?v=17080&v=774.1",
"https://l-userpic.livejournal.com/125187059/16190977",
"https://l-stat.livejournal.net/img/userinfo_v8.svg?v=17080&v=774.1",
"https://l-userpic.livejournal.com/126963364/12035999",
"https://l-stat.livejournal.net/img/userinfo_v8.svg?v=17080&v=774.1",
"https://l-userpic.livejournal.com/121022421/21144440",
"https://l-stat.livejournal.net/img/userinfo_v8.svg?v=17080&v=774.1",
"https://l-userpic.livejournal.com/125187059/16190977",
"https://l-stat.livejournal.net/img/userinfo_v8.svg?v=17080&v=774.1",
"https://l-userpic.livejournal.com/125851491/14821792",
"https://l-stat.livejournal.net/img/userinfo_v8.svg?v=17080&v=774.1",
"https://l-userpic.livejournal.com/105108182/27361953",
"https://l-stat.livejournal.net/img/userinfo_v8.svg?v=17080&v=774.1",
"https://l-userpic.livejournal.com/105470488/15054193",
"https://l-stat.livejournal.net/img/userinfo_v8.svg?v=17080&v=774.1",
"https://l-userpic.livejournal.com/126963364/12035999",
"https://l-stat.livejournal.net/img/userinfo_v8.svg?v=17080&v=774.1",
"https://l-userpic.livejournal.com/62532788/383253",
"https://l-stat.livejournal.net/img/userinfo_v8.svg?v=17080&v=774.1",
"https://l-userpic.livejournal.com/68443516/601260",
"https://l-stat.livejournal.net/img/userinfo_v8.svg?v=17080&v=774.1",
"https://pics.livejournal.com/colubra/pic/00012z3k",
"https://l-userpic.livejournal.com/103763305/14029633",
"https://l-stat.livejournal.net/img/user_ontd.gif?v=774.1",
"https://l-stat.livejournal.net/img/userinfo_v8.svg?v=17080&v=774.1",
"https://l-userpic.livejournal.com/65162636/9852186",
"https://l-stat.livejournal.net/img/user_ontd.gif?v=774.1",
"https://l-userpic.livejournal.com/102611178/10523747",
"https://l-stat.livejournal.net/img/user_ontd.gif?v=774.1",
"https://l-stat.livejournal.net/img/community.gif?v=556&v=774.1",
"https://l-stat.livejournal.net/img/community.gif?v=556&v=774.1",
"https://l-stat.livejournal.net/img/schemius/print-logo.png?v=49361",
"https://www.tns-counter.ru/V13a****sup_ru/ru/UTF-8/tmsec=lj_noncyr/",
"https://www.tns-counter.ru/V13a****rambler_ad/ru/UTF-8/tmsec=rambler_cid1100104-posid2155079/",
"https://www.tns-counter.ru/V13a****rambler_ad/ru/UTF-8/tmsec=rambler_cid1100108-posid2155106/",
"https://xc3.services.livejournal.com/ljcounter/?d=srv:kr-ws06,r:0,j:3616053,p:12035999,uri:%22%2F53200270.html%22,vig:0,m:0,v:1,extra:ADctNQC3p58DK8WO",
"https://mc.yandex.ru/watch/27737346"
] |
[] |
[] |
[
"ЖЖ",
"LiveJournal",
"живой журнал",
"old hollywood",
"death",
"The celebs are disposable",
"comments are priceless",
"Oh No They Didn't!"
] | null |
[] |
2010-11-11T00:00:00
|
Italian producer Dino De Laurentiis, who produced over 500 films throughout his robust career, died last night at the age of 91. De Laurentiis produced Federico Fellini's Oscar-winning classics La Strada and Nights of Cabiria before setting up shop in the states in the seventies. He went on to…
|
en
|
https://ohnotheydidnt.livejournal.com/53200270.html
|
Hey Grammaire I won tickets to see Bob Dylan today and gave them to my uncle. Thought of you when I called in.
Well played! Congratulations on winning them. Tell your uncle not to expect 1960s Dylan, though..
(no subject) - (Anonymous)
omg original buffy
sad :(
Mom just told me. RIP
who?
omg, RIP :(
Awww, RIP. I'm focusing on Fellini's work for part of a class paper this semester. Blue Velvet FTW as well
Edited at 2010-11-12 02:52 am (UTC)
sometimes i think the people here just pretend to know who someone is when they die...
ok well he was an extremely well-respected film producer and I knew who he was so if I did, others must as well.
Not every member in ONTD is vapid and shallow.
lmao.
Hence the whopping 30 or so comments for this entry? Please.
Sad... but dear Lord, this has been on CNN all day. How did it just get on ontd? I assumed I had just missed the post.
Nobody relevant has died since Michael Jackson
ok bye
really bad week for Giada, I guess.
Frank Booth is saddened by this news.
Truly a force of nature, was De Laurentiis.
I grew up watching the 1970's King Kong movie. I know he had a hand in producing it. Also, I loved the Conan films (had no idea he had a hand in those).
91 is an amazing age. <3 He will be missed.
so sad :(
He was a great producer. RIP
|
||||
202
|
dbpedia
|
3
| 78 |
https://www.sandiegouniontribune.com/2010/11/11/de-laurentiis-last-of-the-movie-moguls-dies/
|
en
|
De Laurentiis, last of the movie moguls, dies
|
[
"https://www.sandiegouniontribune.com/wp-content/uploads/2024/06/SDUT_logo_black_horizontal.png",
"https://www.sandiegouniontribune.com/wp-content/uploads/migration/2010/11/11/00000169-0ce8-dbbe-a16f-4ee897600000.jpg?w=535",
"https://secure.gravatar.com/avatar/8675bb66f8f10bd8e9437d912afe7010?s=85&d=mm&r=g",
"https://www.sandiegouniontribune.com/wp-content/uploads/migration/2010/11/11/00000169-0ce8-dbbe-a16f-4ee897600000.jpg?w=535",
"https://secure.gravatar.com/avatar/8675bb66f8f10bd8e9437d912afe7010?s=85&d=mm&r=g",
"https://www.sandiegouniontribune.com/wp-content/uploads/2024/08/SUT-L-wwii-vets-ID-00082733A-001.jpg?w=525",
"https://www.sandiegouniontribune.com/wp-content/uploads/2024/07/AP24187546670752.jpg?w=525",
"https://www.sandiegouniontribune.com/wp-content/uploads/2024/08/unnamed-file-726.jpg?w=525",
"https://www.sandiegouniontribune.com/wp-content/uploads/2024/08/sut-l-radioactive-railroad-008.jpg?w=526",
"https://www.sandiegouniontribune.com/wp-content/uploads/2024/06/SDUT_logo_black_horizontal.png",
"https://www.sandiegouniontribune.com/wp-content/themes/wp-mason/static/images/site-logo/socal-logo-sm.png",
"https://www.sandiegouniontribune.com/wp-content/themes/wp-mason/static/images/site-logo/dfm-logo-sm.png"
] |
[] |
[] |
[
""
] | null |
[
"San Diego Union-Tribune",
"Migration Temp"
] |
2010-11-11T00:00:00
|
NEW YORK — He was a small man who dreamed big, hit the highest heights and failed like few others. Dino De Laurentiis was born to be a movie producer. The Academy Award-winning legend of the Italian New Wave and producer of “Serpico” and “Barbarella” who helped revolutionize the way movies are bankrolled and helped personify […]
|
en
|
San Diego Union-Tribune
|
https://www.sandiegouniontribune.com/2010/11/11/de-laurentiis-last-of-the-movie-moguls-dies/
|
NEW YORK — He was a small man who dreamed big, hit the highest heights and failed like few others.
Dino De Laurentiis was born to be a movie producer.
The Academy Award-winning legend of the Italian New Wave and producer of “Serpico” and “Barbarella” who helped revolutionize the way movies are bankrolled and helped personify the no-limits life of a cinematic king, died Wednesday night at the age of 91 in Beverly Hills.
His dozens of credits included the art-house classics “La Strada” and “Nights of Cabiria,” the cult favorite “Blue Velvet,” the Hollywood epics “War and Peace” and “The Bible,” and such mainstream hits as “Three Days of the Condor.” He backed horror films (“Halloween 2”), police drama (“Serpico”) and the most far-out science fiction fused with sex and sexuality (“Barbarella”).
And when he bombed, he really bombed: “Dune,” about which director David Lynch complained he was denied creative control; the Madonna vehicle “Body of Evidence”; the 1976 remake of “King, Kong,” which nearly finished off the career of Jessica Lange before it really started.
Not all his movies had big budgets, but De Laurentiis didn’t think a film was real without real money. “Night of Earth” director Jim Jarmusch has spoken of meeting with the producer at his office, where De Laurentiis’ desk was big as Jarmusch’s apartment. He spoke to Jarmusch about the director’s low-cost productions.
“He asked me, ‘Why do you make amateur films instead of professional ones?'” Jarmusch once recalled. “I asked what made a film amateur or professional. He said any film that costs more than $5 million is professional.”
De Laurentiis was one of the first producers to understand the box-office potential of foreign audiences, and helped invent international co-productions, raising money by pre-selling distribution rights outside North America.
He was tiny, but tough, a veritable Napoleon on the set and utterly tireless. “Such a little lion,” was how his second wife, producer Martha De Laurentiis, put it when he turned 80.
Throughout his career, he alternated lavish, big-budget productions with less commercial films by directors such as Robert Altman, Ingmar Bergman and Lynch, and he often packaged the blockbusters with art films to secure distribution for the smaller films.
“The extraordinary thing that Dino taught all of us is the true figure of the independent producer,” De Laurentiis’ nephew, Aurelio De Laurentiis, a noted Italian film producer, said Thursday. “He always behaved in the U.S. as a major studio, even though he was a one-man show.”
“He was my biggest champion in life and a constant source for wisdom and advice. I will miss him dearly,” granddaughter Giada De Laurentiis, a star chef and host on Food Network, said.
Raised outside of Naples and one of six children born into the family’s pasta-making business, De Laurentiis quickly realized that his destiny was in moviemaking.
He was central to the rise of Italy’s film industry, which in the 1950s rose to international prominence as the Italian New Wave.
De Laurentiis’ initial success began after World War II, starting with “Bitter Rice,” in 1948, which launched the career of his first wife, Silvana Mangano.
In 1950, he went into business with another rising director, Carlo Ponti. They soon dominated the Italian movie business, monopolizing top stars such as Mangano, Sophia Loren (who later married Ponti) and Marcello Mastroianni. Their first international production was the epic “War and Peace” (Henry Fonda, Audrey Hepburn, Mel Ferrer) in 1955.
With the lure of huge salaries, he often imported international movie stars to boost a film’s prospects. For Fellini’s “La Strada,” which won the Academy Award for foreign language film in 1957, he persuaded Anthony Quinn to come to Rome. De Laurentiis also produced Fellini’s “Nights of Cabiria,” which won the foreign film Oscar a year later.
At Dinocitta, De Laurentiis married Hollywood stars with spectacle: “Barrabas” (Quinn); “The Bible” (George C. Scott, Ava Gardner); “Anzio” (Robert Mitchum); “Waterloo” (Rod Steiger). He also made more offbeat fare, such as Roger Vadim’s sex romp, “Barbarella” (Jane Fonda).
De Laurentiis was one of the first producers to understand the box-office potential of foreign audiences, and helped invent international co-productions, raising money by pre-selling distribution rights outside North America.
He began to move away from his base in Italy in the 1960s when the government changed the rules to mandate totally Italian productions to qualify for subsidies. He sold Dinocitta to the government in 1972. He relocated the studio in Wilmington, N.C., and dubbed his production company the De Laurentiis Entertainment Group.
The Oscar-winning “Serpico,” in 1973 with Al Pacino, was De Laurentiis’ Hollywood debut. Charles Bronson’s “Death Wish,” Robert Redford’s “Three Days of the Condor” and John Wayne’s last film, “The Shootist,” followed.
He often stayed loyal to young, talented directors, even though the results weren’t always strong. He made “Buffalo Bill and the Indians” with Robert Altman. Even after Michael Cimino’s huge flop “Heaven’s Gate,” De Laurentiis made “Year of the Dragon” and “Desperate Hours” with him. Despite the failure of “Dune,” he stuck with David Lynch and two years later produced the acclaimed “Blue Velvet.”
De Laurentis also continued to be a small factory for tackiness. Though he had earlier worked with revered filmmakers such as Victorio De Sica, Roberto Rossellini and Ingmar Bergman, some of his schlock included the plantation drama “Mandingo,” the horror film “Amityville II,” the cult comedy “Army of Darkness” and Madonna’s “Body of Evidence.”
Though flops like “King Kong” and “Hurricane” could be shaken off, personal tragedy took its toll. In 1981, his son Federico was killed in a plane crash. Mangano, his wife of more than four decades, died in 1989.
De Laurentiis, close to 70, was undaunted and started over. Within two years, he had a new wife, 29-year-old Martha Schumacher, formed a new company and started producing moneymakers again.
“My philosophy is very simple,” he once said. “To feel young, you must work as long as you can.”
—
Associated Press writer Nicole Winfield in Rome, Colleen Barry in Milan, Entertainment Writer Jake Coyle and Television Writer Frazier Moore in New York, and former AP writer Candice Hughes contributed to this report.
Originally Published: November 11, 2010 at 6:14 p.m.
NEW YORK — He was a small man who dreamed big, hit the highest heights and failed like few others.
Dino De Laurentiis was born to be a movie producer.
The Academy Award-winning legend of the Italian New Wave and producer of “Serpico” and “Barbarella” who helped revolutionize the way movies are bankrolled and helped personify the no-limits life of a cinematic king, died Wednesday night at the age of 91 in Beverly Hills.
His dozens of credits included the art-house classics “La Strada” and “Nights of Cabiria,” the cult favorite “Blue Velvet,” the Hollywood epics “War and Peace” and “The Bible,” and such mainstream hits as “Three Days of the Condor.” He backed horror films (“Halloween 2”), police drama (“Serpico”) and the most far-out science fiction fused with sex and sexuality (“Barbarella”).
And when he bombed, he really bombed: “Dune,” about which director David Lynch complained he was denied creative control; the Madonna vehicle “Body of Evidence”; the 1976 remake of “King, Kong,” which nearly finished off the career of Jessica Lange before it really started.
Not all his movies had big budgets, but De Laurentiis didn’t think a film was real without real money. “Night of Earth” director Jim Jarmusch has spoken of meeting with the producer at his office, where De Laurentiis’ desk was big as Jarmusch’s apartment. He spoke to Jarmusch about the director’s low-cost productions.
“He asked me, ‘Why do you make amateur films instead of professional ones?'” Jarmusch once recalled. “I asked what made a film amateur or professional. He said any film that costs more than $5 million is professional.”
De Laurentiis was one of the first producers to understand the box-office potential of foreign audiences, and helped invent international co-productions, raising money by pre-selling distribution rights outside North America.
He was tiny, but tough, a veritable Napoleon on the set and utterly tireless. “Such a little lion,” was how his second wife, producer Martha De Laurentiis, put it when he turned 80.
Throughout his career, he alternated lavish, big-budget productions with less commercial films by directors such as Robert Altman, Ingmar Bergman and Lynch, and he often packaged the blockbusters with art films to secure distribution for the smaller films.
“The extraordinary thing that Dino taught all of us is the true figure of the independent producer,” De Laurentiis’ nephew, Aurelio De Laurentiis, a noted Italian film producer, said Thursday. “He always behaved in the U.S. as a major studio, even though he was a one-man show.”
“He was my biggest champion in life and a constant source for wisdom and advice. I will miss him dearly,” granddaughter Giada De Laurentiis, a star chef and host on Food Network, said.
Raised outside of Naples and one of six children born into the family’s pasta-making business, De Laurentiis quickly realized that his destiny was in moviemaking.
He was central to the rise of Italy’s film industry, which in the 1950s rose to international prominence as the Italian New Wave.
De Laurentiis’ initial success began after World War II, starting with “Bitter Rice,” in 1948, which launched the career of his first wife, Silvana Mangano.
In 1950, he went into business with another rising director, Carlo Ponti. They soon dominated the Italian movie business, monopolizing top stars such as Mangano, Sophia Loren (who later married Ponti) and Marcello Mastroianni. Their first international production was the epic “War and Peace” (Henry Fonda, Audrey Hepburn, Mel Ferrer) in 1955.
With the lure of huge salaries, he often imported international movie stars to boost a film’s prospects. For Fellini’s “La Strada,” which won the Academy Award for foreign language film in 1957, he persuaded Anthony Quinn to come to Rome. De Laurentiis also produced Fellini’s “Nights of Cabiria,” which won the foreign film Oscar a year later.
At Dinocitta, De Laurentiis married Hollywood stars with spectacle: “Barrabas” (Quinn); “The Bible” (George C. Scott, Ava Gardner); “Anzio” (Robert Mitchum); “Waterloo” (Rod Steiger). He also made more offbeat fare, such as Roger Vadim’s sex romp, “Barbarella” (Jane Fonda).
De Laurentiis was one of the first producers to understand the box-office potential of foreign audiences, and helped invent international co-productions, raising money by pre-selling distribution rights outside North America.
He began to move away from his base in Italy in the 1960s when the government changed the rules to mandate totally Italian productions to qualify for subsidies. He sold Dinocitta to the government in 1972. He relocated the studio in Wilmington, N.C., and dubbed his production company the De Laurentiis Entertainment Group.
The Oscar-winning “Serpico,” in 1973 with Al Pacino, was De Laurentiis’ Hollywood debut. Charles Bronson’s “Death Wish,” Robert Redford’s “Three Days of the Condor” and John Wayne’s last film, “The Shootist,” followed.
He often stayed loyal to young, talented directors, even though the results weren’t always strong. He made “Buffalo Bill and the Indians” with Robert Altman. Even after Michael Cimino’s huge flop “Heaven’s Gate,” De Laurentiis made “Year of the Dragon” and “Desperate Hours” with him. Despite the failure of “Dune,” he stuck with David Lynch and two years later produced the acclaimed “Blue Velvet.”
De Laurentis also continued to be a small factory for tackiness. Though he had earlier worked with revered filmmakers such as Victorio De Sica, Roberto Rossellini and Ingmar Bergman, some of his schlock included the plantation drama “Mandingo,” the horror film “Amityville II,” the cult comedy “Army of Darkness” and Madonna’s “Body of Evidence.”
Though flops like “King Kong” and “Hurricane” could be shaken off, personal tragedy took its toll. In 1981, his son Federico was killed in a plane crash. Mangano, his wife of more than four decades, died in 1989.
De Laurentiis, close to 70, was undaunted and started over. Within two years, he had a new wife, 29-year-old Martha Schumacher, formed a new company and started producing moneymakers again.
“My philosophy is very simple,” he once said. “To feel young, you must work as long as you can.”
—
Associated Press writer Nicole Winfield in Rome, Colleen Barry in Milan, Entertainment Writer Jake Coyle and Television Writer Frazier Moore in New York, and former AP writer Candice Hughes contributed to this report.
Originally Published: November 11, 2010 at 6:14 p.m.
|
|||||
202
|
dbpedia
|
3
| 81 |
https://www.cleveland.com/people/2010/11/dinio_de_laurentiis_pivotal_pr.html
|
en
|
Dino De Laurentiis, pivotal producer of 'Serpico', dies at 91
|
[
"https://www.cleveland.com/pf/resources/images/common/weather/small/02.png?d=1366",
"https://www.cleveland.com/pf/resources/images/common/weather/small/02.png?d=1366",
"https://www.cleveland.com/pf/resources/images/common/weather/small/02.png?d=1366",
"https://www.cleveland.com/pf/resources/images/cleveland/logos/logo_main_inverse.svg?d=1366",
"https://www.cleveland.com/pf/resources/images/cleveland/logos/logo_main_sm.svg?d=1366",
"http://media.cleveland.com/ent_impact_people/photo/9039281-large.jpg",
"https://www.cleveland.com/pf/resources/images/cleveland/logos/logo_footer.png?d=1366",
"https://www.cleveland.com/pf/resources/images/common/icons/privacyoptions29x14.png?d=1366",
"https://www.cleveland.com/pf/resources/images/common/logos/ad-choices-arrow.png?d=1366",
"https://www.cleveland.com/pf/resources/images/common/logos/AdvanceLocal_horizontal.svg?d=1366",
"https://www.cleveland.com/pf/resources/images/common/logos/ad-choices-arrow.png?d=1366"
] |
[] |
[] |
[
""
] | null |
[
"Associated Press",
"file"
] |
2010-11-11T23:07:23+00:00
|
De Laurentiis was a legend of Italian New Wave filmmaking. His works also included "Bitter Rice," ''La Strada" and "Death Wish."
|
en
|
/pf/resources/images/cleveland/favicon.ico?d=1366
|
cleveland
|
https://www.cleveland.com/people/2010/11/dinio_de_laurentiis_pivotal_pr.html
|
Jake Coyle, AP Entertainment Writer
LOS ANGELES -- Dino De Laurentiis, an Academy Award-winning film impresario and producer of "Serpico" and "Barbarella," who helped revolutionize the way movies are bankrolled and sold, has died. He was 91.
The producer's daughter said her father was surrounded by family when he died Wednesday night at his home in Beverly Hills. The statement from Raffaella De Laurentiis did not give a cause of death.
"My grandfather was a true inspiration. He was my biggest champion in life and a constant source for wisdom and advice. I will miss him dearly," granddaughter Giada De Laurentiis, a star chef and host on Food Network, said Thursday.
De Laurentiis was a legend of Italian New Wave filmmaking. His works also included "Bitter Rice," ''La Strada" and "Death Wish."
He was tiny, but tough, a veritable Napoleon on the set and utterly tireless. "Such a little lion," was how his second wife, producer Martha De Laurentiis, put it when he turned 80.
Like any larger-than-life movie figure, De Laurentiis went through boom times and busts. But he always bounced back and his passion for movies never dimmed.
His career spanned hundreds of films, including several Oscar winners and he worked with some of the biggest stars and best directors in the business. His credits include box office and/or critical successes such as "U-571," ''War and Peace," ''Ragtime," ''Three Days of the Condor" and "Blue Velvet."
A pivotal figure in postwar Italian New Wave cinema, De Laurentiis moved to the United States in the 1970s, becoming a citizen in 1986. But this son of a Neapolitan pasta maker never lost his thick Italian accent and tried to spend a month in Capri and Rome each year.
The Oscar-winning "Serpico," in 1973 with Al Pacino, was De Laurentiis' Hollywood debut. But by then, he already had two Italian-made Oscar-winners: Federico Fellini's "La Strada" and "Nights of Cabiria" to his credit.
De Laurentiis was one of the first producers to understand the box-office potential of foreign audiences, and helped invent international co-productions, raising money by pre-selling distribution rights outside North America.
Throughout his career, he alternated lavish, big-budget productions with less commercial films by directors such as Robert Altman, Ingmar Bergman and David Lynch, and he often packaged the blockbusters with art films to secure distribution for the smaller films.
De Laurentiis was capable of bold, brilliant strokes and audacious risks. In his 80s, he could still pull off a major coup by snapping up the movie rights to "Hannibal," novelist Thomas Harris' sequel to hit "The Silence of the Lambs" (Anthony Hopkins, Jodie Foster).
One of six children, he was born in Torre Annunziata on the Bay of Naples on Aug. 8, 1919. When he was 16, he headed for Rome to study acting. When he was 18, he produced his first film. A few years later, he started his own production company in Turin.
The serious success began after World War II, starting with "Bitter Rice," in 1948, which launched the career of his first wife, Silvana Mangano.
In 1950, De Laurentiis went into business with another rising director, Carlo Ponti. They soon dominated the Italian movie business, monopolizing top stars such as Mangano, Sophia Loren (who later married Ponti) and Marcello Mastroianni. Their first international production was the epic "War and Peace" (Henry Fonda, Audrey Hepburn, Mel Ferrer) in 1955.
He also teamed up with acclaimed New Wave directors. One of his most successful partnerships was with the legendary Federico Fellini. Together they made "La Strada" and "Nights of Cabiria," Oscar winners for best foreign film in 1957 and 1958.
De Laurentiis built a huge new studio on the outskirts of Rome, called it Dinocitta (Dino city), and began producing spectacles with Hollywood stars: "Barrabas" (Anthony Quinn), "The Bible" (George C. Scott, Ava Gardner), "Anzio" (Robert Mitchum), "Waterloo" (Rod Steiger). He also made more offbeat fare, such as Roger Vadim's sex romp, "Barbarella" (Jane Fonda).
The studio folded in 1972, the victim of rising costs and De Laurentiis left for United States, where he produced his formula of alternating grandiose spectacle with more sophisticated fare.
He got off to a strong start in the United States with "Serpico," then followed it up with another success, "Three Days of the Condor," a spy thriller starring Robert Redford.
But he was also battered by flops, including the infamous "Dune," in 1984 and a truly awful "King Kong" sequel.
Personal tragedy also took its toll. In 1981, his son Federico was killed in a plane crash. "My father still to this day can't speak of him. ... He told me that every morning he wakes up and thinks of him," De Laurentiis' daughter Veronica said nearly 20 years after Federico's death.
The strain of the loss helped end his marriage to Mangano. They were divorced in 1988, the same year De Laurentiis Entertainment Group went into bankruptcy, finished off by the flop of "King Kong Lives."
Yet De Laurentiis, close to 70 years old, was undaunted and started over.
Within two years, he had a new wife, 29-year-old Martha Schumacher, formed a new company and started producing moneymakers again.
"My philosophy is very simple," De Laurentiis once said. "To feel young, you must work as long as you can."
Survivors include three daughters with Mangano — Rafaela, Francesca and Veronica — and two with Schumacher: Carolina and Dina. Funeral arrangements have not yet been determined.
|
||||
202
|
dbpedia
|
1
| 77 |
https://westernsallitaliana.blogspot.com/2010/11/rip-dino-de-laurentis.html
|
en
|
.Westerns...All'Italiana!: RIP Dino De Laurentis
|
[
"https://2.bp.blogspot.com/-HtmZyEsIJhI/YEa7zBSdeII/AAAAAAABDKU/h-FcTSuFMyA5b4HpHptRkEd6rmfnHh8BQCK4BGAYYCw/s1600/WAI_OUATITW%2Bbanner%2BFeb21V2_UPLOAD.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgE0Wcm5MgWed4aVHnSBypLPMzFmnFYn-AxQ9djF-EDfVGj6L38Cs0qgzca4y4etHWDnwyW20OXRNh_BHy44ewYsGO2It32GoOvEYi3IeaZidiXXmoxZkmGl74f8hhnwht0t3S3F_A4v9I/s200/De+Laurentis+RIP.jpg",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIQ7Np9XCSHMIeiwQa1Qy-GExC8RyniCUaWuEtLDhIQWxIAQJJIKeyZa9SIxSh6K1guy7yXjjPtLb5qZa7tSmg8EZIPzpn0GK2J5uAIcfhGDwobbS4k1NSgL39vo9-hg/s45-c/Garko.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUSCc9eYoZyBgNEkhSOmeZUquW_5XojCN3_JLyqkKtbO2JRuFlSspabCcZquQ0HStVCyOF859uM0f6ifoFLTcN3N9q6t5fblKWee8ppMOs_px21WpQ8y46wjh1oTMM_w/s45-c/Me03.jpg",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIQ7Np9XCSHMIeiwQa1Qy-GExC8RyniCUaWuEtLDhIQWxIAQJJIKeyZa9SIxSh6K1guy7yXjjPtLb5qZa7tSmg8EZIPzpn0GK2J5uAIcfhGDwobbS4k1NSgL39vo9-hg/s45-c/Garko.jpg",
"https://blogger.googleusercontent.com/img/a/AVvXsEgyN8p_PMzaIMUUcJ3QgW0TgjwxNtJGbAE0-DgrX0uWOr2oDScgnxPAkjPwxt47yLdCMv31Ef5PFjtGHSGR_ULmef2DD55RBPkzN9f_NnrxhOoR1z0igC3q13TdLu9XUV9vH0vNKLjJOBnB2weDoCN0zpKBlNmrgTdNvPyY_7W7a4ZybwJSw6H-QL8E7-I=s169",
"https://blogger.googleusercontent.com/img/a/AVvXsEjFkOaMdpAfCt6B9SYyxOcVyeH4EuzxiYjV2kVojvFCKWXaf4nItHNSMyqHk_ZZz-7b8IleWM5S_PO4-2EuRCZq-CnrcPREGp6H-svrNo4i4UN6cEY_BQ4vVoq6fv1nyKN7MS0sgO5ILdDxa6IUZ_Ji7gaetpaMJ-ODQbP5YYIiKizd9qgn7InhoT1-RM0=s265",
"https://blogger.googleusercontent.com/img/a/AVvXsEg9_AXircJm0jBRyvoGxilp-e2_EhxRS6QQzK0ReGY5ymJyadU00GWfKKOpuKTqWdyUIVWI1AYrZPKT9xG-kbcvMjrHPFa8DJadiCtZMTRbFtKSeDbb7BlGSyaz9rX5sXQpMsaUtupjPE5ZthZ1POy2SiFiaUk1eWWDO4KAfpu1yHRh5wlB2w5qfkeULL0=s286",
"https://blogger.googleusercontent.com/img/a/AVvXsEjNyL93_b4jaCDr-O09xqUHYtl2YyYDeRcvjgogYrJU1dHzSx28nLYJuP6O4f-ySS3FqpfnPB0HpL01U7xxBtRnGLRNY2nePoThkKWhxJaAxNSyMjGKcC4xGx1301zELvpGnLUDWHlEJZpjK9icW7EyIDgzAsX7o-Dt_0tdqqarzoZOtJBrQ5jkn6Eo2E0=s330",
"https://blogger.googleusercontent.com/img/a/AVvXsEgjRnZzDDvwL3mHLKbkFNyMNEPAEGVp9PmX9yjZKnnzp-YIh3mjJX4oEZO6KmQ9RBSBfXN4m2qlc5GbkIqC9E2i6vT1stjr9tlQO5cD_Tn3I56SGo5YDi_v5_nWe-2NeQK6teBzZ67yWcLsPa0agkujmr4cjPDJlFRs3QsETIqz6Vz9cs5s-YGDOKKATU0=s311",
"https://blogger.googleusercontent.com/img/a/AVvXsEgWJhFgg3-52MvpP_qRxd9IBNFMBK_qt93uE1Z1EVv4ftB70R79uV9YRd8hwlLSqeNhx94Lzh5tNiT38SYcbU3nVMOtxpOpuDGmOWJ-iKaAl97eo11ZMOkD_Q1U-qZvpObOhlhdTxVuauLND4sG5ytpxaJ1YBRRL4U47jV_8cdMFDtoUQJ1RaYBaHyIf9k=s220",
"https://blog.feedspot.com/wp-content/uploads/2019/04/western_fiction_216px.png?x51349",
"https://2.bp.blogspot.com/-GZ0l_PpIjHw/XC0lV2t7n8I/AAAAAAAA0hE/Q2z8AuXrWkEIZUwBXrVm3bu7BMO-CeTwgCK4BGAYYCw/s220/2%2BDimestore.jpg",
"https://c.statcounter.com/11545226/0/844336ef/0/",
"https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_sGGBPo_Ffpjfn-OM4eEEoJwM6ixM88QcQ3CmPMuKaZ6UR1Y7SNORYAPs4gNt_vyQqpSkx1iSRN2B9iF54QrqMUe2HfbVvF_LRbfvrj6cqgG7Y=s0-d",
"https://blogger.googleusercontent.com/img/a/AVvXsEgHcvAanZkko2EDA0-b8OiM5po9vv04V8jG2RrLYwqqG0bLLd7JOt3xRoaKyeKeO02OakEyPMVvuZR9VbQwKyz8FTHBTulQmyoC2tu8Xigkbfzaur2eHabvWRXz_ZG8di6D9AuoRDIyDmhu3ZqHtyTP_sau1REwqkVSFeeWdGLEfHIGsrhQ52RNKnXbtMc=s288",
"https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_vgiBDAfI1cpxCBZCGFg1f4yAU8akJrjOs8AF9HP-y4ekbUgxzdYirCi5GG6WYl16NrRyFe-pjQJXoMJhCKt2RW2aMF9hyWLy9O_jw2pW5J0TWMbN7XKS8=s0-d",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUSCc9eYoZyBgNEkhSOmeZUquW_5XojCN3_JLyqkKtbO2JRuFlSspabCcZquQ0HStVCyOF859uM0f6ifoFLTcN3N9q6t5fblKWee8ppMOs_px21WpQ8y46wjh1oTMM_w/s150/Me03.jpg"
] |
[] |
[] |
[
""
] | null |
[
"Tom B",
"View my complete profile"
] | null |
Dino De Laurentiis, the flamboyant Italian movie producer who helped resurrect his country's film industry after World War II and for more t...
|
https://westernsallitaliana.blogspot.com/favicon.ico
|
https://westernsallitaliana.blogspot.com/2010/11/rip-dino-de-laurentis.html
| |||||||
202
|
dbpedia
|
1
| 98 |
https://tremblesighwonder.com/2021/09/26/worth-37-5-cents-the-enduring-legacy-of-a-great-and-crazy-studio-de-laurentiis-entertainment-group/
|
en
|
Worth 37.5 cents?: The Enduring Legacy of a Great and Crazy Studio, De Laurentiis Entertainment Group.
|
[
"https://tremblesighwonder.com/wp-content/uploads/2021/09/deg-collage.jpg?w=1568",
"https://tremblesighwonder.com/wp-content/uploads/2021/09/deg-logo.jpeg?w=600",
"https://tremblesighwonder.com/wp-content/uploads/2021/09/deg-red.jpeg?w=532",
"https://tremblesighwonder.com/wp-content/uploads/2021/09/raw-deal-poster.jpg?w=682",
"https://tremblesighwonder.com/wp-content/uploads/2021/09/little-pony.jpg?w=691",
"https://tremblesighwonder.com/wp-content/uploads/2021/09/maximum-overdrive-poster.jpg?w=750",
"https://tremblesighwonder.com/wp-content/uploads/2021/09/transformers-movie.jpg?w=580",
"https://tremblesighwonder.com/wp-content/uploads/2021/09/manhunter-poster-2.jpg?w=680",
"https://tremblesighwonder.com/wp-content/uploads/2021/09/blue-velvet-poster.jpg?w=580",
"https://tremblesighwonder.com/wp-content/uploads/2021/09/radio-dreams.jpg?w=520",
"https://tremblesighwonder.com/wp-content/uploads/2021/09/tricktreat.jpg?w=708",
"https://tremblesighwonder.com/wp-content/uploads/2021/09/tai-pan-poster.jpg?w=673",
"https://tremblesighwonder.com/wp-content/uploads/2021/09/body-slam.jpg?w=511",
"https://tremblesighwonder.com/wp-content/uploads/2021/09/crimes-2.jpg?w=691",
"https://tremblesighwonder.com/wp-content/uploads/2021/09/king-kong-lives-poster.jpg?w=694",
"https://tremblesighwonder.com/wp-content/uploads/2021/09/bedroom-window-poster.jpg?w=479",
"https://tremblesighwonder.com/wp-content/uploads/2021/09/from-the-hip-poster.jpg?w=580",
"https://tremblesighwonder.com/wp-content/uploads/2021/09/evil-dead-2.jpg?w=424",
"https://tremblesighwonder.com/wp-content/uploads/2021/09/million-dollar-mystery-poster.jpg?w=679",
"https://tremblesighwonder.com/wp-content/uploads/2021/09/near-dark-poster.jpg?w=676",
"https://tremblesighwonder.com/wp-content/uploads/2021/09/weeds-nolte.jpg?w=580",
"https://tremblesighwonder.com/wp-content/uploads/2021/09/hiding-out-poster.jpg?w=341",
"https://tremblesighwonder.com/wp-content/uploads/2021/09/date-with-an-angel.jpg?w=500",
"https://tremblesighwonder.com/wp-content/uploads/2021/09/shakedown2.jpg?w=1024",
"https://tremblesighwonder.com/wp-content/uploads/2021/09/illegally-yours-poster.jpg?w=672",
"https://tremblesighwonder.com/wp-content/uploads/2021/09/traxx-poster.jpg?w=636",
"https://tremblesighwonder.com/wp-content/uploads/2021/09/pumpkinhead.jpg?w=640",
"https://tremblesighwonder.com/wp-content/uploads/2021/09/tapeheads.jpg?w=653",
"https://tremblesighwonder.com/wp-content/uploads/2021/09/billted2.jpg?w=656",
"https://tremblesighwonder.com/wp-content/uploads/2021/09/earthgirls.jpg?w=520",
"https://tremblesighwonder.com/wp-content/uploads/2021/09/collision-course.jpg?w=656",
"https://tremblesighwonder.com/wp-content/uploads/2021/09/rampage-deg.jpg?w=479",
"https://1.gravatar.com/avatar/a905254603ece4e29a42550cdb5a7f8905ca1f538ce0dde92d6c55aee9e50f54?s=32&d=identicon&r=G",
"https://2.gravatar.com/avatar/8028e74ff5fbec223488718ca766567069d6f442244d1b4e25d485bb71c685fa?s=32&d=identicon&r=G",
"https://1.gravatar.com/avatar/a49845dfafbb9a266b5ef7f3e1b2a59bb7425560034cf30b76bb094d056793f8?s=32&d=identicon&r=G",
"https://tremblesighwonder.com/wp-content/uploads/2021/04/cropped-tremblesighwonder.com_logo_original-1-2.png?w=50",
"https://tremblesighwonder.com/wp-content/uploads/2021/04/cropped-tremblesighwonder.com_logo_original-1-2.png?w=50",
"https://pixel.wp.com/b.gif?v=noscript"
] |
[
"https://www.youtube.com/embed/370I6aCEZFY?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en&autohide=2&wmode=transparent"
] |
[] |
[
""
] | null |
[] |
2021-09-26T00:00:00
|
I will convince you D.E.G. was an interesting movie studio where multiple artists made masterpieces, new directors got a chance, and solid veterans got their final gigs.
|
en
|
Tremble...Sigh...Wonder...
|
https://tremblesighwonder.com/2021/09/26/worth-37-5-cents-the-enduring-legacy-of-a-great-and-crazy-studio-de-laurentiis-entertainment-group/
|
By James Kenney
I have come here to praise, not bury the De Laurentiis Entertainment Group, and so should any film lover. Akin to television’s Stephen J. Cannell company, it was one of the last studios run by a colorful leader who answered to no one.
D.E.G. has been defined in history by its failures: excessive budgets, capricious management practices, impulsive choices that led to box-office disaster. As explained in an August 1989 Spy magazine expose, “no movie company can stay in business if it makes movies so bad nobody will pay to see them.” The author details how the studio squandered hundreds of millions in just a few years making some of the “most dreadful movies imaginable,” movies “other studios wouldn’t touch, with stars no one wanted to see.” And he provides an impressive list of all-time apparent stinkers: Maximum Overdrive, Tai-Pan, King Kong Lives, Million Dollar Mystery, From the Hip, and Date With an Angel. An unnamed studio executive discussed how DeLaurentiis “would never really believe in market research.”
Hail, hero!
The article reports that when a release such as King Kong Lives, flopped, Dino refused to despair. The next picture would be the one to turn it around. “Domani”! Dino would say, as “Dino had an inhuman resilience to bad news and could revive himself quicker than anybody I’ve ever seen.” As an investor I might have been troubled, sure, but this character trait is a lot more endearing than currently witnessing the Marvel corporation employ bots on Twitter to attack actor Stephen Dorff because he dares to say he doesn’t have any interest in Marvel films.
Unnamed people in the article complain that his films were invariably miscast, one pointing out the stockbroker-on-the-run-from-the-mob-hiding-in-high-school movie Hiding Out made a mistake employing Jon Cryer off of Pretty in Pink: “in a normal major studio, you waited for Michael J. Fox. But DeLaurentiis never waited for anybody.”
Really?
I mean, Cryer didn’t prove a major box-office draw, but by 1987 Fox wasn’t drawing audiences outside of Back to the Future sequels. Light of Day? For Love or Money? Greedy? Fox is awesome, lovely, and talented but his participation would not have guaranteed Hiding Out big financial returns.
“You wound up making From the Hip with Judd Nelson, who was fifth or sixth down the list, because you needed to start by February 15th,” the same unnamed former employee complains, and while Nelson again proved to not be box office, coming off The Breakfast Club and St. Elmo’s Fire it seemed a reasonable bet, one that big studio Paramount and producer Walter Hill also made when they made Blue City with Nelson the same year, which indeed also flopped.
In its unsuccessful wake, D.E.G. left us with some genuine masterpieces, some minor masterpieces, some damn good films, some certified cult items that people still talk about, some humpback movies that are messy but still interesting, and very little that is dull or lacking personality. The worst of D.E.G.’s detritus has personality, and in the rear-view looks much prettier than it did upon arrival.
I have come here to praise DeLaurentiis Entertainment Group, not bury it...
This is not to say DeLaurentiis had sound taste – but it is hard to not be nostalgic, in this age of faceless cookie-cutters planning out Marvel spinoffs years in advance and dropping huge films on streaming services no one cares about to maximize revenue, towards an old school studio head who said “yes” or “no” on instinct, not on “market research” done by idiots with MBA’s.
If D.E.G. had only pulled out one substantial hit there would have been a different tune sung and D.E.G. might have survived.
But his King Kong movie, his Schwarzenneger action film, his Stephen King production, they all indeed failed miserably.
The guy made movies the old-fashioned way, and while he surely didn’t intend it, he comes off rather progressive, hiring an inexperienced woman to direct a film in the 1980s (who later went on to win an Academy Award), as well as several young directors of repute who he gave final cut to, like David Lynch and Michael Mann. I find his roster of talent and projects interesting, if not always successful; a pox on “market research” and casting “stars people want to see.”
In fact, auteurists should be in heaven, as during the 80s, when producers like Jerry Bruckheimer and Don Simpson were king, hiring television commercial and music video directors to make their (oh so successful!) films, De Laurentiis hired Mann, Lynch, Peter Bogdanovich, John Irvin, Richard Fleischer, Curtis Hanson, Bruce Beresford, Bob Clark, Sam Raimi, John Hancock, Albert Pyun, John Guillermin, Lewis Teague, Kathryn Bigelow and William Friedkin. Lots of these director’s films were flops at the time, sure, but what film fan will look askance at that roster?
De Laurentiis Entertainment Group (D.E.G.) misfires are so fabled, namely King Kong Lives and Million Dollar Mystery, that the studio became a running joke, like Cannon Films’ uglier sister or something. But you had an optimistic, loud, larger-than-life impresario running a big (out of control?) studio, impudently building physical operations (still in operation today) in North Carolina and Australia, who was undeniably utterly out of touch with the times, hiring actual directors to helm his weird slate of films, none of which made money, sure.
What D.E.G. did do was make three stone-cold masterpieces in its three years of operation, maybe more.
Sure, none of it made money! Oops! He somehow managed to make the one Arnold Schwarzenegger film that didn’t make money in the 1980s! Ouch!
Admittedly, I’m the kind of guy who thinks sports should build character; I’m a fan of Charlie Brown’s hapless baseball team and the Bad News Bears, which has led to me showing more interest in expansion teams and rotten Mets teams way more than following the actually successful Yankees.
So is it with De Laurentiis—he tried to build a movie studio from scratch in the mid-80s, and with no room for failure, failed tremendously.
On August 17, 1988, Andrea Adeleson the New York Times reported that:
De Laurentiis Entertainment Group Inc., the financially troubled film company founded by the Italian-born producer Dino De Laurentiis, filed today for protection from its creditors under Chapter 11 of the Federal Bankruptcy Code.
The move comes a week after the film company dropped a $65 million debt restructuring plan, which it had said was crucial to its survival…
The voluntary filing, which allows a company to put its debts on hold while its reorganizes, listed $199.7 million in liabilities and $163 million in assets, said a company spokeswoman, Susan Feldon. The liabilities include $23.9 million in secured debt and $70.4 million in unsecured notes, she said.
One analyst gave De Laurentiis Entertainment little chance of emerging from court protection, as the film company has sold most of its assets, including its 300-title film library for $54 million, to pay loans….
De Laurentiis Entertainment, which is based in Beverly Hills, Calif., fell victim to making ”too many high-priced films, which had minimal commercial value,” said Jeffrey Logsdon, an analyst at Crowell, Weedon & Company, a Los Angeles brokerage.
As reported by Al Delugach in the same day’s Los Angeles Times, “The company’s stock, which reached a high of $19.25 a share shortly after the firm went public in May, 1986, last traded at 37.5 cents a share Tuesday on the American Stock Exchange.”
You tell me if the following body of work is worth 37.5 cents to you!
De Laurentiss Group’s Film Output:
Raw Deal (released June 6, 1986)
A stylish, quirky, violent movie, way underappreciated. Raw Deal is directed by John Irvin, who made Christopher Walken’s The Dogs of War and Alec Guiness’ Tinker, Tailor Soldier Spy and who here good-humoredly pokes fun at the outsized Schwarzenegger personality and physique (with Schwarzenegger cheerfully in on the joke), self-aware of the silliness of dropping this charismatic Austrian block of granite into any situation.
Surrounding him with a superlative cast of supporting actors including Robert Davi, Sam Wanamaker, Arthur Hill, Darren McGavin, Ed Lauter, and the luminous and funny Kathryn Harrold, Raw Deal is my favorite Schwarzenegger film – yes, the James Cameron films are brilliantly realized, but a bit too “clinical” for my tastes. Raw Deal is messy, especially with its pleasing and (undernoticed) romantic throughline that Schwarzenegger is faking his death and tearing apart a crime family from the inside to make the miserable alcoholic wife that he loves happy by getting back in good with the FBI, which had unceremoniously dumped him. As the film’s ends, despite the luscious Kathryn Harrold falling for him (they have groovy chemistry too, I find this film has his most convincing romantic performance, forget True Lies), Schwarzenegger steadfastly never falls into her inviting arms and leaves her, Casablanca style, to go back to his lonely, miserable wife who thinks he’s dead. A sublime masterpiece of lunkhead filmmaking. 10 out of 10 bullets!
My Little Pony:The Movie (June 6, 1986)
I have little to say about My Little Pony: The Movie, except D.E.G., like my beloved Charlie Brown, always found a way to lose, as this film, yes, didn’t make any money. Some interesting names in the cast list, though.
Maximum Overdrive (July 25, 1986)
Who can blame Dino, our protagonist? Get Stephen King, the hottest name in entertainment to write a film based on one of his gory short stories, and also direct it? I would have made that bet, especially with a serviceable cast featuring Emilio Estevez, one of the many brat-packers De Laurentiis (wrongly) turned to to bring in young butts, but it worked on me. I saw all his post-expiration-date-brat-packer films in the theater, except the one that went unreleased, but I caught up with that on VHS too. And Maximum Overdrive, apparently made while King was crazed on coke (gee, thanks a lot Stephen) is rather awful…and endlessly watchable.
It stirs the imagination much more than many better and justifiably forgotten horror films from the period, including some written by King. From the awesome AC/DC score (those guys showed up with their A-game), to Estevez and Pat Hingle playing it straight, to its big dumb truck stunts, to the gore effects obviously pared down to receive an R rating, to its complete lack of logic (Why do trucks turn evil, but not cars? Why do lawn sprinklers turn evil? Why do bicycles suddenly flip some kids but not others?), this a movie that NEVER GROWS OLD. I’m not grading these things as a stockholder, I’m grading these as entertainments. 10 out of 10 guys killed by soda cans shot out of a diabolic vending machine!
The Transformers:The Movie (August 8, 1986)
Didn’t see this either, but noteworthy for using the voice of Judd Nelson, who later starred in the essential DEG release From the Hip and is unfairly badmouthed in the Spy magazine article, but obviously it’s a cult film, with Orson Welles also supplying a voice in his last performance ever.
Of course, De Laurentiis would be the only guy who couldn’t figure out a way to make money off of the damn Transformers.
Manhunter (August 15, 1986)
STONE COLD MASTERPIECE. I don’t care how hot Miami Vice was, this was a risky project; Mann’s last theatrical release was the disastrous The Keep, and unnamed executives bitching about how De Laurentiis wouldn’t followed “market research” or hire “stars” can go to hell! William Peterson, Joan Allen, Brian Cox and Tom Noonan weren’t stars, but are note perfect, Mann’s unique, intense filmmaking style, the soundtrack, all of it, beyond brilliant. Better than any other Hannibal Lechter film and I’m not fashionable saying this, I’ve been a fan since August 1986. 10 out of 10 blind victims!
Blue Velvet (September 19, 1986)
CASE CLOSED! What other studio put out two films in a row like Manhunter and Blue Velvet, EVER? De Laurentiis was nuts, beautifully so; even after David Lynch’s Dune, which he produced, flopped for Universal, he nevertheless bankrolled Lynch’s dream project and left him alone to make it how he saw fit. And, NO, it didn’t make any money when it came out, and no, he didn’t test market and hire Michael J. Fox for the lead, he okayed Kyle McLachlan, who had already starred in and been less-than-great in Dune, the previous Lynch fiasco. And he’s great in this! The bet paid off, if not financially! Dennis Hopper! Laura Dern! Isabella Rossellini! STONE COLD MASTERPIECE. 10 out of 10 Chris Isaak songs!
Radioactive Dreams (September 19, 1986)
CASE CLOSED part 2! What studio puts out two auteurist masterpieces like Manhunter and Blue Velvet in a row, and then puts out a nutty post-apocalyptic Albert Pyun film??? Which also makes no money, of course! De Laurentiis was burning money to make his stable of crazy auteurs happy! Radioactive Dreams is like a lot of Pyun films; cinematic, weird, sometimes terrible, and equally fascinating, plus John Stockwell, an 80 favorite from Christine and Losin’ it, stars alongside the American Ninja, Michael Dudikoff. 8 out of 10 Pyuns!
Trick or Treat (October 24, 1986)
OK, this is more of a bunt single than a home run, but it stars Skippy from Family Ties, Gene Simmons and Ozzy Osbourne, and is directed by Charles Martin Smith, the accountant guy from The Untouchables! 6.5 out of 10 Screams!
Tai-Pan (November 7, 1986)
Yes, it was a flop! I don’t care if James Clavell’s epic novel wasn’t developed to his liking! Sure, I love To Sir, With Love and The Last Valley but I never saw Shogun or any of that stuff; Tai-Pan has Bryan Brown, who sells no tickets but is a perfectly fine actor, and a young Joan Chen and Kyra Sedgwick also show up. This is old school, and it indeed should have been made in the 60s with Charlton Heston after 55 Days in Peking and before The Hawaiians. I’m all about the old school, as who needs the Goonies and Flashdance? I can’t deny this expensive flop was probably not market researched and De Laurentiis hoped Brown’s Thorn Birds stardom would translate to big-screen success. Nope! But Brown was good in F/X, a personal favorite of the time, so I and my dad went to see this in widescreen splendor in November ’86 (I don’t think it was playing by December ’86). And aueterists, director Daryl Duke is the guy who made Payday with Rip Torn and The Silent Partner with Elliot Gould! Great hire! 8 out of 10 long ships!
Body Slam (November 21, 1986)
Hal Needham! Who makes a Hal Needham movie when Burt Reynolds isn’t around? Dino De Laurentiis does! In a comedy about wrestling featuring Rowdy Roddy Piper and the A-Team’s Dirk Benedict, who wasn’t gonna sell any tickets by 1986, especially if Mr. T. couldn’t sell tickets to D.C. Cab in 83 when The A-Team was still actually a hit!
I think by 86 Robert Vaughn had shown up on the A-Team, a desperation move kind of like Cousin Oliver being inserted into the final season of Brady Bunch, if Cousin Oliver came with a gun and terrorized the family. But anyway, the film also has Sheena’s Tanya Roberts as the female lead, so 7 out of 10 Tanyas!
Crimes of the Heart (December 12, 1986)
Solid! Bruce Beresford directing Jessica Lange, Sissy Spacek and Diane Keaton in a film based on a Beth Henley play! This is a diverse cinematic lineup, folks! I only saw this on VHS, but Beresford only started making turkeys with alarming regularity in the 21st century, at this point he was still good and consistent and Tender Mercies and Breaker Morant-identified. His swing for the award fences didn’t result in a score, but it’s a good movie and a great showcase for its stars. 8 out of 10 Oscars!
King Kong Lives (December 19, 1986)
I have no problem with dumb King Kong sequels. John Guillermin was a solid-pus director and he makes a silly, enjoyable, dopey film with one of the many young actresses I had a crush on at the time, Linda Hamilton, and John Ashton from Beverly Hills Cop and Midnight Run as the military villain guy who just can’t let Kong be.
Is it good? I guess not, but I enjoy what turned out to be Guillermin’s last theatrical film. I’m gonna expend too much energy defending Guillermin’s Sheena, Queen of the Jungle soon enough, so I can’t burn it up defending this thing, but I find it kind of cute and pleasant with all sorts of elements I like, although here’s one where maybe market research might have indeed helped out, Dino!
On the other hand, if Paramount can greenlight The Golden Child, De Laurentiis can be forgiven for his terrible project. I mean Paramount had money to burn, removing John Barry’s score from Golden Child (!!!). Who dumps a Barry score? A studio that can afford to make dumb decisions. D.E.G. couldn’t, and Kong’s flop did put a major-league hurt on D.E.G.. But it’s hilarious and bizarre and ripe to be a genuine cult item (it’s out of circulation currently and hard to see). 5 out of 10 John Ashtons!
The Bedroom Window (January 30, 1987)
Not just Michael Mann, not just David Lynch, but Curtis L.A. Confidential Hansen got an early directing gig for De Laurentiis, shooting this Hitchcockian thriller with a nifty premise. Solidly executed, even if Steve Guttenberg was too closely identified with his Police Academy goofball persona to really score in this – but with distance, he’s a competent actor and perfectly convincing as a thickheaded everyman who intrepidly pretends to be a witness to a crime to “protect” his married lover. Plus enigmatic, alluring, and narcissistic Isabelle Huppert is in it alongside Elizabeth Perkins. Didn’t make money! Still an awesome film! 9 out of 10 MaGuffins!
From The Hip (February 6, 1987)
The legendary Bob Clark! De Laurentiis hired all our favorite directors! The thing with Clark is you never know if you’re getting the brilliant guy who made Death Dream and Black Christmas and Murder By Decree and A Christmas Story and Porky’s or the bewilderingly bad director who made Loose Cannons and Rhinestone and Porky’s 2! Here you get both! The first half is a dimwitted comedy about an obnoxious lawyer we’re supposed to root for, but the second half is amazing, as obnoxious lawyer Judd Nelson is forced to defend sociopathic millionaire John Hurt, and the film gets real interesting real fast. Written by David Kelly, who later did all that television lawyer stuff like Boston Legal and the Practice; De Laurentiis continually hiring all sorts of young talent! It just didn’t pay off financially! As a Brat Pack fan, I went to see From the Hip opening night on a double date! We apparently accounted for 24% of the total box-office! 7.5 gavels out of 10!
Evil Dead II (March 13, 1987)
D.E.G. bankrolled Evil Dead II, releasing it under a shell company so it could go out unrated! What can I say? Bruce Campbell became Bruce Campbell in this film — Who doesn’t like Evil Dead II? 11 out of 10 grinning skulls!
Million Dollar Mystery (June 12, 1987)
What an energetic, misbegotten goof! Who unofficially remakes It’s a Mad, Mad, Mad World in 1987 with no stars? But in my house, 1941 and I Wanna Hold Your Hand’s Eddie Deezen IS a star, recent troubles with the law notwithstanding! And c’mon, the studio gambled on new talent like David Lynch and Michael Mann, but also hired aging veterans like Guillermin and in this case Richard Fleischer, who directs with more vitality than you might expect. Another genuinely weird project that is more memorable than a lot of 80s crap that doesn’t get anywhere near as maligned! Six out of 10 Glad trash bags!
Near Dark (October 2, 1987)
Another STONE COLD CLASSIC! Kathyrn Bigelow’s vampire movie is bloody, violent, romantic, funny, harrowing! He hired a woman, namely Kathryn Bigelow, in 1987 to make a vampire film! Did Don Simpson do that? Nope! Great film! Jenny Wright! Bill Paxton! Lance Henriksen! 10 out of 10 vampires bursting into flame in the morning sun! Of course, it made no money! We let Dino down, folks, if we JUST WENT TO SEE Manhunter, Blue Velvet and this in the theater, Dino would’ve been fine! I went! 8 out of the 15 films listed above I saw theatrically! Did you?
DID YOU?
Weeds (October 16, 1987)
This is a NEAR-MASTERPIECE! Bang the Drum Slowly’s John Hancock’s story of prisoners who regain humanity by becoming actors is disturbing, unpredictable, and funny! The one and only Nick Nolte is incredible in this and it’s way underseen, it’s in fact never had a DVD release, and Hancock thinks the negative is lost. Someone find this negative! I tracked down the lost director’s cut of the last Bogdanovich film, it’s somebody else’s turn!
This film is very cool and very underseen. People keep saying D.E.G. is like Cannon films, but actual masterpieces were made under D.E.G.’s failed watch! 10 out of 10 thespians!
Hiding Out (November 6, 1987)
Likeable enough past-its-expiration-date Brat Pack comedy about a stockbroker hiding out from mafia killers in a high school; Pretty in Pink’s Jon Cryer is perfectly good in this, but he admittedly wasn’t a movie star. I’ll give it a friendly rating because I appreciate De Laurentiis’ persistently giving roles to my Brat Pack heroes in the false belief that anyone other than me cared. 7.5 out of 10 school lunches!
Date with an Angel (November 20, 1987)
This one is odd, it’s about an angel who falls to earth and the guy who loves her. It apparently was developed before Splash was released and does play kind of like a belated Splash ripoff as it came out years alter. Here the casting is odd as the filmmakers picked a soap opera star, Michael E. Knight, to be the lead, which doesn’t make much sense because it’s a youth comedy and I assume grandmas watched soaps. Phoebe Cates is also in it and the gorgeous Emanuelle Beart does her ethereal best in her U.S. debut as the angel in a film that takes a dark turn towards the end I found kind of interesting. 7 out of 10 broken wings.
Shakedown (May 6, 1988) (released by Universal Pictures in U.S.)
DEG developed Shakedown back when it was called Blue Jean Cop! A crazy James Glickenhaus over-the-top New York City based action film, with shootouts in both Coney Island and Times Square, Shakedown bet on Peter Weller’s star rising with Robocop and Sam Elliot just being Sam Elliot, I guess. D.E.G. had to sell it off to Universal as its money woes mounted, but it’s a good, dopey action film, belatedly much beloved, with genuine stunts in impressive locations. 8 out of 10 Times Square marquees!
Illegally Yours (May 13, 1988) (released by United Artists in U.S.)
I wrote about this extensively already; De Laurentiis bought a truly puerile script that Peter Bogdanovich unsuccessfully then attempted to bring in for a safe landing. Still, I wholly appreciate Dino hiring Peter when Peter was on the outs for righteously if wrong-headedly suing Universal for cutting Mask despite his holding final cut, and Bogdanovich gets a hugely appealing performance from Rob Lowe doing the clumsy-bespectacled-hero bit while keeping the whole thing going rather brightly for about half the running time. But this is a flop, yeah. 5 out of 10 pairs of Harold Lloyd glasses!
Traxx (August 17, 1988) (direct-to-video in U.S.)
Huh? I have never seen this, but apparently irrepressible Dino thought L.A. DJ Shadoe Stevens was movie star material and made this, which I hear is a spoof, not a straight-forward action flic. I’d rather see this at this point than catch up with any recent Marvel Captain America film I didn’t see, I can tell you that.
Pumpkinhead (October 14, 1988) (released by United Artists in U.S.)
Another good horror film that D.E.G. sold off to United Artists. It didn’t make money for them either, so it wouldn’t have saved him, but it’s the second time Dino employed Lance Henriksen and it’s a cool movie, so 9 pumpkins out of 10! Sure he made Maximum Overdrive, but Dino bankrolled both Pumpkinhead and Near Dark. His stable is full of minor (and a couple of major) classics!
Tapeheads (October 21, 1988) (released by Avenue Pictures in U.S.)
John Cusack and Tim Robbins in a self-consciously weird indie comedy! It’s not great, but it’s interesting! By this time, D.E.G. was toast and most of the titles that had any potential were being sold off to other distributors. 7 out of 10 Cusacks!
Bill and Ted’s Excellent Adventure (February 17, 1989) (released by Orion Pictures in U.S.)
Dino gave Keanu Reeves his big comedy break! It’s actually not so very good but strangely endearing, and the closest thing to a cinematic tentpole Dino ever got near! 8 out of 10 time-machine-phone-booths!
Earth Girls Are Easy (May 12, 1989) (released by Vestron Pictures in U.S)
The dude produced a colorful kind-of musical from Julian Temple, the director of Absolute Beginners, featuring Jeff Goldblum, Geena Davis, a young Jim Carrey, and a young Damon Wayans! Strange but endearing, and thank God for the lack of market research because, yeah, who the hell would go see this stuff? 8 out of 10 surfboards!
Collision Course (April, 1992) (direct-to-video in U.S.)
The fabled buddy-cop film featuring Pat Morita and Jay Leno that went straight to video in the U.S. Well, he did hire Alligator and Cujo director Lewis Teague to helm it, so again, D.E.G. is an auteurist’s happy place. But I heard this was pretty bad, indeed — I never saw it.
Rampage (October 30, 1992) (released by Miramax Films in U.S.)
William Friedkin’s long-unreleased Rampage was ALSO produced by D.E.G., and many love this movie! I found it a little risible when I saw it but it’s been about 25 years,so I remember little of it, and I’ll take the word of those smarter than me who say it’s a terrific Friedkin film, because it SUPPORTS MY THESIS.
9 out of 10 serial killers!
That’s an eccentric but enviable pile-up of cinematic train wrecks, some of which are unquestionably among the greatest films made in the last forty years!
Man, I get giddy when the short-lived 1980s DeLaurentiis Entertainment Group (D.E.G.) appears before a movie. Sure, it’s considered a folly, the erratic if prolific Italian producer setting up camp in North Carolina to avoid union regulations, trying to squeeze life out of aging properties he still owned like King Kong.
Yes, it was a flop, but we are all happy that Stephen King’s absurd Maximum Overdrive, where Emilio Estevez and Pat Hingle fight killer trucks off with bazookas at a truckstop while AC/DC blares, exists, yes? I mean it’s nuts, but it’s so watchable.
No, Steve Guttenberg didn’t prove a reliable box-office leading man, but who has an issue with Curtis Hanson’s Hitchcockian The Bedroom Window? It might have been a big mistake to assume Bryan Brown would bring in audiences in Tai-Pan, but I like Bryan Brown! I don’t care if he’s not Mel Gibson, that’s proven partially a plus, yes? But there’s no need to apologize for Blue Velvet, Manhunter, Near Dark, The Bedroom Window, Raw Deal, Weeds, Crimes of the Heart. Good, nay, great work was done there in its short two years of existence.
I’d rather have the D.E.G. library on a desert island than the Simpson/Bruckheimer library.
Hopefully this quick run-through does crystalize your vision, seeing that while it may have been an aging entrepaneur’s folly, D.E.G. actually came up with a pretty weird and interesting slate of films in its short existence from 1986-1988. I’m not sure many other studios made films as great as Manhunter, Blue Velvet and Near Dark in that period, and a lot of the other stuff that flopped looks better with distance.
D.E.G. is dead! Long Live D.E.G.!
|
|||||
202
|
dbpedia
|
2
| 22 |
https://www.tvinsider.com/people/dino-de-laurentiis/
|
en
|
Dino De Laurentiis
|
[
"https://www.facebook.com/tr?id=2150724991788914&ev=PageView&noscript=1",
"https://www.tvinsider.com/wp-content/themes/tv/images/tvinsider-logo-horizontal-white.svg",
"https://www.tvinsider.com/wp-content/themes/tv/images/top-25-shows1.png",
"https://www.tvinsider.com/wp-content/uploads/2022/07/netflix.png",
"https://www.tvinsider.com/wp-content/uploads/2022/07/hulu.png",
"https://www.tvinsider.com/wp-content/uploads/2022/07/prime-video.png",
"https://www.tvinsider.com/wp-content/uploads/2023/05/max.png",
"https://www.tvinsider.com/wp-content/uploads/2022/07/apple-tv-plus.png",
"https://www.tvinsider.com/wp-content/uploads/2022/07/peacock.png",
"https://www.tvinsider.com/wp-content/uploads/2022/07/nbc.png",
"https://www.tvinsider.com/wp-content/uploads/2022/07/cbs.png",
"https://www.tvinsider.com/wp-content/uploads/2022/07/abc.png",
"https://www.tvinsider.com/wp-content/uploads/2022/07/fox.png",
"https://www.tvinsider.com/wp-content/uploads/2022/07/showtime.png",
"https://www.tvinsider.com/wp-content/uploads/2022/07/pbs.png",
"https://www.tvinsider.com/wp-content/uploads/2022/07/paramount-plus.png",
"https://www.tvinsider.com/wp-content/uploads/2022/07/cw.png",
"https://www.tvinsider.com/wp-content/uploads/2024/03/disney-plus.png",
"https://www.tvinsider.com/wp-content/uploads/2022/07/amc.png",
"https://www.tvinsider.com/wp-content/uploads/2022/07/hallmark.png",
"https://www.tvinsider.com/wp-content/uploads/2020/05/starz.png",
"https://www.tvinsider.com/wp-content/uploads/2020/05/fx.png",
"https://www.tvinsider.com/wp-content/uploads/2022/07/britbox.png",
"https://www.tvinsider.com/wp-content/uploads/2022/07/acorn.png",
"https://www.tvinsider.com/wp-content/uploads/2022/07/hgtv.png",
"https://www.tvinsider.com/wp-content/uploads/2022/07/discovery-plus.png",
"https://www.tvinsider.com/wp-content/uploads/2022/07/bbc-america.png",
"https://ntvb.tmsimg.com/assets/assets/424_v9_ba.jpg?w=360&h=480",
"https://www.tvinsider.com/wp-content/themes/tv/images/ico-imdb.png",
"https://www.tvinsider.com/wp-content/themes/tv/images/tv-coming-soon.png",
"https://www.tvinsider.com/wp-content/themes/tv/images/tv-coming-soon.png",
"https://ntvb.tmsimg.com/assets/p162828_v_h10_aj.jpg?w=240&h=135",
"https://ntvb.tmsimg.com/assets/p163180_v_h10_ai.jpg?w=240&h=135",
"https://www.tvinsider.com/wp-content/themes/tv/images/tv-coming-soon.png",
"https://www.tvinsider.com/wp-content/themes/tv/images/tv-coming-soon.png",
"https://ntvb.tmsimg.com/assets/p24118_v_h8_ad.jpg?w=240&h=135",
"https://ntvb.tmsimg.com/assets/p25238_v_h8_ac.jpg?w=240&h=135",
"https://ntvb.tmsimg.com/assets/p19312_v_h8_ad.jpg?w=240&h=135",
"https://www.tvinsider.com/wp-content/themes/tv/images/tv-coming-soon.png",
"https://www.tvinsider.com/wp-content/uploads/2023/07/unforgettable-770x433.jpg",
"https://www.tvinsider.com/wp-content/themes/tv/images/tv-coming-soon.png",
"https://www.tvinsider.com/wp-content/themes/tv/images/tv-coming-soon.png",
"https://www.tvinsider.com/wp-content/themes/tv/images/tv-coming-soon.png",
"https://www.tvinsider.com/wp-content/themes/tv/images/tv-coming-soon.png",
"https://ntvb.tmsimg.com/assets/p14322_v_h8_ap.jpg?w=240&h=135",
"https://ntvb.tmsimg.com/assets/p14490_v_h11_aa.jpg?w=240&h=135",
"https://ntvb.tmsimg.com/assets/p12814_v_h10_ac.jpg?w=240&h=135",
"https://ntvb.tmsimg.com/assets/p9421_v_h8_ac.jpg?w=240&h=135",
"https://www.tvinsider.com/wp-content/themes/tv/images/tv-coming-soon.png",
"https://www.tvinsider.com/wp-content/themes/tv/images/tv-coming-soon.png",
"https://ntvb.tmsimg.com/assets/p8534_v_h10_af.jpg?w=240&h=135",
"https://www.tvinsider.com/wp-content/themes/tv/images/tv-coming-soon.png",
"https://www.tvinsider.com/wp-content/themes/tv/images/tv-coming-soon.png",
"https://ntvb.tmsimg.com/assets/p4850_v_h10_ac.jpg?w=240&h=135",
"https://ntvb.tmsimg.com/assets/p8136_v_h8_ag.jpg?w=240&h=135",
"https://ntvb.tmsimg.com/assets/p8382_v_h10_bf.jpg?w=240&h=135",
"https://ntvb.tmsimg.com/assets/p4894_v_h8_az.jpg?w=240&h=135",
"https://www.tvinsider.com/wp-content/themes/tv/images/tv-coming-soon.png",
"https://ntvb.tmsimg.com/assets/p3891_v_h8_ab.jpg?w=240&h=135",
"https://ntvb.tmsimg.com/assets/p34_v_h10_ag.jpg?w=240&h=135",
"https://www.tvinsider.com/wp-content/themes/tv/images/tv-coming-soon.png",
"https://www.tvinsider.com/wp-content/themes/tv/images/tv-coming-soon.png",
"https://ntvb.tmsimg.com/assets/p5125_v_h10_ae.jpg?w=240&h=135",
"https://www.tvinsider.com/wp-content/themes/tv/images/tv-coming-soon.png",
"https://www.tvinsider.com/wp-content/themes/tv/images/tv-coming-soon.png",
"https://ntvb.tmsimg.com/assets/p785_v_h10_av.jpg?w=240&h=135",
"https://www.tvinsider.com/wp-content/themes/tv/images/tv-coming-soon.png",
"https://www.tvinsider.com/wp-content/themes/tv/images/tv-coming-soon.png",
"https://www.tvinsider.com/wp-content/themes/tv/images/tv-coming-soon.png",
"https://ntvb.tmsimg.com/assets/p795_v_h10_aa.jpg?w=240&h=135",
"https://ntvb.tmsimg.com/assets/p1323_v_h10_aa.jpg?w=240&h=135",
"https://www.tvinsider.com/wp-content/themes/tv/images/tv-coming-soon.png",
"https://www.tvinsider.com/wp-content/themes/tv/images/tv-coming-soon.png",
"https://www.tvinsider.com/wp-content/themes/tv/images/tv-coming-soon.png",
"https://www.tvinsider.com/wp-content/themes/tv/images/tv-coming-soon.png",
"https://ntvb.tmsimg.com/assets/p2704_v_h10_ay.jpg?w=240&h=135",
"https://www.tvinsider.com/wp-content/themes/tv/images/tv-coming-soon.png",
"https://www.tvinsider.com/wp-content/themes/tv/images/tv-coming-soon.png",
"https://ntvb.tmsimg.com/assets/p4909_v_h10_ao.jpg?w=240&h=135",
"https://ntvb.tmsimg.com/assets/p4126_v_h10_aa.jpg?w=240&h=135",
"https://www.tvinsider.com/wp-content/themes/tv/images/tv-coming-soon.png",
"https://www.tvinsider.com/wp-content/themes/tv/images/tv-coming-soon.png",
"https://www.tvinsider.com/wp-content/themes/tv/images/tv-coming-soon.png",
"https://www.tvinsider.com/wp-content/themes/tv/images/tv-coming-soon.png",
"https://www.tvinsider.com/wp-content/themes/tv/images/tv-coming-soon.png",
"https://www.tvinsider.com/wp-content/themes/tv/images/tv-coming-soon.png",
"https://www.tvinsider.com/wp-content/themes/tv/images/tv-coming-soon.png",
"https://www.tvinsider.com/wp-content/themes/tv/images/tv-coming-soon.png",
"https://www.tvinsider.com/wp-content/themes/tv/images/tv-coming-soon.png",
"https://www.tvinsider.com/wp-content/themes/tv/images/tv-coming-soon.png",
"https://www.tvinsider.com/wp-content/themes/tv/images/tv-coming-soon.png",
"https://www.tvinsider.com/wp-content/themes/tv/images/tv-coming-soon.png",
"https://www.tvinsider.com/wp-content/themes/tv/images/tv-coming-soon.png",
"https://www.tvinsider.com/wp-content/themes/tv/images/tv-coming-soon.png",
"https://ntvb.tmsimg.com/assets/p3727_v_h8_ak.jpg?w=240&h=135",
"https://www.tvinsider.com/wp-content/themes/tv/images/tv-coming-soon.png",
"https://www.tvinsider.com/wp-content/themes/tv/images/tv-coming-soon.png",
"https://www.tvinsider.com/wp-content/themes/tv/images/tv-coming-soon.png",
"https://www.tvinsider.com/wp-content/themes/tv/images/tv-coming-soon.png",
"https://ntvb.tmsimg.com/assets/p3534_v_h10_af.jpg?w=240&h=135",
"https://www.tvinsider.com/wp-content/themes/tv/images/tv-coming-soon.png",
"https://www.tvinsider.com/wp-content/themes/tv/images/tv-coming-soon.png",
"https://www.tvinsider.com/wp-content/themes/tv/images/tv-coming-soon.png",
"https://www.tvinsider.com/wp-content/themes/tv/images/tv-coming-soon.png",
"https://www.tvinsider.com/wp-content/themes/tv/images/tv-coming-soon.png",
"https://www.tvinsider.com/wp-content/themes/tv/images/tv-coming-soon.png",
"https://www.tvinsider.com/wp-content/themes/tv/images/tv-coming-soon.png",
"https://www.tvinsider.com/wp-content/themes/tv/images/tv-coming-soon.png",
"https://www.tvinsider.com/wp-content/themes/tv/images/tv-coming-soon.png",
"https://www.tvinsider.com/wp-content/themes/tv/images/tv-coming-soon.png",
"https://media.baselineresearch.com/images/785501/785501_small.jpg",
"https://media.baselineresearch.com/images/323953/323953_small.jpg",
"https://media.baselineresearch.com/images/273372/273372_small.jpg",
"https://media.baselineresearch.com/images/264809/264809_small.jpg",
"https://media.baselineresearch.com/images/168846/168846_small.jpg",
"https://media.baselineresearch.com/images/105681/105681_small.jpg",
"https://www.tvinsider.com/wp-content/themes/tv/images/icon-youtube.svg",
"https://www.tvinsider.com/wp-content/themes/tv/images/icon-facebook.svg",
"https://www.tvinsider.com/wp-content/themes/tv/images/icon-twitter.svg",
"https://www.tvinsider.com/wp-content/themes/tv/images/icon-instagram.svg",
"https://www.tvinsider.com/wp-content/themes/tv/images/logo-tv-guide.png",
"https://www.tvinsider.com/wp-content/themes/tv/images/logo-puzzler.png",
"https://www.tvinsider.com/wp-content/themes/tv/images/logo-tv-weekly.png",
"https://www.tvinsider.com/wp-content/themes/tv/images/logo-channel-guide.png",
"https://www.tvinsider.com/wp-content/themes/tv/images/logo-on-dish.png",
"https://www.tvinsider.com/wp-content/themes/tv/images/logo-remind.png",
"https://www.tvinsider.com/wp-content/themes/tv/images/icon-watchlist-alert.png?x=10",
"https://www.tvinsider.com/wp-content/themes/tv/images/icon-notification.png?x=10",
"https://www.tvinsider.com/wp-content/themes/tv/images/icon-offer.png?x=10"
] |
[] |
[] |
[
""
] | null |
[] | null |
Agostino 'Dino' De Laurentiis was an Italian film producer best known for producing science fiction, fantasy, and horror films.
|
en
|
https://www.tvinsider.com/wp-content/themes/tv/images/favicon.ico?x=2
|
TV Insider
|
https://www.tvinsider.com/people/dino-de-laurentiis/
|
A Hollywood player for decades, producer Dino De Laurentiis produced a remarkable mix of motion pictures, ranging from art house fare like Fellini's "La Strada" (1954) to camp classics like "Barbarella" (1968) to spectacles like "King Kong" (1976) and "Tai Pan" (1986), as well as popular entertainment like "Hannibal" (2001). Ever since he began his producing career with the international hit "Riso Amaro" ("Bitter Rice") (1948), De Laurentiis financed, produced or distributed hundreds of movies, including some of the most significant ever made in cinema history, like "Serpico" (1973), "Death Wish" (1974) and "Conan the Barbarian" (1982).
Toward the end of the 20th century, De Laurentiis - who had missed out on the massive success of "Silence of the Lambs (1991) after declining the rights following the failure of "Manhunter" (1986) - saw a resurgence with the box office hit "Hannibal" (2001), which spawned another successful sequel, "Red Dragon" (2002), and cemented his place as one of cinema's most prolific producers.
Born on Aug. 8, 1918 in Torre Annunciata, Italy, a small city in the province of Naples, De Laurentiis was raised by his father, Rosario, a pasta maker, and his mother, Giusppina. Though he entered his father's pasta business while still a teenager, De Laurentiis found the idea of selling spaghetti unappealing and instead moved to Rome, where he enrolled in the Centro Sperimentale di Cinematografia. De Laurentiis supported himself with acting roles and behind the scenes work until he decided to become a producer in 1939, making his producing debut with "Troppo tardi t'ho conosciuta."
But it took another nine years before he enjoyed a real international success with the neo-realistic "Riso Amaro" ("Bitter Rice") (1948), one of the landmark films in the Italian neorealist movement that emerged after World War II. The film starred a buxom Silvana Mangano, whom De Laurentiis married in July 1949, as a rice field worker wooed by two men; one respectable (Raf Vallone) and the other a fugitive (Vittorio Gassman). The couple collaborated in several more ensuing films, including "Il Lupo della Sila" ("The Lure of Sila") (1949), "Il Brigante Musolino" ("Outlaw Girl") (1950) and "Anna" (1951).
In the 1950s, De Laurentiis joined with Sophia Loren's husband Carlo Ponti to form a production company that oversaw several prestigious Italian films, including Federico Fellini's Oscar-winning melodrama set in the seedy world of a travelling carnival, "La Strada" (1954). They went on to make "Attila" (1955), "The Miller's Wife" (1955) and "Guendalina" (1957) before dissolving their partnership.
By that time, De Laurentiis had branched out on his own, overseeing the epic "War and Peace" (1956), directed by King Vidor and starring Audrey Hepburn and Henry Fonda, while reuniting with Fellini on the Oscar-winning "The Nights of Cabiria" (1957). In 1959, De Laurentiis oversaw his third Academy Award-nominated foreign language motion picture, "The Great War."
Meanwhile, as the 1960s unfolded, De Laurentiis built his own studio, Dino Citta, and began teaming with some of the European cinema's finest filmmakers like Vittorio De Sica on "The Last Judgment" (1962), Jean-Luc Godard on "Pierre le fou" (1965) and Claude Chabrol on "An Orchid for the Tiger" (1965). He also worked the Hollywood scene with films like the religious-themed dramas "Barrabas" (1962) and the John Huston-directed "The Bible" (1966). This combination of art house and commercial fare reached absurd heights in 1968 with the odd combination of Francois Truffaut's "The Bride Wore Black" and Roger Vadim's "Barbarella".
When Dino Citta failed, De Laurentiis relocated to the United States in the early 1970s and initiated a run of films that proved popular at the box office. He was producer of "The Valachi Papers" (1972), which was based on fact and purported to tell the real story of the Italian Mafia that a film like "The Godfather" was unable to do. Meanwhile, "Serpico" (1973) garnered praise for its true-life tale of police corruption as well as for Al Pacino's magnificent portrayal as an idealistic young cop in jeopardy for not taking bribes. He followed with "Death Wish" (1974), which perhaps tapped most into the zeitgeist, serving up a revenge tale that spawned several sequels starring Charles Bronson and countless imitations.
While the spy thriller "Three Days of the Condor" (1975) combined the elements of pulp entertainment with highbrow aspirations embodied in star Robert Redford and director Sydney Pollack, De Laurentiis waded in the muck with lowbrow entertainment like the dreadful "Mandingo" (1975) and the more noisome sequel "Drum" (1976).
Perhaps the producer's greatest act of hubris was undertaking the remake of the 1933 classic "King Kong" (1976), which he hoped would rival "Jaws" (1975) in terms of box office take. Famously declaring that "When Jaws dies, nobody cries. When Kong dies, they all cry," De Laurentiis instead delivered a campy, low-brow effort full off cheesy dialogue and over-the-top performances from Jessica Lange, Jeff Bridges and Charles Grodin. Not losing his flair for the high-brow, De Laurentiis reteamed with Fellini one last time for "Fellini's Casanova" (1976), the director's ill-fated biopic of the great lover (Donald Sutherland).
After producing Ingmar Bergman's venture into English-language filmmaking, "The Serpent's Egg" (1978), he produced "The Great Train Robbery" (1979) and "Flash Gordon" (1980) while delivering an intriguing adaptation of E.L. Doctorow's historical novel, "Ragtime" (1981), directed by Milos Forman. Meanwhile, he helped introduce the world to Arnold Schwarzenegger by producing "Conan the Barbarian" (1982), which later spawned a sequel "Conant the Destroyer" (1984) and an off-shoot, "Red Sonja" (1985).
Amid much fanfare in 1983, De Laurentiis announced the formation of the De Laurentiis Entertainment Group (DEG), which included a state-of-the-art film studio in Wilmington, NC. Serving as chairman and CEO, he oversaw an ambitious slate of films, most of which proved to be box office disappointments. Despite the presence of stars Anthony Hopkins and Mel Gibson, "The Bounty" (1984), a retelling of the famous mutiny, failed to find an audience.
Most disappointing of all was "Dune" (1984), director David Lynch's wildly ambitious and overly muddled distillation of Frank Herbert's classic sci-fi novel, which proved to be both an expensive failure and a frustrating mess for audiences. After the failures of projects like "Year of the Dragon" (1985) and "Tai Pan" (1986), De Laurentiis ceded defeat and resigned from DEG in 1988, while the following year, he lost his wife, Silvana Mangano, to lung cancer.
Perhaps a lesser figure would have been driven from the industry, but the formidable De Laurentiis formed Dino De Laurentiis Communications and produced the remake of "The Desperate Hours" (1990). Following his first foray into American television, "Stephen King's 'Sometimes They Come Back'" (CBS, 1991), he returned to features as the executive producer of "Kuffs" (1992) while signing Madonna to star in "Body of Evidence" (1993), a "Basic Instinct"-inspired knockoff.
Returning to the small screen, De Laurentiis returned to the biblically-inspired films of the 1960s and oversaw a remake of "Solomon and Sheba" (Showtime, 1995) which starred Jimmy Smits as the biblical ruler of Israel and Halle Berry as the Queen of Sheba. Also that year, he steered the television movie depicting the biblical Joseph (Adrian Pasdar) and his rise out of slavery to become the chief minister to the Pharaoh of Egypt (Orso Maria Guerrini) in the oddly-titled "Slave of Dreams" (Showtime, 1995). Although the Ray Liotta thriller "Unforgettable" (1996) was anything but, De Laurentiis enjoyed a critical hit with "Breakdown" (1997), a taut thriller starring Kurt Russell as a husband looking for his wife's kidnapper after a breakdown in the middle of Nowhere, New Mexico. As the years piled on, De Laurentiis slowed down his output, though he did remain active while receiving the Irving G. Thalberg Award from the Academy of Motion Picture Arts and Sciences in 2001.
Following the underwhelming World War II yarn "U-571" (2000), De Laurentiis brought "Hannibal" (2001) - the long-awaited sequel to "The Silence of the Lambs" (1991) - to the screen. Previously, his company held the rights to Thomas Harris' novels and was behind the Michael Mann-helmed "Manhunter" (1986). But the financial wreckage left behind from that box office failure forced the company to pass on "Lambs," only to see Orion Pictures make a huge hit that won multiple Oscars. Determined to not let such an opportunity pass him by again, De Laurentiis at long last managed to convince Anthony Hopkins to reprise Dr. Hannibal Lecter despite "Lambs" star Jodie Foster and director Jonathan Demme declining to participate. With Julianne Moore as Clarice Starling and Ridley Scott in the director's chair, De Laurentiis finally brought the picture to screen. Though a huge box office hit - the film earned $58 million its opening weekend - "Hannibal" received mix reviews at best and zero Oscar nominations. De Laurentiis went back to the well with "Red Dragon" (2002), a remake of "Manhunter" starring Hopkins and Edward Norton.
Several years later, he produced "Hannibal Rising" (2007), a prequel that saw the rise of Hannibal Lecter (Gaspard Ulliel) as a notorious serial killer. The film was savaged by critics on its way to becoming a box office dud. Although his final project was not a major success, De Laurentiis left behind a sweeping legacy of producing quality films, as well as sharing his unrequited love of the art form itself with the rest of the world. De Laurentiis passed away on Nov. 10, 2010 in his Beverly Hills home, surrounded by loved ones. He was 91 years old.
|
||||
202
|
dbpedia
|
3
| 39 |
https://www.twincities.com/2010/11/11/dino-de-laurentiis-91-italian-film-producer-entrepreneur/
|
en
|
Dino De Laurentiis, 91, Italian film producer, entrepreneur
|
[
"https://www.twincities.com/wp-content/uploads/2022/04/TwinCitiesPioneerPress_HighRes.jpg",
"https://www.twincities.com/wp-content/uploads/2015/11/20101111__101112deel.jpg?w=463",
"https://www.twincities.com/wp-content/uploads/2024/08/STP-L-LAWSUIT-0807.jpg?w=467",
"https://www.twincities.com/wp-content/uploads/2024/08/cdn.forumcomm.webp?w=525",
"https://www.twincities.com/wp-content/uploads/2024/03/STP-L-jea-14-STATE_OF_CITY-0311.jpg?w=620",
"https://www.twincities.com/wp-content/uploads/2024/08/Financial_Markets_Wall_Street_19057_d038e2.jpg?w=525",
"https://www.twincities.com/wp-content/uploads/2023/12/STP-L-LIGHTRAILFARE-1214_01.jpg?w=552",
"https://www.twincities.com/wp-content/uploads/2024/08/STP-L-FORTROAD-0806_06.jpg?w=525",
"https://www.twincities.com/wp-content/uploads/2022/04/TwinCitiesPioneerPress_HighRes.jpg"
] |
[] |
[] |
[
""
] | null |
[
"Pioneer Press"
] |
2010-11-11T00:00:00
|
Dino De Laurentiis, the high-flying Italian film producer and entrepreneur whose movies ranged from some of Federico Fellini’s earliest works to “Serpico,” “Death Wish” and the 1976 remake of “King Kong,” died Wednesday at his home in Beverly Hills, Calif. He was 91. His death was confirmed by his daughter Raffaella.De Laurentiis’ career dated to […]
|
en
|
Twin Cities
|
https://www.twincities.com/2010/11/11/dino-de-laurentiis-91-italian-film-producer-entrepreneur/
|
To place an obituary, please include the information from the obituary checklist below in an email to obits@pioneerpress.com. There is no option to place them through our website. Feel free to contact our obituary desk at 651-228-5263 with any questions.
General Information:
Your full name,
Address (City, State, Zip Code),
Phone number,
And an alternate phone number (if any)
Obituary Specification:
Name of Deceased,
Obituary Text,
A photo in a JPEG or PDF file is preferable, TIF and other files are accepted, we will contact you if there are any issues with the photo.
Ad Run dates
There is a discount for running more than one day, but this must be scheduled on the first run date to apply.
If a photo is used, it must be used for both days for the discount to apply, contact us for more information.
Policies:
Verification of Death:
In order to publish obituaries a name and phone number of funeral home/cremation society is required. We must contact the funeral home/cremation society handling the arrangements during their business hours to verify the death. If the body of the deceased has been donated to the University of Minnesota Anatomy Bequest Program, or a similar program, their phone number is required for verification.
Please allow enough time to contact them especially during their limited weekend hours.
A death certificate is also acceptable for this purpose but only one of these two options are necessary.
Guestbook and Outside Websites:
We are not allowed to reference other media sources with a guestbook or an obituary placed elsewhere when placing an obituary in print and online. We may place a website for a funeral home or a family email for contact instead; contact us with any questions regarding this matter.
Obituary Process:
Once your submission is completed, we will fax or email a proof for review prior to publication in the newspaper. This proof includes price and days the notice is scheduled to appear.
Please review the proof carefully. We must be notified of errors or changes before the notice appears in the Pioneer Press based on each day’s deadlines.
After publication, we will not be responsible for errors that may occur after final proofing.
Online:
All obituaries appear on TwinCities.com with a permanent online guestbook presence. If you wish to have the online presence removed, you can contact us to remove the guestbook online. Changes to an online obituary can be handled through the obituary desk. Call us with further questions.
Payment Procedure:
Pre-payment is required for all obituary notices prior to publication by the deadline specified below in our deadline schedule. Please call 651-228-5263 with your payment information after you have received the proof and approved its contents.
Credit Card: Payment accepted by phone only due to PCI (Payment Card Industry) regulations
EFT: Check by phone. Please provide your routing number and account number.
Cash: Accepted at our FRONT COUNTER Monday – Friday from 8:00AM – 3:30PM
Rates:
The minimum charge is $162 for the first 10 lines.
Every line after the first 10 is $12.20.
If the ad is under 10 lines it will be charged the minimum rate of $162.
On a second run date, the lines are $8.20 per line, starting w/ the first line.
For example: if first run date was 20 lines the cost would be $164.
Each photo published is $125 per day.
For example: 2 photos in the paper on 2 days would be 4 photo charges at $500.
Deadlines:
Please follow deadline times to ensure your obituary is published on the day requested.
Hours
Deadline (no exceptions)
Ad
Photos
MEMORIAM (NON-OBITUARY) REQUEST
Unlike an obituary, Memoriam submissions are remembrances of a loved one who has passed. The rates for a memoriam differ from obituaries.
Please call or email us for more memoriam information
Please call 651-228-5280 for more information.
HOURS: Monday – Friday 8:00AM – 5:00PM (CLOSED WEEKENDS and HOLIDAYS)
Please submit your memoriam ad to memoriams@pioneerpress.com or call 651-228-5280.
Dino De Laurentiis, the high-flying Italian film producer and entrepreneur whose movies ranged from some of Federico Fellini’s earliest works to “Serpico,” “Death Wish” and the 1976 remake of “King Kong,” died Wednesday at his home in Beverly Hills, Calif. He was 91.
His death was confirmed by his daughter Raffaella.
De Laurentiis’ career dated to prewar Italy, and the hundreds of films he produced covered a range of styles and genres.
His filmography includes major titles of the early Italian New Wave, including the international success “Bitter Rice” (1949), whose star, Silvana Mangano, became his first wife; two important films by Fellini, “La Strada” (1954) and “Nights of Cabiria” (1957), which both won Academy Awards; and the film that many critics regard as David Lynch’s best work, “Blue Velvet” (1986). In 2001, De Laurentiis was given the Irving G. Thalberg Memorial Award for lifetime achievement.
But De Laurentiis never turned his nose up at unabashed popular entertainment like Sergio Corbucci’s “Goliath and the Vampires” (1961), Roger Vadim’s “Barbarella” (1968) and Richard Fleischer’s “Mandingo” (1975) — several of which hold up better today than some of De Laurentiis’ more respectable productions.
De Laurentiis lured Anthony Quinn to Rome for “La Strada” and shortly after that cast Kirk Douglas in the title role of “Ulysses,” a spectacular that was directed by Italian film veteran Mario Camerini (with an uncredited assist from director and cinematographer Mario Bava) and that De Laurentiis sold to Paramount. The formula proved to be a profitable one, allowing De Laurentiis to pay grandiose salaries to his imported stars while cutting costs by using local technicians.
Actors like Audrey Hepburn and Henry Fonda (“War and Peace,” 1956), Anthony Perkins (“This Angry Age,” 1958), Vera Miles and Van Heflin (“5 Branded Women,” 1960) and Charles Laughton (“Under Ten Flags,” 1960) made their way to Italy, where they often performed with other international stars.
At the same time, De Laurentiis continued making films for the home market. He had a close relationship with legendary Italian clown Toto (for whom he produced the 1952 “Toto a Colori,” one of the first Italian feature films shot entirely in color) and Alberto Sordi, a rotund comic whose portrayals of middle-class Romans struggling to stay ahead of the game became a projection of the national identity. His success, aided by the government subsidies that had been created to encourage postwar production in Italy, eventually allowed him to build his own studio, which he named Dinocitta.
De Laurentiis’ empire began to crumble in 1965, when Italy’s Socialist government passed new regulations that put severe restrictions on what could be called an Italian movie.
With his subsidies in doubt, his contract with Sordi coming to an end and a continuing legal battle with Fellini over unmade projects, De Laurentiis closed Dinocitta in 1972 and the next year moved to New York, where he opened an office.
In New York, De Laurentiis initiated a series of well-known productions, including “Serpico” (1973); “Death Wish” (1974); “Three Days of the Condor” (1975); John Wayne’s final film, “The Shootist” (1976); and John Guillermin’s big-budget remake of “King Kong” (1976).
But the successes alternated with failures, like “King of the Gypsies” (1978) and “Hurricane” (1979), and soon De Laurentiis was founding and closing production companies with dizzying speed, often selling the rights to his old films to secure the financing for his new ones.
Still, he persisted through the 1980s and ’90s, thanks chiefly to a relationship with Stephen King, many of whose books were filmed by De Laurentiis, and his ownership of Thomas Harris’ first novel in the Hannibal Lecter series, “Red Dragon.” De Laurentiis filmed the Harris novel twice: first in 1986 as “Manhunter,” with Brian Cox in the role of the cannibalistic serial killer, and then under the novel’s original title in 2002, with Anthony Hopkins back for another turn in the role after becoming a star playing Lecter in the nonDe Laurentiis “Silence of the Lambs.”
De Laurentiis had four children with Mangano: Veronica, Raffaella, Federico and Francesca. Federico De Laurentiis died in a plane crash in 1981. After Mangano’s death in 1989, De Laurentiis married American-born producer Martha Schumacher, with whom he had two daughters, Carolyna and Dina.
In addition to his wife and daughters, he is survived by three sisters; five grandchildren, including the chef and Food Network host Giada De Laurentiis; and two great-grandchildren.
— New York Times
Originally Published: November 11, 2010 at 11:01 p.m.
|
|||||
8327
|
dbpedia
|
2
| 7 |
en
|
File:Elizabeth Grey, Countess of Kent
|
https://en.wikisource.org/static/favicon/wikisource.ico
|
https://en.wikisource.org/static/favicon/wikisource.ico
|
[
"https://upload.wikimedia.org/wikipedia/commons/thumb/1/17/Elizabeth_Grey%2C_Countess_of_Kent_-_Van_Somer_c.1619.jpg/431px-Elizabeth_Grey%2C_Countess_of_Kent_-_Van_Somer_c.1619.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/4/4a/Commons-logo.svg/30px-Commons-logo.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/f/ff/Wikidata-logo.svg/20px-Wikidata-logo.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/b/ba/Wikidata-Reasonator_small_logo.svg/5px-Wikidata-Reasonator_small_logo.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/7/73/Blue_pencil.svg/15px-Blue_pencil.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/f/ff/Wikidata-logo.svg/20px-Wikidata-logo.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/f/ff/Wikidata-logo.svg/20px-Wikidata-logo.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Paulus_van_Somer_I_%281576-1621%29_-_Lady_Elizabeth_Grey%2C_Countess_of_Kent_-_T00398_-_Tate.jpg/180px-Paulus_van_Somer_I_%281576-1621%29_-_Lady_Elizabeth_Grey%2C_Countess_of_Kent_-_T00398_-_Tate.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/7/73/Blue_pencil.svg/15px-Blue_pencil.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/f/ff/Wikidata-logo.svg/20px-Wikidata-logo.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/c/c0/Tate_Britain_%285822081512%29_%282%29.jpg/193px-Tate_Britain_%285822081512%29_%282%29.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/b/b0/Openstreetmap_logo.svg/20px-Openstreetmap_logo.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Google_Maps_icon_%282020%29.svg/14px-Google_Maps_icon_%282020%29.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/f/ff/Wikidata-logo.svg/20px-Wikidata-logo.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/PD-icon.svg/64px-PD-icon.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/6/6e/Dialog-warning.svg/25px-Dialog-warning.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/1/17/Elizabeth_Grey%2C_Countess_of_Kent_-_Van_Somer_c.1619.jpg/86px-Elizabeth_Grey%2C_Countess_of_Kent_-_Van_Somer_c.1619.jpg",
"https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1",
"https://en.wikisource.org/static/images/footer/wikimedia-button.svg",
"https://en.wikisource.org/static/images/footer/poweredby_mediawiki.svg"
] |
[] |
[] |
[
""
] | null |
[] | null |
en
|
/static/favicon/wikisource.ico
|
This is a file from the Wikimedia Commons. Information from its description page there is shown below.
Commons is a freely licensed media file repository. You can help.
This is a faithful photographic reproduction of a two-dimensional, public domain work of art. The work of art itself is in the public domain for the following reason:
Public domainPublic domainfalsefalse
This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or fewer.
You must also include a United States public domain tag to indicate why this work is in the public domain in the United States.
https://creativecommons.org/publicdomain/mark/1.0/PDMCreative Commons Public Domain Mark 1.0falsefalse
The official position taken by the Wikimedia Foundation is that "faithful reproductions of two-dimensional public domain works of art are public domain".
This photographic reproduction is therefore also considered to be in the public domain in the United States. In other jurisdictions, re-use of this content may be restricted; see Reuse of PD-Art photographs for details.
|
||||||
8327
|
dbpedia
|
0
| 14 |
http://www.colonialsense.com/Society-Lifestyle/Census/Person/Paul_van_Somer_II/10943.php
|
en
|
Colonial Sense: Census: Paul van Somer II
|
http://www.colonialsense.com/favicon.ico
|
http://www.colonialsense.com/favicon.ico
|
[
"http://www.colonialsense.com/Colonial/Pix/Logos/08CSHeader.jpg",
"http://www.colonialsense.com/Colonial/Pix/NavBarH.png"
] |
[] |
[] |
[
"Paul van Somer II"
] | null |
[] | null |
Paul van Somer II: Biography, Facts, Information, Timeline, Links, Images, Notes, Quotes, Dictionary Citations, Contemporaries
|
/favicon.ico
| null | |||||
8327
|
dbpedia
|
0
| 55 |
https://issuu.com/theweissgallery/docs/_22courting_favour_-_from_elizabeth
|
en
|
Courting Favour: From Elizabeth I to James I, Tudor & Jacobean Portraits, 1560 - 1625
|
[
"https://static.isu.pub/fe/product-header-frontend/781e53c/31d186ba39f38e8c4fac.png",
"https://static.issuu.com/fe/silkscreen/0.0.3042/icons/gradient/icon-canva-gradient.svg",
"https://static.isu.pub/fe/product-header-frontend/781e53c/1e794a8c4ec65e549678.png",
"https://photo.isu.pub/theweissgallery/photo_large.jpg",
"https://image.isu.pub/201123185201-08b3731daa7562a502af9008726dcac2/jpg/page_1_thumb_large.jpg",
"https://image.isu.pub/200117130743-c0dbcb946fb2026b225037f72a0be3be/jpg/page_1_thumb_large.jpg",
"https://image.isu.pub/180517111508-1b52e7d0c04ce9473e53709e00b3f65d/jpg/page_1_thumb_large.jpg",
"https://image.isu.pub/180516101615-268c070b61a80ebd7c44c1cdfa930163/jpg/page_1_thumb_large.jpg",
"https://image.isu.pub/180515105850-092379a198dd8d037818abb9d0c44e44/jpg/page_1_thumb_large.jpg",
"https://image.isu.pub/180514100614-70f6cf645a37772bb4c5da0f2a2c2e4e/jpg/page_1_thumb_large.jpg",
"https://image.isu.pub/180511152458-9eda56f07f70a630d67e23a3b437889e/jpg/page_1_thumb_large.jpg",
"https://image.isu.pub/180510112238-042aa4fe67f6de8518ca1a502082bcb4/jpg/page_1_thumb_large.jpg",
"https://static.issuu.com/fe/silkscreen/0.0.2541/icons/gradient/icon-instagram-gradient.svg"
] |
[] |
[] |
[
""
] | null |
[] |
2017-06-26T13:24:50+00:00
|
This is The Weiss Gallery's first digital-only catalogue that was published for their Summer 2017 exhibition, "Courting Favour: From Elizabeth I to...
|
en
|
/favicon.ico
|
Issuu
|
https://issuu.com/theweissgallery/docs/_22courting_favour_-_from_elizabeth
|
This is The Weiss Gallery's first digital-only catalogue that was published for their Summer 2017 exhibition, "Courting Favour: From Elizabeth I to James I". The catalogue includes a broad range of formal and privately commissioned court portraits, depicting figures such as Elizabeth I and Robert Dudley, 1st Earl of Leicester, and works by artists such as William Larkin, Robert Peake and George Geldorp. For more information on any of the works, please visit our website, www.weissgallery.com
|
||||
8327
|
dbpedia
|
1
| 35 |
https://www.artwarefineart.com/gallery/portrait-king-james-i-england-ireland-vi-scotland-1566-1625
|
en
|
Portrait of King James I of England & Ireland & VI of Scotland 1566 -1625
|
https://www.artwarefineart.com/core/misc/favicon.ico
|
https://www.artwarefineart.com/core/misc/favicon.ico
|
[
"https://www.artwarefineart.com/sites/default/files/logo.png",
"https://www.artwarefineart.com/sites/default/files/styles/460xh/public/portraits/Portrait%20of%20King%20James%20I%20of%20England%20%26%20Ireland%20%26%20VI%20of%20Scotland%201566%20-1625.jpg?itok=dbT1L61-",
"https://www.artwarefineart.com/sites/default/files/styles/140xh/public/portraits/Portrait%20of%20King%20James%20I%20of%20England%20%26%20Ireland%20%26%20VI%20of%20Scotland%201566%20-1625%20det.jpg?itok=k_iZXNwO",
"https://www.artwarefineart.com/sites/default/files/styles/140xh/public/portraits/Portrait%20of%20King%20James%20I%20of%20England%20%26%20Ireland%20%26%20VI%20of%20Scotland%201566%20-1625%20det%202.jpg?itok=1QfSyxRX",
"https://upload.wikimedia.org/wikipedia/commons/thumb/9/9d/King_James_I_of_England_and_VI_of_Scotland_by_Arnold_van_Brounckhorst.jpg/170px-King_James_I_of_England_and_VI_of_Scotland_by_Arnold_van_Brounckhorst.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/d/da/Mary_Stuart_James.jpg/220px-Mary_Stuart_James.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/1/1f/James-VI-1586-Age-20.jpg/170px-James-VI-1586-Age-20.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/c/cb/Marriage_contract_between_Princess_Anna_of_Denmark_and_Jacob_6._of_Scotland_1589.jpg/220px-Marriage_contract_between_Princess_Anna_of_Denmark_and_Jacob_6._of_Scotland_1589.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/8/89/John_De_Critz_Anne_of_Denmark_1605.jpg/220px-John_De_Critz_Anne_of_Denmark_1605.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/b/b1/North_Berwick_Witches.png/170px-North_Berwick_Witches.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/2/27/James_VI_unite_1609_662019.jpg/220px-James_VI_unite_1609_662019.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/2/26/True_Law_of_Free_Monarchies.jpg/170px-True_Law_of_Free_Monarchies.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/9/93/Union_of_the_Crowns_Royal_Badge.svg/170px-Union_of_the_Crowns_Royal_Badge.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/9/9e/Portrait_of_James_I_of_England_wearing_the_jewel_called_the_Three_Brothers_in_his_hat.jpg/220px-Portrait_of_James_I_of_England_wearing_the_jewel_called_the_Three_Brothers_in_his_hat.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/3/30/James_I_of_England_404446.jpg/170px-James_I_of_England_404446.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/0/02/Robert_Carr%2C_Earl_of_Somerset_by_John_Hoskins.jpg/220px-Robert_Carr%2C_Earl_of_Somerset_by_John_Hoskins.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/6/64/George.Villiers.%28digital-tweak-of-restored-Rubens%29.jpg/220px-George.Villiers.%28digital-tweak-of-restored-Rubens%29.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/7/72/James_I_of_England_by_Daniel_Mytens.jpg/220px-James_I_of_England_by_Daniel_Mytens.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/b/bf/Banqueting_House_03_crop.jpg/220px-Banqueting_House_03_crop.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/9/93/Royal_Coat_of_Arms_of_the_Kingdom_of_Scotland.svg/200px-Royal_Coat_of_Arms_of_the_Kingdom_of_Scotland.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/4/43/Coat_of_Arms_of_England_%281603-1649%29.svg/200px-Coat_of_Arms_of_England_%281603-1649%29.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/1/18/Coat_of_Arms_of_Scotland_%281603-1649%29.svg/200px-Coat_of_Arms_of_Scotland_%281603-1649%29.svg.png"
] |
[] |
[] |
[
""
] | null |
[] | null |
en
|
/core/misc/favicon.ico
|
https://www.artwarefineart.com/gallery/portrait-king-james-i-england-ireland-vi-scotland-1566-1625
|
James VI and I (James Charles Stuart; 19 June 1566 – 27 March 1625) was King of Scotland as James VI from 24 July 1567 and King of England and Ireland as James I from the union of the Scottish and English crowns on 24 March 1603 until his death in 1625. The kingdoms of Scotland and England were individual sovereign states, with their own parliaments, judiciaries, and laws, though both were ruled by James in personal union.
James was the son of Mary, Queen of Scots, and a great-great-grandson of Henry VII, King of England and Lord of Ireland, and thus a potential successor to all three thrones. He succeeded to the Scottish throne at the age of thirteen months, after his mother was compelled to abdicate in his favour. Four different regents governed during his minority, which ended officially in 1578, though he did not gain full control of his government until 1583. In 1603, he succeeded the last Tudor monarch of England and Ireland, Elizabeth I, who died childless. He continued to reign in all three kingdoms for 22 years, a period known as the Jacobean era, until his death. After the Union of the Crowns, he based himself in England (the largest of the three realms) from 1603, returning to Scotland only once, in 1617, and styled himself "King of Great Britain and Ireland". He was a major advocate of a single parliament for England and Scotland. In his reign, the Plantation of Ulster and English colonisation of the Americas began.
At 57 years and 246 days, James's reign in Scotland was the longest of any Scottish monarch. He achieved most of his aims in Scotland but faced great difficulties in England, including the Gunpowder Plot in 1605 and repeated conflicts with the English Parliament. Under James, the "Golden Age" of Elizabethan literature and drama continued, with writers such as William Shakespeare, John Donne, Ben Jonson, and Sir Francis Bacon contributing to a flourishing literary culture. James himself was a prolific writer, authoring works such as Daemonologie (1597), The True Law of Free Monarchies (1598), and Basilikon Doron (1599). He sponsored the translation of the Bible into English later named after him, the Authorized King James Version. Sir Anthony Weldon claimed that James had been termed "the wisest fool in Christendom", an epithet associated with his character ever since. Since the latter half of the 20th century, historians have tended to revise James's reputation and treat him as a serious and thoughtful monarch. He was strongly committed to a peace policy, and tried to avoid involvement in religious wars, especially the Thirty Years' War that devastated much of Central Europe. He tried but failed to prevent the rise of hawkish elements in the English Parliament who wanted war with Spain. He was succeeded by his second son, Charles.
James was the only son of Mary, Queen of Scots, and her second husband, Henry Stuart, Lord Darnley. Both Mary and Darnley were great-grandchildren of Henry VII of England through Margaret Tudor, the older sister of Henry VIII. Mary's rule over Scotland was insecure, and she and her husband, being Roman Catholics, faced a rebellion by Protestant noblemen. During Mary's and Darnley's difficult marriage, Darnley secretly allied himself with the rebels and conspired in the murder of the Queen's private secretary, David Rizzio, just three months before James's birth.
James was born on 19 June 1566 at Edinburgh Castle, and as the eldest son and heir apparent of the monarch automatically became Duke of Rothesay and Prince and Great Steward of Scotland. Five days later, an English diplomat Henry Killigrew saw the queen, who had not fully recovered and could only speak faintly. The baby was "sucking at his nurse" and was "well proportioned and like to prove a goodly prince". He was baptised "Charles James" or "James Charles" on 17 December 1566 in a Catholic ceremony held at Stirling Castle. His godparents were Charles IX of France (represented by John, Count of Brienne), Elizabeth I of England (represented by the Earl of Bedford), and Emmanuel Philibert, Duke of Savoy (represented by ambassador Philibert du Croc).[a] Mary refused to let the Archbishop of St Andrews, whom she referred to as "a pocky priest", spit in the child's mouth, as was then the custom. The subsequent entertainment, devised by Frenchman Bastian Pagez, featured men dressed as satyrs and sporting tails, to which the English guests took offence, thinking the satyrs "done against them".
James's father, Darnley, was murdered on 10 February 1567 at Kirk o' Field, Edinburgh, perhaps in revenge for the killing of Rizzio. James inherited his father's titles of Duke of Albany and Earl of Ross. Mary was already unpopular, and her marriage on 15 May 1567 to James Hepburn, 4th Earl of Bothwell, who was widely suspected of murdering Darnley, heightened widespread bad feeling towards her. In June 1567, Protestant rebels arrested Mary and imprisoned her in Loch Leven Castle; she never saw her son again. She was forced to abdicate on 24 July 1567 in favour of the infant James and to appoint her illegitimate half-brother, James Stewart, Earl of Moray, as regent.
Regencies
The care of James was entrusted to the Earl and Countess of Mar, "to be conserved, nursed, and upbrought" in the security of Stirling Castle. James was anointed King of Scotland at the age of thirteen months at the Church of the Holy Rude in Stirling, by Adam Bothwell, Bishop of Orkney, on 29 July 1567. The sermon at the coronation was preached by John Knox. In accordance with the religious beliefs of most of the Scottish ruling class, James was brought up as a member of the Protestant Church of Scotland, the Kirk. The Privy Council selected George Buchanan, Peter Young, Adam Erskine (lay abbot of Cambuskenneth), and David Erskine (lay abbot of Dryburgh) as James's preceptors or tutors. As the young king's senior tutor, Buchanan subjected James to regular beatings but also instilled in him a lifelong passion for literature and learning. Buchanan sought to turn James into a God-fearing, Protestant king who accepted the limitations of monarchy, as outlined in his treatise De Jure Regni apud Scotos.
In 1568, Mary escaped from her imprisonment at Loch Leven Castle, leading to several years of sporadic violence. The Earl of Moray defeated Mary's troops at the Battle of Langside, forcing her to flee to England, where she was subsequently kept in confinement by Elizabeth. On 23 January 1570, Moray was assassinated by James Hamilton of Bothwellhaugh.The next regent was James's paternal grandfather Matthew Stewart, 4th Earl of Lennox, who was carried fatally wounded into Stirling Castle a year later after a raid by Mary's supporters. His successor, the Earl of Mar, "took a vehement sickness" and died on 28 October 1572 at Stirling. Mar's illness, wrote James Melville, followed a banquet at Dalkeith Palace given by James Douglas, 4th Earl of Morton.
Morton was elected to Mar's office and proved in many ways the most effective of James's regents, but he made enemies by his rapacity. He fell from favour when Frenchman Esmé Stewart, Sieur d'Aubigny, first cousin of James's father Lord Darnley and future Earl of Lennox, arrived in Scotland and quickly established himself as the first of James's powerful favourites. James was proclaimed an adult ruler in a ceremony of Entry to Edinburgh on 19 October 1579. Morton was executed on 2 June 1581, belatedly charged with complicity in Darnley's murder. On 8 August, James made Lennox the only duke in Scotland. The king, then fifteen years old, remained under the influence of Lennox for about one more year.
Rule in Scotland
Lennox was a Protestant convert, but he was distrusted by Scottish Calvinists who noticed the physical displays of affection between him and the king and alleged that Lennox "went about to draw the King to carnal lust". In August 1582, in what became known as the Ruthven Raid, the Protestant earls of Gowrie and Angus lured James into Ruthven Castle, imprisoned him, and forced Lennox to leave Scotland. During James's imprisonment (19 September 1582), John Craig, whom the king had personally appointed royal chaplain in 1579, rebuked him so sharply from the pulpit for having issued a proclamation so offensive to the clergy "that the king wept".
After James was liberated in June 1583, he assumed increasing control of his kingdom. He pushed through the Black Acts to assert royal authority over the Kirk, and denounced the writings of his former tutor Buchanan. Between 1584 and 1603, he established effective royal government and relative peace among the lords, ably assisted by John Maitland of Thirlestane who led the government until 1592. An eight-man commission known as the Octavians brought some control over the ruinous state of James's finances in 1596, but it drew opposition from vested interests. It was disbanded within a year after a riot in Edinburgh, which was stoked by anti-Catholicism and led the court to withdraw to Linlithgow temporarily.
One last Scottish attempt against the king's person occurred in August 1600, when James was apparently assaulted by Alexander Ruthven, the Earl of Gowrie's younger brother, at Gowrie House, the seat of the Ruthvens. Ruthven was run through by James's page John Ramsay, and the Earl of Gowrie was killed in the ensuing fracas; there were few surviving witnesses. Given James's history with the Ruthvens and the fact that he owed them a great deal of money, his account of the circumstances was not universally believed.
In 1586, James signed the Treaty of Berwick with England. That and his mother's execution in 1587, which he denounced as a "preposterous and strange procedure", helped clear the way for his succession south of the border. Queen Elizabeth was unmarried and childless, and James was her most likely successor. Securing the English succession became a cornerstone of his policy. During the Spanish Armada crisis of 1588, he assured Elizabeth of his support as "your natural son and compatriot of your country". Elizabeth sent James an annual subsidy from 1586 which gave her some leverage over affairs in Scotland.
Marriage
Throughout his youth, James was praised for his chastity, since he showed little interest in women. After the loss of Lennox, he continued to prefer male company. A suitable marriage, however, was necessary to reinforce his monarchy, and the choice fell on fourteen-year-old Anne of Denmark, younger daughter of Protestant Frederick II. Shortly after a proxy marriage in Copenhagen in August 1589, Anne sailed for Scotland but was forced by storms to the coast of Norway. On hearing that the crossing had been abandoned, James sailed from Leith with a 300-strong retinue to fetch Anne personally in what historian David Harris Willson called "the one romantic episode of his life". The couple were married formally at the Bishop's Palace in Oslo on 23 November. James received a dowry of 75,000 Danish dalers and a gift of 10,000 dalers from his mother-in-law Sophie of Mecklenburg-Güstrow. After stays at Elsinore and Copenhagen and a meeting with Tycho Brahe, they returned to Scotland on 1 May 1590. By all accounts, James was at first infatuated with Anne and, in the early years of their marriage, seems always to have shown her patience and affection. The royal couple produced three children who survived to adulthood: Henry Frederick, Prince of Wales, who died of typhoid fever in 1612, aged 18; Elizabeth, later queen of Bohemia; and Charles, his successor. Anne died before her husband, in March 1619.
Witch hunts
James's visit to Denmark, a country familiar with witch-hunts, sparked an interest in the study of witchcraft, which he considered a branch of theology. He attended the North Berwick witch trials, the first major persecution of witches in Scotland under the Witchcraft Act 1563. Several people were convicted of using witchcraft to send storms against James's ship, most notably Agnes Sampson.
James became concerned with the threat posed by witches and wrote Daemonologie in 1597, a tract inspired by his personal involvement that opposed the practice of witchcraft and that provided background material for Shakespeare's Tragedy of Macbeth. James personally supervised the torture of women accused of being witches. After 1599, his views became more sceptical. In a later letter written in England to his son Henry, James congratulates the prince on "the discovery of yon little counterfeit wench. I pray God ye may be my heir in such discoveries ... most miracles now-a-days prove but illusions, and ye may see by this how wary judges should be in trusting accusations".
Highlands and Islands
The forcible dissolution of the Lordship of the Isles by James IV in 1493 had led to troubled times for the western seaboard. He had subdued the organised military might of the Hebrides, but he and his immediate successors lacked the will or ability to provide an alternative form of governance. As a result, the 16th century became known as linn nan creach, the time of raids. Furthermore, the effects of the Reformation were slow to affect the Gàidhealtachd, driving a religious wedge between this area and centres of political control in the Central Belt.
In 1540, James V had toured the Hebrides, forcing the clan chiefs to accompany him. There followed a period of peace, but the clans were soon at loggerheads with one another again. During James VI's reign, the citizens of the Hebrides were portrayed as lawless barbarians rather than being the cradle of Scottish Christianity and nationhood. Official documents describe the peoples of the Highlands as "void of the knawledge and feir of God" who were prone to "all kynd of barbarous and bestile cruelteis". The Gaelic language, spoken fluently by James IV and probably by James V, became known in the time of James VI as "Erse" or Irish, implying that it was foreign in nature. The Scottish Parliament decided that Gaelic had become a principal cause of the Highlanders' shortcomings and sought to abolish it.
It was against this background that James VI authorised the "Gentleman Adventurers of Fife" to civilise the "most barbarous Isle of Lewis" in 1598. James wrote that the colonists were to act "not by agreement" with the local inhabitants, but "by extirpation of thame". Their landing at Stornoway began well, but the colonists were driven out by local forces commanded by Murdoch and Neil MacLeod. The colonists tried again in 1605 with the same result, although a third attempt in 1607 was more successful. The Statutes of Iona were enacted in 1609, which required clan chiefs to provide support for Protestant ministers to Highland parishes; to outlaw bards; to report regularly to Edinburgh to answer for their actions; and to send their heirs to Lowland Scotland, to be educated in English-speaking Protestant schools. So began a process "specifically aimed at the extirpation of the Gaelic language, the destruction of its traditional culture and the suppression of its bearers."
In the Northern Isles, James's cousin Patrick Stewart, Earl of Orkney, resisted the Statutes of Iona and was consequently imprisoned. His natural son Robert led an unsuccessful rebellion against James, and the Earl and his son were hanged. Their estates were forfeited, and the Orkney and Shetland islands were annexed to the Crown.
Theory of monarchy
In 1597–98, James wrote The True Law of Free Monarchies and Basilikon Doron (Royal Gift), in which he argues a theological basis for monarchy. In the True Law, he sets out the divine right of kings, explaining that kings are higher beings than other men for Biblical reasons, though "the highest bench is the sliddriest to sit upon". The document proposes an absolutist theory of monarchy, by which a king may impose new laws by royal prerogative but must also pay heed to tradition and to God, who would "stirre up such scourges as pleaseth him, for punishment of wicked kings".
Basilikon Doron was written as a book of instruction for four-year-old Prince Henry and provides a more practical guide to kingship. The work is considered to be well written and perhaps the best example of James's prose. James's advice concerning parliaments, which he understood as merely the king's "head court", foreshadows his difficulties with the English Commons: "Hold no Parliaments," he tells Henry, "but for the necesitie of new Lawes, which would be but seldome". In the True Law, James maintains that the king owns his realm as a feudal lord owns his fief, because kings arose "before any estates or ranks of men, before any parliaments were holden, or laws made, and by them was the land distributed, which at first was wholly theirs. And so it follows of necessity that kings were the authors and makers of the laws, and not the laws of the kings."
Literary patronage
In the 1580s and 1590s, James promoted the literature of his native country. He published his treatise Some Rules and Cautions to be Observed and Eschewed in Scottish Prosody in 1584 at the age of 18. It was both a poetic manual and a description of the poetic tradition in his mother tongue of Scots, applying Renaissance principles. He also made statutory provision to reform and promote the teaching of music, seeing the two in connection. One act of his reign urges the Scottish burghs to reform and support the teaching of music in Sang Sculis.
In furtherance of these aims, he was both patron and head of a loose circle of Scottish Jacobean court poets and musicians known as the Castalian Band, which included William Fowler and Alexander Montgomerie among others, Montgomerie being a favourite of the king. James was himself a poet, and was happy to be seen as a practising member of the group.
By the late 1590s, his championing of native Scottish tradition was reduced to some extent by the increasing likelihood of his succession to the English throne. William Alexander and other courtier poets started to anglicise their written language, and followed the king to London after 1603. James's role as active literary participant and patron made him a defining figure in many respects for English Renaissance poetry and drama, which reached a pinnacle of achievement in his reign,but his patronage of the high style in the Scottish tradition, which included his ancestor James I of Scotland, became largely sidelined.
Accession in England
Main article: Union of the Crowns
From 1601, in the last years of Elizabeth's life, certain English politicians—notably her chief minister Sir Robert Cecil maintained a secret correspondence with James to prepare in advance for a smooth succession. With the Queen clearly dying, Cecil sent James a draft proclamation of his accession to the English throne in March 1603. Elizabeth died in the early hours of 24 March, and James was proclaimed king in London later the same day.
On 5 April, James left Edinburgh for London, promising to return every three years (a promise that he did not keep), and progressed slowly southwards. Local lords received him with lavish hospitality along the route and James was amazed by the wealth of his new land and subjects, claiming that he was "swapping a stony couch for a deep feather bed". James arrived in the capital on 7 May, nine days after Elizabeth's funeral. His new subjects flocked to see him, relieved that the succession had triggered neither unrest nor invasion. On arrival at London, he was mobbed by a crowd of spectators.
His English coronation took place on 25 July at Westminster Abbey, with elaborate allegories provided by dramatic poets such as Thomas Dekker and Ben Jonson. An outbreak of plague restricted festivities, but "the streets seemed paved with men," wrote Dekker. "Stalls instead of rich wares were set out with children, open casements filled up with women."
The kingdom to which James succeeded, however, had its problems. Monopolies and taxation had engendered a widespread sense of grievance, and the costs of war in Ireland had become a heavy burden on the government, which had debts of £400,000.
Early reign in England
Main article: Jacobean era
James survived two conspiracies in the first year of his reign, despite the smoothness of the succession and the warmth of his welcome: the Bye Plot and Main Plot, which led to the arrest of Lord Cobham and Sir Walter Raleigh, among others.Those hoping for a change in government from James were disappointed at first when he kept Elizabeth's Privy Councillors in office, as secretly planned with Cecil, but James soon added long-time supporter Henry Howard and his nephew Thomas Howard to the Privy Council, as well as five Scottish nobles.
In the early years of James's reign, the day-to-day running of the government was tightly managed by the shrewd Cecil, later Earl of Salisbury, ably assisted by the experienced Thomas Egerton, whom James made Baron Ellesmere and Lord Chancellor, and by Thomas Sackville, soon Earl of Dorset, who continued as Lord Treasurer. As a consequence, James was free to concentrate on bigger issues, such as a scheme for a closer union between England and Scotland and matters of foreign policy, as well as to enjoy his leisure pursuits, particularly hunting.
James was ambitious to build on the personal union of the Crowns of Scotland and England to establish a single country under one monarch, one parliament, and one law, a plan that met opposition in both realms. "Hath He not made us all in one island," James told the English Parliament, "compassed with one sea and of itself by nature indivisible?" In April 1604, however, the Commons refused his request to be titled "King of Great Britain" on legal grounds. In October 1604, he assumed the title "King of Great Britain" instead of "King of England" and "King of Scotland", though Sir Francis Bacon told him that he could not use the style in "any legal proceeding, instrument or assurance" and the title was not used on English statutes. James forced the Parliament of Scotland to use it, and it was used on proclamations, coinage, letters, and treaties in both realms.
James achieved more success in foreign policy. Never having been at war with Spain, he devoted his efforts to bringing the long Anglo–Spanish War to an end, and a peace treaty was signed between the two countries in August 1604, thanks to the skilled diplomacy of the delegation, in particular Robert Cecil and Henry Howard, now Earl of Northampton. James celebrated the treaty by hosting a great banquet. Freedom of worship for Catholics in England, however, continued to be a major objective of Spanish policy, causing constant dilemmas for James, distrusted abroad for repression of Catholics while at home being encouraged by the Privy Council to show even less tolerance towards them.
Gunpowder Plot
Main article: Gunpowder Plot
A dissident Catholic, Guy Fawkes, was discovered in the cellars of the parliament buildings on the night of 4–5 November 1605, the eve of the state opening of the second session of James's first English Parliament. He was guarding a pile of wood not far from 36 barrels of gunpowder. Some politicians, scared of Catholics, assumed Fawkes intended to use the barrels to blow up Parliament House the following day and cause the destruction, as James put it, "not only ... of my person, nor of my wife and posterity also, but of the whole body of the State in general". The sensational discovery of the "Gunpowder Plot," as it quickly became known, aroused a mood of national relief at the delivery of the king and his sons. Salisbury exploited this to extract higher subsidies from the ensuing Parliament than any but one granted to Elizabeth. Fawkes and other implicated minorities were tortured and executed.
King and Parliament
The co-operation between monarch and Parliament following the Gunpowder Plot was atypical. Instead, it was the previous session of 1604 that shaped the attitudes of both sides for the rest of the reign, though the initial difficulties owed more to mutual incomprehension than conscious enmity. On 7 July 1604, James had angrily prorogued Parliament after failing to win its support either for full union or financial subsidies. "I will not thank where I feel no thanks due", he had remarked in his closing speech. "... I am not of such a stock as to praise fools ... You see how many things you did not well ... I wish you would make use of your liberty with more modesty in time to come".
As James's reign progressed, his government faced growing financial pressures, partly due to creeping inflation but also to the profligacy and financial incompetence of James's court. In February 1610, Salisbury proposed a scheme, known as the Great Contract, whereby Parliament, in return for ten royal concessions, would grant a lump sum of £600,000 to pay off the king's debts plus an annual grant of £200,000. The ensuing prickly negotiations became so protracted that James eventually lost patience and dismissed Parliament on 31 December 1610. "Your greatest error", he told Salisbury, "hath been that ye ever expected to draw honey out of gall". The same pattern was repeated with the so-called "Addled Parliament" of 1614, which James dissolved after a mere nine weeks when the Commons hesitated to grant him the money he required. James then ruled without parliament until 1621, employing officials such as the merchant Lionel Cranfield, who were astute at raising and saving money for the crown, and sold baronetcies and other dignities, many created for the purpose, as an alternative source of income.
Spanish match
Main article: Spanish match
Another potential source of income was the prospect of a Spanish dowry from a marriage between Charles, Prince of Wales, and Infanta Maria Anna of Spain.The policy of the Spanish match, as it was called, was also attractive to James as a way to maintain peace with Spain and avoid the additional costs of a war. Peace could be maintained as effectively by keeping the negotiations alive as by consummating the match—which may explain why James protracted the negotiations for almost a decade.
The policy was supported by the Howards and other Catholic-leaning ministers and diplomats—together known as the Spanish Party—but deeply distrusted in Protestant England. When Sir Walter Raleigh was released from imprisonment in 1616, he embarked on a hunt for gold in South America with strict instructions from James not to engage the Spanish. Raleigh's expedition was a disastrous failure, and his son Walter was killed fighting the Spanish. On Raleigh's return to England, James had him executed to the indignation of the public, who opposed the appeasement of Spain. James's policy was further jeopardised by the outbreak of the Thirty Years' War, especially after his Protestant son-in-law, Frederick V, Elector Palatine, was ousted from Bohemia by the Catholic Emperor Ferdinand II in 1620, and Spanish troops simultaneously invaded Frederick's Rhineland home territory. Matters came to a head when James finally called a Parliament in 1621 to fund a military expedition in support of his son-in-law. The Commons on the one hand granted subsidies inadequate to finance serious military operations in aid of Frederick, and on the other—remembering the profits gained under Elizabeth by naval attacks on Spanish gold shipments—called for a war directly against Spain. In November 1621, roused by Sir Edward Coke, they framed a petition asking not only for war with Spain but also for Prince Charles to marry a Protestant, and for enforcement of the anti-Catholic laws. James flatly told them not to interfere in matters of royal prerogative or they would risk punishment, which provoked them into issuing a statement protesting their rights, including freedom of speech. Urged on by the Duke of Buckingham and the Spanish ambassador Gondomar, James ripped the protest out of the record book and dissolved Parliament.
In early 1623, Prince Charles, now 22, and Buckingham decided to seize the initiative and travel to Spain incognito, to win the infanta directly, but the mission proved an ineffectual mistake. The infanta detested Charles, and the Spanish confronted them with terms that included the repeal of anti-Catholic legislation by Parliament. Though a treaty was signed, the prince and duke returned to England in October without the infanta and immediately renounced the treaty, much to the delight of the British people. Disillusioned by the visit to Spain, Charles and Buckingham now turned James's Spanish policy upon its head and called for a French match and a war against the Habsburg empire. To raise the necessary finance, they prevailed upon James to call another Parliament, which met in February 1624. For once, the outpouring of anti-Catholic sentiment in the Commons was echoed in court, where control of policy was shifting from James to Charles and Buckingham, who pressured the king to declare war and engineered the impeachment of Lord Treasurer Lionel Cranfield, by now made Earl of Middlesex, when he opposed the plan on grounds of cost. The outcome of the Parliament of 1624 was ambiguous: James still refused to declare or fund a war, but Charles believed the Commons had committed themselves to finance a war against Spain, a stance that was to contribute to his problems with Parliament in his own reign.
King and Church
After the Gunpowder Plot, James sanctioned harsh measures to control English Catholics. In May 1606, Parliament passed the Popish Recusants Act, which could require any citizen to take an Oath of Allegiance denying the Pope's authority over the king. James was conciliatory towards Catholics who took the Oath of Allegiance, and tolerated crypto-Catholicism even at court. Henry Howard, for example, was a crypto-Catholic, received back into the Catholic Church in his final months. On ascending the English throne, James suspected that he might need the support of Catholics in England, so he assured the Earl of Northumberland, a prominent sympathiser of the old religion, that he would not persecute "any that will be quiet and give but an outward obedience to the law".
In the Millenary Petition of 1603, the Puritan clergy demanded the abolition of confirmation, wedding rings, and the term "priest", among other things, and that the wearing of cap and surplice become optional. James was strict in enforcing conformity at first, inducing a sense of persecution amongst many Puritans; but ejections and suspensions from livings became rarer as the reign continued. As a result of the Hampton Court Conference of 1604, a new translation and compilation of approved books of the Bible was commissioned to resolve discrepancies among different translations then being used. The Authorized King James Version, as it came to be known, was completed in 1611 and is considered a masterpiece of Jacobean prose. It is still in widespread use.
In Scotland, James attempted to bring the Scottish Kirk "so neir as can be" to the English church and to reestablish episcopacy, a policy that met with strong opposition from presbyterians.James returned to Scotland in 1617 for the only time after his accession in England, in the hope of implementing Anglican ritual. James's bishops forced his Five Articles of Perth through a General Assembly the following year, but the rulings were widely resisted. James left the church in Scotland divided at his death, a source of future problems for his son.
Personal relationships
Throughout his life James had close relationships with male courtiers, which has caused debate among historians about their exact nature. In Scotland Anne Murray was known as the king's mistress. After his accession in England, his peaceful and scholarly attitude contrasted strikingly with the bellicose and flirtatious behaviour of Elizabeth, as indicated by the contemporary epigram Rex fuit Elizabeth, nunc est regina Iacobus (Elizabeth was King, now James is Queen).
Some of James's biographers conclude that Esmé Stewart (later Duke of Lennox), Robert Carr (later Earl of Somerset), and George Villiers (later Duke of Buckingham) were his lovers. Sir John Oglander observed that he "never yet saw any fond husband make so much or so great dalliance over his beautiful spouse as I have seen King James over his favourites, especially the Duke of Buckingham" whom the king would, recalled Sir Edward Peyton, "tumble and kiss as a mistress." Restoration of Apethorpe Palace in Northamptonshire, undertaken in 2004–08, revealed a previously unknown passage linking the bedchambers of James and Villiers.
Some biographers of James argue that the relationships were not sexual. James's Basilikon Doron lists sodomy among crimes "ye are bound in conscience never to forgive", and James's wife Anne gave birth to seven live children, as well as suffering two stillbirths and at least three other miscarriages. Contemporary Huguenot poet Théophile de Viau observed that "it is well known that the king of England / fucks the Duke of Buckingham". Buckingham himself provides evidence that he slept in the same bed as the king, writing to James many years later that he had pondered "whether you loved me now ... better than at the time which I shall never forget at Farnham, where the bed's head could not be found between the master and his dog". Buckingham's words may be interpreted as non-sexual, in the context of seventeenth-century court life, and remain ambiguous despite their fondness. It is also possible that James was bisexual.
When the Earl of Salisbury died in 1612, he was little mourned by those who jostled to fill the power vacuum. Until Salisbury's death, the Elizabethan administrative system over which he had presided continued to function with relative efficiency; from this time forward, however, James's government entered a period of decline and disrepute. Salisbury's passing gave James the notion of governing in person as his own chief Minister of State, with his young Scottish favourite Robert Carr carrying out many of Salisbury's former duties, but James's inability to attend closely to official business exposed the government to factionalism.
The Howard party, consisting of Northampton, Suffolk, Suffolk's son-in-law Lord Knollys, and Charles Howard, Earl of Nottingham, along with Sir Thomas Lake, soon took control of much of the government and its patronage. Even the powerful Carr fell into the Howard camp, hardly experienced for the responsibilities thrust upon him and often dependent on his intimate friend Sir Thomas Overbury for assistance with government papers.Carr had an adulterous affair with Frances Howard, Countess of Essex, daughter of the Earl of Suffolk, whom James assisted by securing an annulment of her marriage to free her to marry Carr.
In summer 1615, however, it emerged that Overbury had been poisoned. He had died on 15 September 1613 in the Tower of London, where he had been placed at the king's request. Among those convicted of the murder were Frances and Robert Carr, the latter having been replaced as the king's favourite in the meantime by Villiers. James pardoned Frances and commuted Carr's sentence of death, eventually pardoning him in 1624.The implication of the king in such a scandal provoked much public and literary conjecture and irreparably tarnished James's court with an image of corruption and depravity. The subsequent downfall of the Howards left Villiers unchallenged as the supreme figure in the government by 1619.
Health and death
In his later years, James suffered increasingly from arthritis, gout and kidney stones. He also lost his teeth and drank heavily. The king was often seriously ill during the last year of his life, leaving him an increasingly peripheral figure, rarely able to visit London, while Buckingham consolidated his control of Charles to ensure his own future. One theory is that James suffered from porphyria, a disease of which his descendant George III of the United Kingdom exhibited some symptoms. James described his urine to physician Théodore de Mayerne as being the "dark red colour of Alicante wine". The theory is dismissed by some experts, particularly in James's case, because he had kidney stones which can lead to blood in the urine, colouring it red.
In early 1625, James was plagued by severe attacks of arthritis, gout, and fainting fits, and fell seriously ill in March with tertian ague and then suffered a stroke. He died at Theobalds House in Hertfordshire on 27 March during a violent attack of dysentery, with Buckingham at his bedside. James's funeral on 7 May was a magnificent but disorderly affair. Bishop John Williams of Lincoln preached the sermon, observing, "King Solomon died in Peace, when he had lived about sixty years ... and so you know did King James". The sermon was later printed as Great Britain's Salomon .
James was buried in Westminster Abbey. The position of the tomb was lost for many years until his lead coffin was found in the Henry VII vault, during an excavation in the 19th century.
Legacy
James was widely mourned. For all his flaws, he had largely retained the affection of his people, who had enjoyed uninterrupted peace and comparatively low taxation during the Jacobean era. "As he lived in peace," remarked the Earl of Kellie, "so did he die in peace, and I pray God our king [Charles I] may follow him". The earl prayed in vain: once in power, Charles and Buckingham sanctioned a series of reckless military expeditions that ended in humiliating failure. James had often neglected the business of government for leisure pastimes, such as the hunt; his later dependence on favourites at a scandal-ridden court undermined the respected image of monarchy so carefully constructed by Elizabeth.
Under James, the Plantation of Ulster by English and Scots Protestants began, and the English colonisation of North America started its course with the foundation of Jamestown, Virginia, in 1607, and Cuper's Cove, Newfoundland, in 1610. During the next 150 years, England would fight with Spain, the Netherlands, and France for control of the continent, while religious division in Ireland between Protestant and Catholic has lasted for 400 years. By actively pursuing more than just a personal union of his realms, he helped lay the foundations for a unitary British state.
According to a tradition originating with anti-Stuart historians of the mid-17th-century, James's taste for political absolutism, his financial irresponsibility, and his cultivation of unpopular favourites established the foundations of the English Civil War. James bequeathed Charles a fatal belief in the divine right of kings, combined with a disdain for Parliament, which culminated in the execution of Charles I and the abolition of the monarchy. Over the last three hundred years, the king's reputation has suffered from the acid description of him by Sir Anthony Weldon, whom James had sacked and who wrote treatises on James in the 1650s.
Other influential anti-James histories written during the 1650s include: Sir Edward Peyton's Divine Catastrophe of the Kingly Family of the House of Stuarts (1652); Arthur Wilson's History of Great Britain, Being the Life and Reign of King James I (1658); and Francis Osborne's Historical Memoirs of the Reigns of Queen Elizabeth and King James (1658). David Harris Willson's 1956 biography continued much of this hostility. In the words of historian Jenny Wormald, Willson's book was an "astonishing spectacle of a work whose every page proclaimed its author's increasing hatred for his subject". Since Willson, however, the stability of James's government in Scotland and in the early part of his English reign, as well as his relatively enlightened views on religion and war, have earned him a re-evaluation from many historians, who have rescued his reputation from this tradition of criticism.
Representative of the new historical perspective is the 2003 biography by Pauline Croft. Reviewer John Cramsie summarises her findings:
Croft's overall assessment of James is appropriately mixed. She recognises his good intentions in matters like Anglo-Scottish union, his openness to different points of view, and his agenda of a peaceful foreign policy within his kingdoms' financial means. His actions moderated frictions between his diverse peoples. Yet he also created new ones, particularly by supporting colonisation that polarised the crown's interest groups in Ireland, obtaining insufficient political benefit with his open-handed patronage, an unfortunate lack of attention to the image of monarchy (particularly after the image-obsessed regime of Elizabeth), pursuing a pro-Spanish foreign policy that fired religious prejudice and opened the door for Arminians within the English church, and enforcing unpalatable religious changes on the Scottish Kirk. Many of these criticisms are framed within a longer view of James' reigns, including the legacy—now understood to be more troubled—which he left Charles I.
Titles, styles, honours, and arms
Titles and styles
In Scotland, James was "James the sixth, King of Scotland", until 1604. He was proclaimed "James the first, King of England, France, and Ireland, defender of the faith" in London on 24 March 1603.On 20 October 1604, James issued a proclamation at Westminster changing his style to "King of Great Brittaine, France and Ireland, Defender of the Faith, &c." The style was not used on English statutes, but was used on proclamations, coinage, letters, treaties, and in Scotland. James styled himself "King of France", in line with other monarchs of England between 1340 and 1801, although he did not actually rule France.
Arms
As King of Scotland, James bore the ancient royal arms of Scotland: Or, a lion rampant Gules armed and langued Azure within a double tressure flory counter-flory Gules. The arms were supported by two unicorns Argent armed, crined and unguled Proper, gorged with a coronet Or composed of crosses patée and fleurs de lys a chain affixed thereto passing between the forelegs and reflexed over the back also Or. The crest was a lion sejant affrontée Gules, imperially crowned Or, holding in the dexter paw a sword and in the sinister paw a sceptre both erect and Proper.
The Union of the Crowns of England and Scotland under James was symbolised heraldically by combining their arms, supporters and badges. Contention as to how the arms should be marshalled, and to which kingdom should take precedence, was solved by having different arms for each country.
The arms used in England were: Quarterly, I and IV, quarterly 1st and 4th Azure three fleurs de lys Or (for France), 2nd and 3rd Gules three lions passant guardant in pale Or (for England); II Or a lion rampant within a tressure flory-counter-flory Gules (for Scotland); III Azure a harp Or stringed Argent (for Ireland, this was the first time that Ireland was included in the royal arms). The supporters became: dexter a lion rampant guardant Or imperially crowned and sinister the Scottish unicorn. The unicorn replaced the red dragon of Cadwaladr, which was introduced by the Tudors. The unicorn has remained in the royal arms of the two united realms. The English crest and motto was retained. The compartment often contained a branch of the Tudor rose, with shamrock and thistle engrafted on the same stem. The arms were frequently shown with James's personal motto, Beati pacifici.
The arms used in Scotland were: Quarterly, I and IV Scotland, II England and France, III Ireland, with Scotland taking precedence over England. The supporters were: dexter a unicorn of Scotland imperially crowned, supporting a tilting lance flying a banner Azure a saltire Argent (Cross of Saint Andrew) and sinister the crowned lion of England supporting a similar lance flying a banner Argent a cross Gules (Cross of Saint George). The Scottish crest and motto was retained, following the Scottish practice the motto In defens (which is short for In My Defens God Me Defend) was placed above the crest.
As royal badges James used: the Tudor rose, the thistle (for Scotland; first used by James III of Scotland), the Tudor rose dimidiated with the thistle ensigned with the royal crown, a harp (for Ireland) and a fleur de lys (for France).
|
||||
8327
|
dbpedia
|
2
| 60 |
https://www.chippingcampdenhistory.org.uk/content/history/people-2/sir_baptist_hicks
|
en
|
Sir Baptist Hicks
|
[
"https://www.chippingcampdenhistory.org.uk/wp-content/themes/communitysites_chippingcampdenhistory/images-chipping/logo.png",
"https://www.chippingcampdenhistory.org.uk/wp-content/uploads/cms/Baptist_Hicks.vanSomer-314x518.jpg",
"https://www.chippingcampdenhistory.org.uk/wp-content/uploads/cms/Baptist_Hicks-314x76.jpg",
"https://www.chippingcampdenhistory.org.uk/wp-content/uploads/2013/06/tombfiguresbwcloseup-314x260.jpg",
"https://www.chippingcampdenhistory.org.uk/wp-content/uploads/2013/06/bhtomb2-314x296.jpg",
"https://www.chippingcampdenhistory.org.uk/wp-content/plugins/simple-share-buttons-adder/buttons/somacro/facebook.png",
"https://www.chippingcampdenhistory.org.uk/wp-content/plugins/simple-share-buttons-adder/buttons/somacro/pinterest.png",
"https://www.chippingcampdenhistory.org.uk/wp-content/plugins/simple-share-buttons-adder/buttons/somacro/twitter.png",
"https://www.chippingcampdenhistory.org.uk/wp-content/plugins/simple-share-buttons-adder/buttons/somacro/linkedin.png",
"https://www.chippingcampdenhistory.org.uk/wp-content/themes/communitysites_chippingcampdenhistory/images-chipping/logo-hlf.png"
] |
[] |
[] |
[
""
] | null |
[
"Mary Fielding"
] |
2013-06-23T00:00:00+00:00
|
Moneylender to King James I, benefactor and first Viscount Campden
|
en
|
https://www.chippingcampdenhistory.org.uk/favicon.ico
|
Chipping Campden History
|
https://www.chippingcampdenhistory.org.uk/content/history/people-2/sir_baptist_hicks
|
Baptist Hicks was a wealthy silk mercer who supplied the Court and made loans to many of the nobility including King James I. He made many benefactions to Campden and elsewhere.
Early Life
Baptist Hicks (or Hickes) was born in either late 1550 or early 1551, the youngest of six sons born to Robert and Juliana Hicks, only three of whom reached adulthood. Although his baptism is not recorded in the Parish Records for St Pancras, Soper Lane (the church burned down during the Fire of London in 1666 and many records were lost), three of his siblings were registered there and his father’s shop was nearby at the sign of the White Bear, so it is likely that he was also baptised at the parish church.
His father was a freeman of the Ironmongers’ Company, but actually traded as a silk mercer. In 1557, when Baptist was only 6, Robert died and his mother soon married again, a friend of her late husband, Anthony Penne. The three surviving brothers, Michael (eight years his senior), Clement and Baptist, attended St Paul’s School, close to where they lived. In due course, Baptist followed his brother Michael to Trinity College, Cambridge and the Inns of Court.
Michael entered the service of William Cecil, Lord Burghley, became his secretary and a friend of Robert Cecil; little is known about Clement apart from the fact that he lived in Chester and was some kind of Customs official; Baptist carried on as a mercer, probably taking over from his mother, who died in 1592, when he took over sole control of the business.
In 1584 Hicks married Elizabeth May, whose father, Richard, was a goldsmith. Although Baptist and Elizabeth had several sons, none survived beyond infancy. Their two daughters, Julian(a) and Mary married well with the benefit of huge dowries.
Mercer to the Court of Queen Elizabeth
Hicks became a Freeman of the Mercers’ Company in 1577 and was admitted to the Livery of the Mercers’ Company in 1686. During the 1580s and 90s he was moving up the City hierarchies and making contacts at Court, probably using the influence of brother Michael who was Secretary to Lord Burghley and Sir Robert Cecil, later Earl of Salisbury. By 1596 he was appointed Mercer to Queen Elizabeth and State Papers record the purchase of:
…Silks, Satins, Velvets and Taffetas, sold by Baptist Hicks, Merchant, to Sir Thomas Wilkes, on his going to Florence.
Total £68 3s. 2d.
Moneylender to James I
When James VI of Scotland ascended to the English throne in 1603 he brought his impoverished Scottish Court with him. Suddenly there was an urgent need for luxurious clothes and Hicks was there to supply the goods, extending considerable credit to his noble customers. For example in 1607 a warrant was issued to repay to Sir Baptist Hicks £12,000 with interest, part of a sum of £24,000, due from the Great Wardrobe and advanced to meet the King’s urgent needs. He also received lucrative concessions as an agent for the purchase and resale of royal lands.
James I knighted Hicks in 1603 and in 1620 he was created a baronet. He was MP for Tavistock in the parliament of 1621 and for Tewkesbury in the parliaments of 1624, 1625, 1626 and 1628. In 1628 he was elevated to the peerage as Baron Hicks of Ilmington, Warwickshire and Viscount Campden of Campden, Gloucestershire.
Baptist Hicks died in London in 1629 and is buried in Campden Church in this impressive marble monument by Nicholas Stone. As he had no direct male heirs, his son-in-law Edward Noel inherited his titles by a special remainder.
Public Benefactor
Sir Baptist Hicks, first Viscount Campden, made many benefactions to Campden including the Almshouses, the Market Hall and gifts to the Church which included the pulpit and the lectern.
The water-supply to his new manor house by the church and to the almshouses came from springs on Westington Hill and the tiny but elegant Conduit House is still to be seen.
Campden House
Sir Baptist Hicks’ new manor house, next to the church in Chipping Campden, was built in 1612 at a cost of £44,000 in the very latest style and with superb gardens, including a canal, water gardens, terraces and what is likely to have been a formal parterre, possibly with a central fountain.
Towards the end of the Civil War, in 1645, it was burned to the ground by order of the Royalist commander, Prince Rupert, in order to prevent it falling into the hands of the Parliamentary forces. The Gatehouse and two Banqueting Houses or pavilions remain together with some ruins of the house.
It is said that Lady Juliana Noel, Sir Baptist’s heir and widow of Edward Noel, second Viscount Campden, lived afterwards in the converted stables, now called the Court House, in Calf Lane.
For his town house, Hicks built a large mansion in Kensington, also called Campden House as well as a Sessions House for the Middlesex Magistrates which was called Hicks Hall in his honour. He acquired land and interest all over the country and left bequests worth around £10,000 in his will.
What did Campden House look like?
|
||||
8327
|
dbpedia
|
0
| 5 |
https://www.imdb.com/name/nm8591211/
|
en
|
Paul van Somer
|
[
"https://fls-na.amazon.com/1/batch/1/OP/A1EVAM02EL8SFB:134-7046805-0671102:BTK350EHD4W4564HT5Q1$uedata=s:%2Fuedata%2Fuedata%3Fstaticb%26id%3DBTK350EHD4W4564HT5Q1:0",
"https://m.media-amazon.com/images/M/MV5BMTQ1OTYwODUzN15BMl5BanBnXkFtZTcwMTM5ODk2Nw@@._V1_QL75_UY133_CR2,0,90,133_.jpg",
"https://m.media-amazon.com/images/M/MV5BMTQ1OTYwODUzN15BMl5BanBnXkFtZTcwMTM5ODk2Nw@@._V1_QL75_UY133_CR2,0,90,133_.jpg",
"https://m.media-amazon.com/images/G/01/IMDb/Mobile/DesktopQRCode-png.png",
"https://fls-na.amazon.com/1/batch/1/OP/A1EVAM02EL8SFB:134-7046805-0671102:BTK350EHD4W4564HT5Q1$uedata=s:%2Fuedata%2Fuedata%3Fnoscript%26id%3DBTK350EHD4W4564HT5Q1:0"
] |
[] |
[] |
[
"Paul van Somer"
] | null |
[
"IMDb"
] | null |
Paul van Somer. Art Department: The Queen's Palaces. Paul van Somer was born in 1577 in Antwerp, Spanish Netherlands. Paul is known for The Queen's Palaces (2011). Paul died on 5 January 1622 in London, England.
|
en
|
IMDb
|
https://www.imdb.com/name/nm8591211/
|
Paul van Somer was born in 1577 in Antwerp, Spanish Netherlands. Paul is known for The Queen's Palaces (2011). Paul died on 5 January 1622 in London, England.
Leading portraitist working at the court of King James I of England. Subjects included James I; Queen Anne of Denmark; Elizabeth, Countess of Kent; and Sir Francis Bacon.
|
|||||
8327
|
dbpedia
|
3
| 94 |
https://www.18thcenturycommon.org/tags/defoe/
|
en
|
Defoe Archives
|
[
"https://www.18thcenturycommon.org/wp-content/uploads/2013/05/mazarin-231x300.jpg",
"https://www.18thcenturycommon.org/wp-content/uploads/2013/05/linker-book.jpg",
"https://www.18thcenturycommon.org/wp-content/uploads/2013/05/plague-year-187x300.jpg",
"https://www.18thcenturycommon.org/wp-content/uploads/2012/12/RC-Footprint-300x190.jpg",
"https://www.18thcenturycommon.org/wp-content/uploads/2012/11/Thomas_Gainsborough_-_Wooded_Landscape_with_a_Cottage_and_Shepherd_-_Google_Art_Project.jpeg",
"http://18thcenturycommon.org/wp-content/uploads/2012/09/The-Humanities-Institute.png",
"http://18thcenturycommon.org/wp-content/uploads/2012/09/unioncollege.png",
"http://18thcenturycommon.org/wp-content/uploads/2012/09/neh-logo.png",
"https://i.creativecommons.org/l/by-nc/4.0/88x31.png",
"http://18thcenturycommon.org/wp-content/uploads/2012/09/The-Humanities-Institute.png",
"http://18thcenturycommon.org/wp-content/uploads/2012/09/unioncollege.png",
"http://18thcenturycommon.org/wp-content/uploads/2012/09/neh-logo.png",
"https://i.creativecommons.org/l/by-nc/4.0/88x31.png",
"https://c.statcounter.com/8121618/0/7f939e06/1/"
] |
[] |
[] |
[
""
] | null |
[
"Laura Linker",
"Jessica Richard"
] |
2013-05-22T12:48:20-04:00
|
en
|
The 18th-Century Common
|
https://18thcenturycommon.org/tags/defoe/
|
By the end of the first decade of Charles II‘s reign, the King had acquired a reputation for his many mistresses; his patronage of the theater; and his interest in natural philosophy and the new sciences [1]. These pursuits and those of his most prominent court mistresses, Barbara Villiers, Duchess of Cleveland; Nell Gwyn; Louise de Kéroualle, Duchess of Portsmouth; and Hortense Mancini, Duchess of Mazarin shaped two movements in England, libertinism and sensibility. Writers’ frequent depictions of these women gave new prominence to a remarkable figure in literature, the female libertine, that remains with us.
Dangerous Women, Libertine Epicures, and the Rise of Sensibility, 1670-1730 (Ashgate 2011) rewrites the history of libertinism and sensibility and considers the female libertine in relation to cultural, philosophical, and literary contexts that contributed to her transformations from the late seventeenth to the early eighteenth centuries in England. I argue that there are five representative types across a diverse group of texts, including “Lady Lucretius” in John Dryden’s Marriage A-la-Mode (1671); “Lady Sensibility” in Aphra Behn’s The Luckey Chance, or an Alderman’s Bargain (1686) and novella, The History of the Nun (1689); “The Humane Libertine” in Catharine Trotter’s epistolary narrative, Olinda’s Adventures (1693), and only comedy, Love at a Loss, or the Most Votes Carries It (1700); “The Natural Libertine” in Delariviere Manley’s The History of Rivella (1714); and “The Amazonian Libertine” in Daniel Defoe’s novel, Roxana (1724) [2]. These authors created female libertines that made lasting contributions to later depictions of the figure, partially inspired by Epicurean ideas found in Lucretius‘s On the Nature of the Universe, which experienced a revival in late Stuart England. Behn and other libertine writers found its destabilizing proposal that all matter, including humans, is composed of free-floating, constantly moving atoms attractive. Thomas Creech’s multiple English translations of Lucretius’s text created a relationship between atomism and the emotions that reflected seventeenth-century natural philosophers’ interest in the connections between the soul and body. Early writers of sensibility were likewise concerned with the physiological effects of heartache made evident through their characters’ weeping, fainting, illness, or even death. Sensibility converged with libertinism in its attention to the senses in the late seventeenth century.
Charles II’s French mistresses, Portsmouth and Mazarin, who held salons in London during the 1670s, helped to transmit French ideas and culture to England, including characteristics of sensibilité that influenced Behn’s creation of “Lady Sensibility.” The court mistresses became the most influential women in England during the 1660s, 70s, and early 80s. Literary figures modeled after them persisted long after their “reigns” at court were over.
There is a current spate of historical biographies and romances about Charles II’s mistresses in the literary marketplace [3]. Next year will mark seventy years since the publication of the first bestselling modern historical romance set during the first decade of the Restoration, Kathleen Winsor‘s Forever Amber (1944). Published during the Second World War, the novel was banned in Boston and several other cities when it first appeared, mainly for its questionable morality and highly suggestive scenes involving the heroine, Amber St. Clare, a female libertine modeled after several of the real-life and fictional women I examine in Dangerous Women. Current books about female libertines owe a debt to Forever Amber, as bestselling novelists Philippa Gregory and Barbara Taylor Bradford, among others, have admitted. Readers still consistently place Forever Amber at the top of their “Historical Romance” lists, and the novel was re-released in 2000.
In 2002, Elaine Showalter reviewed the 2000 edition of Forever Amber for The Guardian, confessing to having been, as a young girl, “awed by Amber’s courage, daring and strength. Rereading the novel now is no disappointment, and I am also impressed by Winsor’s subversive feminism and the scope and ambition of her historical imagination.” Most of the characters in the novel, including Amber, reflect Hobbesian tendencies, vying with each other to achieve precedence at Charles II’s court in the 1660s. The novel demonstrates Winsor’s command of the historical and literary figures she re-imagines from the Restoration. Her characters’ vanity, plotting, and cruelty resonate with historical records of figures Amber encounters at the Carolean court, Newgate prison, and Alsatia in Whitefriars, the London “sanctuary” for criminals. Winsor drew the characters from the hundreds of accounts, poems, plots, and textbooks she claimed to have read before writing the novel.
Amber’s many marriages and romantic relationships certainly read like an early amatory plot. Born on a dark and stormy night, Amber is the long-lost child of two ill-fated aristocrats separated by the English Civil Wars. Her parents die, and she is raised by villagers of Marygreen, where she is a misfit. Like French seventeenth-century romances by Madame de Scudéry, who influenced Behn and other early English novelists, the story relies on remarkable coincidences. The novel signals that Amber is of noble, not peasant, stock, evident also in her captivating looks, a quality she shares with early romance heroines. One of Amber’s most generous lovers, Captain Rex Morgan, describes her in language we find in Restoration comedy about heroines: “I see you have wit as well as beauty, madame. That makes you perfect” (181). Winsor blends qualities of female libertines in her depiction of Amber, who rises through every class position in the novel to achieve greater autonomy and power through varied performances.
Part of Forever Amber‘s continuing appeal remains in its sweeping survey of 1660s London and the meticulous attention to historical detail. Winsor used Daniel Defoe’s A Journal of the Plague Year (1722) as a source for Amber’s experience of plague in London in 1665, and her novel blends elements of other plots by Restoration and early eighteenth-century writers. Like Defoe’s Moll Flanders, Amber makes an early career out of trickster-ism and thievery, landing in Newgate prison after her trial. As an actress in the Restoration theater and then a court mistress of Charles II, Amber resembles Nell Gwyn. Defoe’s Roxana, also modeled on Gwyn and Mazarin, is perhaps Amber’s closest literary antecedent. As Amber rises higher in her liaisons with powerful aristocrats, her one consistent relationship is with her maid, Nan, who gives her advice and rises with her, much as Amy counsels Roxana through relationships and crises about the discovery of her “real” identity. Both Roxana and Amber have husbands who desert them early in the narratives, leaving them penniless. Disgraced when she dances for the court in a sheer costume, Amber becomes the “Amazonian Libertine” at court, and the scene parallels Roxana’s dance in her exotic costume. Both women experience a vague punishment at the end, and there is no narrative closure in either text.
Amber experiences disillusionment from her lover, Lord Bruce Carlton. Their relationship echoes plots by Manley, Behn, and Trotter, whose heroines are mistreated or left by cruel and faithless lovers. Carlton sees Amber as a lower-class village girl, even when she becomes a wealthy Duchess. Midway through Winsor’s novel, Amber, now the mother of Carlton’s son, tearfully pleads with him to marry her, but he refuses, arguing that “love has nothing to do with it” (426), a concise description of upper class marital relations frequently examined in Restoration and eighteenth-century comedy and fiction.
Amber’s downfall results partly because of her class aspirations, mirrored by Winsor’s depiction of the Duchess of Cleveland, still Barbara Palmer when she first arrived to Charles II’s court as his mistress. On June 24 1667, Samuel Pepys complained of Cleveland’s influence (she was then called Lady Castlemaine) in his Diary because it produced “the horrid effeminacy of the King,” who “hath taken ten times more care and pains in making friends between my Lady Castlemayne and Mrs. Stewart, when they have fallen out, than ever he did to save his kingdom.” Though powerful, Cleveland never received a true marriage proposal from the King. She fell from power after he lost patience with her tantrums and ambition. So too with Amber and Carlton.
Single-minded in her social-climbing, Amber seems unaware that she lives in an exciting decade of scientific discovery. She never engages philosophical debates about atomism or Descartes’s mechanical theories of the body, ongoing discussions that we find the most interesting female libertine figures examining in literature. Despite a brief liaison with a student early in the novel, Amber does not question him about his studies or read his books. She lacks associations with any leading thinkers at the Carolean court and does not debate the merits of Epicurean pleasure, the existence of animal spirits, or the theological assertions of “right reason” with theologians or members of the Royal Society she would certainly have met at Whitehall. Perhaps, had Winsor continued writing the sequel she originally planned, she would have featured a more complex female libertine and a more mature Amber, a figure styled after the Duchess of Mazarin, who developed an intellectual life as interesting as her adventures [4]. But that is another story for another time.
Works Cited
Churchill, Winston. Marlborough, His Life and Times. 4 vols. London: George G. Harrop & Company, 1949. Print.
Winsor, Kathleen. Forever Amber. New York: Macmillan, 1944. Print.
Notes
|
||||||
8327
|
dbpedia
|
3
| 82 |
https://nowweknowem.wordpress.com/2013/07/28/the-admiral-at-the-helm-of-the-english-emigrant-ship-sea-venture-was-en-route-to-virginia-when-he-deliberately-ran-his-ship-aground-during-a-storm-to-save-lives-and-prevent-its-sinki/
|
en
|
The Admiral at the helm of the English emigrant ship “Sea Venture” was en route to Virginia when he deliberately ran his ship aground during a storm to save lives and prevent its sinking founding Berm
|
[
"https://nowweknowem.wordpress.com/wp-content/uploads/2013/01/cropped-now-we-know-em-11.png",
"https://nowweknowem.wordpress.com/wp-content/uploads/2013/07/somersportrait.jpg?w=470&h=541",
"https://nowweknowem.wordpress.com/wp-content/uploads/2013/07/winpo1161.jpg?w=196&h=300",
"https://nowweknowem.wordpress.com/wp-content/uploads/2013/07/sir-george-somers-2.jpg?w=300&h=251",
"https://nowweknowem.wordpress.com/wp-content/uploads/2013/07/bermuda2_i00007c.jpg?w=300&h=225",
"https://2.gravatar.com/avatar/cf8909820af2f538e07e435d35d27951?s=320",
"https://secure.gravatar.com/blavatar/80717c613f5493507728fbbd9a94434e8c4398b822d285d8853067b5fe718ebe?s=50&d=https%3A%2F%2Fs2.wp.com%2Fi%2Flogo%2Fwpcom-gray-white.png",
"https://secure.gravatar.com/blavatar/80717c613f5493507728fbbd9a94434e8c4398b822d285d8853067b5fe718ebe?s=50&d=https%3A%2F%2Fs2.wp.com%2Fi%2Flogo%2Fwpcom-gray-white.png",
"https://pixel.wp.com/b.gif?v=noscript"
] |
[] |
[] |
[
""
] | null |
[
"Carl Leonard"
] |
2013-07-28T00:00:00
|
George Somers was born in 1554 at Lyme Regis, Dorset England. Somers went into the Royal Navy, where he distinguished himself as part of an expedition led by Sir Amyas Preston in sailing against the Spanish fleet in 1595 during the Anglo-Spanish War. George Somers was knighted in 1603 for his naval achievements. In 1609,…
|
en
|
https://secure.gravatar.com/blavatar/80717c613f5493507728fbbd9a94434e8c4398b822d285d8853067b5fe718ebe?s=32
|
https://nowweknowem.wordpress.com/2013/07/28/the-admiral-at-the-helm-of-the-english-emigrant-ship-sea-venture-was-en-route-to-virginia-when-he-deliberately-ran-his-ship-aground-during-a-storm-to-save-lives-and-prevent-its-sinki/
|
George Somers was born in 1554 at Lyme Regis, Dorset England.
Somers went into the Royal Navy, where he distinguished himself as part of an expedition led by Sir Amyas Preston in sailing against the Spanish fleet in 1595 during the Anglo-Spanish War.
George Somers was knighted in 1603 for his naval achievements.
In 1609, Sir Somers was appointed Admiral of the Virginia Company’s Third Supply relief fleet, organized to provide relief to the Jamestown colony settled in North America two years before.
On June 2, 1609, Somers set sail from Plymouth, England on the Sea Venture, the new purpose-designed emigrant flagship of his seven-ship relief fleet, (towing two additional pinnaces) destined for Jamestown, Virginia. The Sea Venture carried her guns on the main deck, rather than below deck as was then the norm. This also allowed the hold below to be sheathed and furnished with passengers.
Sort of like the first passenger airliner of its day.
The Sea Venture’s maiden voyage, combined with the other six ships of Somers’ fleet, carried a total of five-to-six hundred colonists.
(Historians have still not determined if this number included crew or was passengers only.)
The loss of the Sea Venture
On July 25, 1609, Sir Somers and his fleet ran into a strong storm, probably a hurricane, and his ships became separated.
Somers and the Sea Venture fought the storm for three days.
Comparably-sized ships had survived such weather, but the Sea Venture had a critical flaw; she had recently been constructed and her timbers had not yet set.
The caulking was forced from between them, and the ship began to leak.
Somers put All hands to bailing, but the water continued to rise in the ships hold.
The Sea Venture’s guns were reportedly jettisoned to raise her buoyancy, but this only delayed the inevitable. Sir George Somers was at the helm through the entire storm.
(though two of the ships guns were later salvaged from the wreck in 1612)
When Somers finally spied land on the morning of July 28, 1609, the water in the hold of Sea Venture had risen to nine feet, and crew and passengers had been driven past the point of exhaustion. Somers then deliberately drove the ship onto reefs in order to prevent the ship from sinking. This allowed all 150 people and the dog aboard to reach shore safely, at what they later named Discovery Bay (modern day Bermuda).
The other ships of the fleet, not seeing the Sea Venture again, continued on to Virginia presuming that Somers and the others had died in the storm, which had battered the entire fleet and damaged their supplies.
Somers and the other survivors, including several company officials (Lieutenant-General Sir Thomas Gates, the ship’s captain Christopher Newport, Sylvester Jordain, Stephen Hopkins, later of the Mayflower, and secretary William Strachey), were stranded on the island for approximately nine months, living on what food they could gather on land as well as fish caught from the sea. Today, some historical commentators believe that this incident inspired William Shakespeare’s play The Tempest.
During their time on the island, the crew and passengers built a church and houses, beginning a colony called Somer’s Isles for some years, eventually becoming known as the Bermuda colony.
Sir George Somers and Sir Thomas Gates oversaw the construction of two small ships, the Deliverance and the Patience. They were built from local timber (Bermuda Cedar) and the salvaged spars and rigging of the wrecked Sea Venture.
The original plan was to build only one vessel, the Deliverance, but it soon became evident that she would not be large enough to carry the settlers and all of the food (salted pork) that was being sourced on the islands.
While the new ships were being built, the Sea Venture’s longboat was fitted with a mast and sent under the command of Henry Ravens to find Virginia. The boat and its crew were never seen again.
Some passengers of the Sea Venture died on the island before the Deliverance and the Patience could set sail. Among those lost were the wife and child of John Rolfe, who would found Virginia’s tobacco industry and find a new wife in Chief Powhatan’s daughter Matoaka (Pocahontas).
Two crewmen, Carter and Waters, were left behind; they had been convicted of unknown offenses, and fled into the woods to escape punishment and execution.
In May of 1610, the 142 castaways launched their two newly built ships and set sail once more for Jamestown.
When they reached the Virginia settlement on May 23, 1610, they found Jamestown nearly destroyed by the famine and disease of what has been called Jamestown’s “Starving Time”.
Few of the supplies from the rest of Somers Fleet remained and only 60 settlers had survived.
The food and help offered by Somers and those aboard his two small ships from Bermuda enabled the colony to survive until another relief fleet arrived two months later.
Still worried about surviving the upcoming winter, Somers returned to his Bermuda Colony in the Patience to collect more food, but he became ill on the journey.
Sir George Somers died in Bermuda on November 9, 1610 at the age of 56.
Local legend says that he loved Bermuda so much that he requested that his heart be buried there.
A marker in Somers’ Gardens in St. George’s marks the approximate location where his heart was supposed to have been buried.
The remainder of his body was taken back to England and buried in his home hamlet of Whitchurch Canonicorum near to the town of Lyme Regis.
In 1984, a statue of Sir Somers by Desmond Fountain was unveiled in St. George’s by HRH Princess Margaret to celebrate the 375th anniversary of Bermuda’s settlement.
Now WE know em
Today, on Ordnance Island (a tiny Bermuda island used as a cruise dock) lies a full size replica of Deliverance, one of the two vessels that Sir George Somers and his men rebuilt after their ship Sea Venture got wrecked in 1609 and finally completed their journey to Jamestown, Virginia.
|
|||||
8327
|
dbpedia
|
1
| 74 |
http://www.colonialsense.com/Society-Lifestyle/Census/Person/Andres_Leyto/3928.php
|
en
|
Colonial Sense: Census: Andres Leyto
|
http://www.colonialsense.com/favicon.ico
|
http://www.colonialsense.com/favicon.ico
|
[
"http://www.colonialsense.com/Colonial/Pix/Logos/08CSHeader.jpg",
"http://www.colonialsense.com/Colonial/Pix/NavBarH.png"
] |
[] |
[] |
[
"Andres Leyto",
"Spain"
] | null |
[] | null |
Andres Leyto: Biography, Facts, Information, Timeline, Links, Images, Notes, Quotes, Dictionary Citations, Contemporaries
|
/favicon.ico
| null | |||||
8327
|
dbpedia
|
0
| 38 |
https://artcollection.culture.gov.uk/artwork/2176/
|
en
|
Henry Frederick, Prince of Wales (1594
|
https://artcollection.culture.gov.uk/wp-content/themes/gac/includes/cimage/artworkimage/O14727/06609006c53dc07.43688549.jpg&h=800&w=600&crop-to-fit
|
https://artcollection.culture.gov.uk/wp-content/themes/gac/includes/cimage/artworkimage/O14727/06609006c53dc07.43688549.jpg&h=800&w=600&crop-to-fit
|
[
"https://artcollection.culture.gov.uk/wp-content/themes/gac/images/gac-logo.svg",
"https://artcollection.culture.gov.uk/wp-content/themes/gac/includes/cimage/artworkimage/O14727/06609006c53dc07.43688549.jpg",
"https://artcollection.culture.gov.uk/wp-content/themes/gac/images/dcms-logo-new.png"
] |
[
"https://www.googletagmanager.com/ns.html?id=GTM-N2MPVVQ"
] |
[] |
[
""
] | null |
[] |
2019-09-01T17:48:56+00:00
|
Paul van Somer - Henry Frederick, Prince of Wales (1594-1612) eldest son of King James VI & I - oil painting
|
en
|
Government Art Collection
|
https://artcollection.culture.gov.uk/artwork/2176/
|
Home Artworks Henry Frederick, Prince of Wales (1594-1612) eldest son of King James VI & I
Henry Frederick, Prince of Wales (1594-1612) eldest son of King James VI & I
Paul van Somer (c1576 - 1621)
Oil on canvas
Share this:
License this image
Share this:
License this image
About the work
Location
Country: Ireland
City: Dublin
Place: British Embassy
About the artist
Paul [Pauwels] van Somer, portrait painter, was probably born in Antwerp. He is first recorded working in Amsterdam in 1604 and was in Leiden by 1612 and in Brussels in 1616. By December of that year, he had settled in London, where he remained for the rest of his life, living in St Martin’s Lane, near Trafalgar Square. Although attributing works to Somer is problematic, he is known to have painted portraits of Queen Anne of Denmark, King James I and Prince Charles during his time in England, as well as making a posthumous copy of a portrait of Prince Henry. Somer died just five years after his arrival and was buried at the Church of St Martin-in-the-Fields. He left a widow named Cornelia.
Explore
Details
Title
Henry Frederick, Prince of Wales (1594-1612) eldest son of King James VI & I
Date
Medium
Oil on canvas
Dimensions
height: 221.00 cm, width: 137.00 cm
Acquisition
Purchased from Christie's, 15 May 1953
Inscription
bl: HENRY Pr. OF WALES.
Provenance
Collection of Conservative MP, landowner and estate manager John Tollemache, 1st Baron Tollemache (1805-1890) of Peckforton Castle, Cheshire; collection of the Trustees of The Tollemache Estates and on display at Peckforton Castle, Cheshire; by whom sold through Christie’s, London, ‘Pictures by Old Masters’ sale, on 15 May 1953 (Lot 149), for £21.0.0 (20 guineas); from which sale purchased by Agnew’s Gallery, London, on behalf of the Ministry of Works
GAC number
2176
|
|||
8327
|
dbpedia
|
1
| 23 |
https://www.bonhams.com/auction/29295/lot/17/manner-of-paul-van-somer-18th-century-portrait-of-a-lady-said-to-be-elizabeth-queen-of-bohemia-bust-length-in-a-black-dress-with-gold-embroidery/
|
en
|
Bonhams : Manner of Paul van Somer, 18th Century Portrait of a lady said to be Elizabeth, Queen of Bohemia, bust
|
https://images1.bonhams.com/image?src=Images%2Flive%2F2024-02%2F19%2F25385743-6-2.jpg&width=580
|
https://images1.bonhams.com/image?src=Images%2Flive%2F2024-02%2F19%2F25385743-6-2.jpg&width=580
|
[
"https://www.bonhams.com/_next/image.jpg?url=https%3A%2F%2Fimg1.bonhams.com%2Fimage%3Fsrc%3DImages%2Flive%2F2024-02%2F19%2F25385743-6-2.jpg%26height%3D430%26quality%3D90&w=576&q=75 576w, /_next/image.jpg?url=https%3A%2F%2Fimg1.bonhams.com%2Fimage%3Fsrc%3DImages%2Flive%2F2024-02%2F19%2F25385743-6-2.jpg%26height%3D430%26quality%3D90&w=768&q=75 768w, /_next/image.jpg?url=https%3A%2F%2Fimg1.bonhams.com%2Fimage%3Fsrc%3DImages%2Flive%2F2024-02%2F19%2F25385743-6-2.jpg%26height%3D430%26quality%3D90&w=1200&q=75 1200w, /_next/image.jpg?url=https%3A%2F%2Fimg1.bonhams.com%2Fimage%3Fsrc%3DImages%2Flive%2F2024-02%2F19%2F25385743-6-2.jpg%26height%3D430%26quality%3D90&w=2400&q=75 2400w",
"https://www.bonhams.com/_next/image.jpg?url=https%3A%2F%2Fimg1.bonhams.com%2Fimage%3Fsrc%3DImages%2Flive%2F2019-03%2F28%2FU-3435-0-2.jpg%26width%3D230&w=576&q=75 576w, /_next/image.jpg?url=https%3A%2F%2Fimg1.bonhams.com%2Fimage%3Fsrc%3DImages%2Flive%2F2019-03%2F28%2FU-3435-0-2.jpg%26width%3D230&w=768&q=75 768w, /_next/image.jpg?url=https%3A%2F%2Fimg1.bonhams.com%2Fimage%3Fsrc%3DImages%2Flive%2F2019-03%2F28%2FU-3435-0-2.jpg%26width%3D230&w=1200&q=75 1200w, /_next/image.jpg?url=https%3A%2F%2Fimg1.bonhams.com%2Fimage%3Fsrc%3DImages%2Flive%2F2019-03%2F28%2FU-3435-0-2.jpg%26width%3D230&w=2400&q=75 2400w",
"https://www.bonhams.com/_next/image.jpg?url=https%3A%2F%2Fimg1.bonhams.com%2Fimage%3Fsrc%3DImages%2Flive%2F2013-10%2F21%2FU-3563-0-1.jpg%26top%3D0.060000000000%26left%3D0.192468619246%26bottom%3D0.490000000000%26right%3D0.732217573221%26width%3D230&w=576&q=75 576w, /_next/image.jpg?url=https%3A%2F%2Fimg1.bonhams.com%2Fimage%3Fsrc%3DImages%2Flive%2F2013-10%2F21%2FU-3563-0-1.jpg%26top%3D0.060000000000%26left%3D0.192468619246%26bottom%3D0.490000000000%26right%3D0.732217573221%26width%3D230&w=768&q=75 768w, /_next/image.jpg?url=https%3A%2F%2Fimg1.bonhams.com%2Fimage%3Fsrc%3DImages%2Flive%2F2013-10%2F21%2FU-3563-0-1.jpg%26top%3D0.060000000000%26left%3D0.192468619246%26bottom%3D0.490000000000%26right%3D0.732217573221%26width%3D230&w=1200&q=75 1200w, /_next/image.jpg?url=https%3A%2F%2Fimg1.bonhams.com%2Fimage%3Fsrc%3DImages%2Flive%2F2013-10%2F21%2FU-3563-0-1.jpg%26top%3D0.060000000000%26left%3D0.192468619246%26bottom%3D0.490000000000%26right%3D0.732217573221%26width%3D230&w=2400&q=75 2400w"
] |
[] |
[] |
[
"art auction",
"antiquarian",
"antique",
"antiques",
"antiquities",
"valuation",
"arms",
"armour",
"armour",
"art",
"Art Deco",
"asian art",
"auction",
"auction house",
"auctions",
"auctioneers",
"autographics",
"automobilia",
"Bonhams",
"Bonhams & Butterfields",
"Bonhams & Goodmans",
"books",
"Brooks",
"buying art",
"Cartier",
"ceramics",
"classic",
"coins",
"collectable",
"collectibles",
"contemporary",
"crystal",
"cubism",
"drawing",
"drawings",
"engraving",
"etching",
"fine art",
"first editions",
"entertainment",
"fishing",
"frames",
"furniture",
"Gallé",
"glass",
"Glenginings",
"Goodmans",
"Impressionist",
"Islamic art",
"jewellery",
"jewellery",
"maps",
"manuscripts",
"medal",
"memorabilia",
"models",
"motorbike",
"motorcar",
"motorcycle",
"musical instruments",
"online auction",
"online auctions",
"Oriental carpets",
"Oriental rugs",
"painting",
"paintings",
"Persian carpets",
"Persian rugs",
"piano",
"photographs",
"pop",
"porcelain",
"portrait miniatures",
"prints",
"probate",
"rare",
"rare books",
"Rococo",
"scientific instrument",
"sculpture",
"silver",
"stamps",
"textiles",
"tribal art",
"topographic",
"toys",
"valuation",
"vase",
"Warhol",
"watch",
"watches",
"watercolours",
"works of art",
"London auction house",
"fine art",
"art and antique",
"art & antiques",
"fine",
"arts",
"America",
"USA",
"UK"
] | null |
[] | null |
Portrait of a lady said to be Elizabeth, Queen of Bohemia, bust-length, in a black dress with gold embroidery oil on canvas 61.3 x 50.1cm (24 1/8 x 19 3/4in).
|
en
|
/favicon.ico
|
https://www.bonhams.com/auction/29295/lot/17/manner-of-paul-van-somer-18th-century-portrait-of-a-lady-said-to-be-elizabeth-queen-of-bohemia-bust-length-in-a-black-dress-with-gold-embroidery/
|
ALL BIDDERS MUST AGREE THAT THEY HAVE READ AND UNDERSTOOD BONHAMS' CONDITIONS OF SALE AND AGREE TO BE BOUND BY THEM, AND AGREE TO PAY THE BUYER'S PREMIUM AND ANY OTHER CHARGES MENTIONED IN THE NOTICE TO BIDDERS. THIS AFFECTS THE BIDDERS LEGAL RIGHTS.
If you have any complaints or questions about the Conditions of Sale, please contact your nearest client services team.
For all Sales categories, buyer's premium excluding Cars, Motorbikes, Wine, Whisky and Coin & Medal sales, will be as follows:
Buyer's Premium Rates
28% on the first £40,000 of the hammer price;
27% of the hammer price of amounts in excess of £40,000 up to and including £800,000;
21% of the hammer price of amounts in excess of £800,000 up to and including £4,500,000;
and 14.5% of the hammer price of any amounts in excess of £4,500,000.
A 3rd party bidding platform fee of 4% of the Hammer Price for Buyers using the following bidding platforms will be added to the invoices of successful Buyers for auctions starting on or after 6th July 2024 – Invaluable; Live Auctioneers; The Saleroom; Lot-tissimo.
VAT at the current rate of 20% will be added to the Buyer's Premium and charges excluding Artists Resale Right.
|
|||
8327
|
dbpedia
|
2
| 76 |
https://www.telegraph.co.uk/tv/2024/03/03/true-story-behind-mary-and-george-sky-julianne-moore/
|
en
|
How to get your son into the king’s bed: the true story behind Mary & George
|
[
"https://www.telegraph.co.uk/etc.clientlibs/settings/wcm/designs/telegraph/core/clientlibs/ui/dist/static/resources/images/flags/UK-SVG.svg",
"https://www.telegraph.co.uk/etc.clientlibs/settings/wcm/designs/telegraph/core/clientlibs/ui/dist/static/resources/images/flags/USA-SVG.svg",
"https://www.telegraph.co.uk/etc.clientlibs/settings/wcm/designs/telegraph/core/clientlibs/ui/dist/static/resources/images/flags/UK-SVG.svg",
"https://www.telegraph.co.uk/etc.clientlibs/settings/wcm/designs/telegraph/core/clientlibs/ui/dist/static/resources/images/flags/USA-SVG.svg",
"https://www.telegraph.co.uk/etc.clientlibs/settings/wcm/designs/telegraph/core/clientlibs/ui/dist/static/resources/images/flags/UK-SVG.svg",
"https://www.telegraph.co.uk/etc.clientlibs/settings/wcm/designs/telegraph/core/clientlibs/ui/dist/static/resources/images/flags/USA-SVG.svg",
"https://www.telegraph.co.uk/content/dam/tv/2024/02/29/TELEMMGLPICT000368221526_17092088628750_trans_NvBQzQNjv4BqGSmXFtvA_n5-EAmkNpoRU00LoKc4qSRYG1k6EyxQm_I.jpeg?imwidth=680",
"https://www.telegraph.co.uk/content/dam/tv/2024/02/29/TELEMMGLPICT000341016718_17092090735640_trans_NvBQzQNjv4BqpVlberWd9EgFPZtcLiMQf0Rf_Wk3V23H2268P_XkPxc.jpeg?imwidth=350",
"https://i.ytimg.com/vi/b9qrcRGfXug/mqdefault.jpg",
"https://www.telegraph.co.uk/content/dam/tv/2024/02/29/TELEMMGLPICT000368361567_17092110545970_trans_NvBQzQNjv4BqqVzuuqpFlyLIwiB6NTmJwSX5rhseiWKOo9p9OQ-ymek.jpeg?imwidth=350",
"https://www.telegraph.co.uk/content/dam/tv/2024/02/29/TELEMMGLPICT000367678597_17092105490870_trans_NvBQzQNjv4BqrpfQw2hJyG_yckwxPAr0gmyy-GsNrhPQbLesooHneHs.jpeg?imwidth=350",
"https://www.telegraph.co.uk/content/dam/tv/2024/02/29/TELEMMGLPICT000368360360_17092117092620_trans_NvBQzQNjv4BqkXbkQY4xF11YSbIjVXCcop4gz3qz54_bsJIilxgiIC0.jpeg?imwidth=350",
"https://www.telegraph.co.uk/content/dam/tv/2024/08/16/TELEMMGLPICT000270789399_17238202505740_trans_NvBQzQNjv4BqDED8W8nT5gQ4SRyNA7YCbF5NUcTKNHKqy85KLqtvPLE.jpeg?imwidth=350",
"https://www.telegraph.co.uk/content/dam/tv/2024/08/16/TELEMMGLPICT000389381975_17238249629180_trans_NvBQzQNjv4BqRo0U4xU-30oDveS4pXV-Vv4Xpit_DMGvdp2n7FDd82k.jpeg?imwidth=350",
"https://www.telegraph.co.uk/content/dam/tv/2024/08/16/TELEMMGLPICT000390229677_17238266129680_trans_NvBQzQNjv4Bq900leoZVuq6ru6F43OqP_tHhMh81Y8GqX3ipA8YMo0k.jpeg?imwidth=350",
"https://www.telegraph.co.uk/content/dam/tv/2024/08/16/TELEMMGLPICT000385902435_17238210521440_trans_NvBQzQNjv4BqqVzuuqpFlyLIwiB6NTmJwVSYfRx-a0rm-wOQ3-QTCoU.jpeg?imwidth=350",
"https://www.telegraph.co.uk/content/dam/theatre/2024/08/15/TELEMMGLPICT000389439845_17237385099400_trans_NvBQzQNjv4Bq_Yc98rkRE0zMijRd9wXErtkM9MM8VM3G1BxlGUO4L8Q.jpeg?imwidth=350",
"https://www.telegraph.co.uk/content/dam/tv/2024/08/15/TELEMMGLPICT000390143364_17237251943420_trans_NvBQzQNjv4BqqVzuuqpFlyLIwiB6NTmJwQs4v22exkdQdQ8HxtVl3Yw.jpeg?imwidth=350",
"https://www.telegraph.co.uk/content/dam/vouchercodes/GoPro.png?impolicy=thumbnail",
"https://www.telegraph.co.uk/content/dam/vouchercodes/logo_groupon.png?impolicy=thumbnail",
"https://www.telegraph.co.uk/content/dam/vouchercodes/logo_bloomandwild.png?impolicy=thumbnail",
"https://www.telegraph.co.uk/content/dam/vouchercodes/NationalTrust.png?impolicy=thumbnail",
"https://www.telegraph.co.uk/content/dam/vouchercodes/Wayfair.png?impolicy=thumbnail",
"https://www.telegraph.co.uk/content/dam/vouchercodes/logo_made.png?impolicy=thumbnail"
] |
[] |
[] |
[
"Culture Editor's Choice",
"History",
"Television Editor's Choice",
"History books",
"Standard",
"Sky",
"Culture",
"Television"
] | null |
[
"Kate Williams"
] |
2024-03-03T00:00:00
|
In a new drama, a social-climbing mother plots for her boy to seduce James I – what really happened?
|
en
|
/etc.clientlibs/settings/wcm/designs/telegraph/core/clientlibs/core/resources/icons/favicon.ico
|
The Telegraph
|
https://www.telegraph.co.uk/tv/2024/03/03/true-story-behind-mary-and-george-sky-julianne-moore/
|
In August 1614, George Villiers, 21, was on the brink of an astonishing coup. While travelling across the country that summer, James I had stopped at Apethorpe, a Northamptonshire stately home with excellent hunting grounds. There, he came face to face with the athletic, accomplished, extraordinarily handsome Villiers, and king or not, he was powerless to resist the young man’s charms.
Within a year of this first encounter, Villiers had been appointed Gentleman of the Bedchamber – and was rumoured to have worked his way into the monarch’s bed. In quick succession, over nine years, he was made an earl, a marquess, Lord High Admiral, and, finally, in 1623, the first Duke of Buckingham – making him the only English duke who wasn’t a member of the royal family. As one commentator said, “No man dances better, no man runs or jumps better”, and this son of minor gentry had jumped higher than any man ever had.
How did it happen? According to a new Sky Atlantic drama, Mary & George, the answer lies with Villiers’s mother, Mary. The series suggests that Mary (played brilliantly on screen by Julianne Moore) had both the political genius and determination to drive her son’s giddy ascent; and that she would go as far as murder to install George in position as the king’s lover and secure the family’s fortunes. Mary has been painted by historians as “busy, intriguing, masculine and dangerous”, “ambitious and unscrupulous”, obsessed with her family’s advancement. But did she actually plot for her son to strike up an illicit romance with the king? While we can’t be certain of the historical Mary’s motives, this much we know.
Born in 1570, Mary Villiers gave birth to George, her second son, when she was about 22, at Brooksby, in Leicestershire. Her husband died in early 1606, when George was 13, leaving Mary penniless. With four children to support, she swiftly married again, this time to a local nobleman half a century her senior. But when he fell ill later in the year, she heard that he intended to exclude her from his will and so hurried to one of his properties and made off with about £2,000 – a huge sum at the time – and valuable bundles of wool.
After she was intercepted, the goods were sent back to her husband; when he died a month later, the estate went to his daughter, Elizabeth, who tried to prosecute Mary for theft and fraud, but Mary claimed she had only been trying to pay her husband’s taxes, and appears to have been cleared.
Vivacious, pragmatic and clever, Mary was brilliant at capturing husbands. Not long after the death of her second husband, she wed Sir Thomas Compton, a log merchant who was said to be rather slow, and was not possessed of particular lineage, looks, social cachet or wealth. But she saw the potential in him – for his elder brother, William, was extremely wealthy and had been given a key role at court. These were just the kind of connections she needed for her son.
George Villiers was said (by a future bishop) to be the “handsomest-bodied man in England”. Graceful, an expert hunter, intelligent, polite and charismatic, he was a 17th-century Saltburn type, the kind of young man who’d now be the most popular student in a college bar. Around 1609, when he was 16, Mary had gained special permission for him to be allowed to travel and sent him to France for two years. Villiers returned an accomplished rider and dancer with a French sophistication that set him apart. (We might recall how Anne Boleyn captivated Henry VIII with her stylish French ways.)
Mary certainly wished her talented son to become a courtier, as many families desired for their children – but with no tradition of royal service in her family, she was aiming high. Her hopes might well have come to nothing if it weren’t for the fact that court insiders had their own reasons to dangle George before the king.
A large faction at court wanted to displace the king’s favourite, the Earl of Somerset, hated because he was high-handed and possessive of the king, and others thought James’s Scottish friends had too much influence over him. So George was put in James’s way when he visited Apethorpe, and was given the role of royal cupbearer, allowed to hand the king his drinks. The king’s junior by 26 years, he was soon always by James’s side, hunting with him, riding with him, entertaining him.
As Gentleman of the Bedchamber, George was catapulted into an elite group of noblemen who were the king’s closest attendants, assisting him to dress, offering him dishes at table, guarding his chamber and accompanying him everywhere. The Earl of Somerset rapidly fell from favour and he and his wife were prosecuted for murdering his former adviser and sent to the Tower.
Once George was Gentleman of the Bedchamber, Mary was observed by her enemies to be “always so much at Court”. She won over the king and became extremely friendly with the Countess of Salisbury, one of the most influential women at the court. Mary soon had trails of courtiers at her door, recognising that she was a source of patronage and power. Even George begged her to be less present and “not to intermeddle with business”. She certainly encouraged George to use his position to enrich his family with titles, money and land; the Villiers family became wildly wealthy and the siblings were given titles. She herself gained the astonishing title of Countess of Buckingham in 1618, in her own independent right, with her husband Sir Thomas Compton given no title.
George, meanwhile, collected huge estates for himself and married a wealthy heiress, Lady Katherine Manners, much against her father’s wishes – those who hated Mary claimed she had forced Lady Katherine to spend a night under the same roof as George, prompting her father to agree to the marriage.
Why was the king’s head so easily turned? James I had come to the throne of England in 1603, at the age of 36, on the death of Elizabeth I. The life of the “cradle king”, declared King of Scotland at the age of 13 months, had been violent and replete with betrayals, including the murder of his father and the horrific execution of his mother, Mary, Queen of Scots. The regents in power over him were harsh and controlling, and played on his fear of assassination (a fear not allayed when he arrived in England only for the Gunpowder Plot to occur two years later). It was hardly surprising that when he grew to adulthood, he became dependent on men he felt he could trust.
James married Anne of Denmark in 1589 and became a devoted husband, having seven children with her, including the future Charles I. But James also had relationships with men, which most commentators assumed were sexual. As one MP and diarist put it, he “never yet saw any fond husband make so much or so great dalliance over his beautiful spouse as I have seen King James over his favourites, especially the Duke of Buckingham”. James referred to George as “my sweetheart”, declared he loved him as Christ had loved John, and called him “Steenie”, after St Stephen, who was said to have the face of an angel. Villiers sometimes called himself James’s dog, and once reminisced about a time at Farnham “where the bed’s head could not be found between the master and his dog”.
As George knew, favourites traditionally fall with the death of the king. But he had also fostered a friendship with James’s lonely young son, the future Charles I, and been appointed his tutor – and so hoped his position might continue. In 1623, George and the prince went on a secret jaunt to Spain to try to speed up the prince’s marriage negotiations with the Spanish Infanta – the discussions had stalled and the prince was keen to be wed. The pair went off in a bizarre disguise, adopting false names and affixing fake beards to their faces (one fell off), and popped up in Madrid, much to the displeasure of King Philip of Spain, who did not like surprise visitors, and hadn’t particularly wanted to marry his sister to a Protestant, anyway (she also hated the idea).
Thanks to their ridiculous “boys on tour” mission, the negotiations collapsed, and Charles and George were so annoyed that they asked James to declare war. The king, who wished to be a peacemaker, refused. The next years saw George pushing for war with Spain, while he became increasingly unpopular, criticised for enriching himself and having too much power over the king and the prince.
With his reputation under attack, his position was even more fragile – to what lengths would he go to defend it? Would he stop short of murder? The King’s Assassin by the historian Benjamin Woolley – the book that inspired Mary & George – explores the controversial theory that James did not die a natural death, but was, in fact, poisoned.
By 1625, the king was 58 and in poor health. In March, he caught a malaria-like fever, and, refusing to listen to his doctors, grew very ill. George was beside the king night and day. On March 21, on the advice of his own doctor, he gave him a cordial, without the permission of the royal doctors, and James grew sicker, with severe dysentery and dehydration. Six days later, the king died. Immediately, the rumour mill claimed that George had killed James to gain influence over the young Charles, now King Charles I, and to pursue war with Spain.
It was possible that he had done so. His remedies seem to have worsened James’s condition. But plenty of “remedies” at the time only intensified the symptoms of the patient, and if the doctors did not prescribe the potion, that doesn’t mean it was any more damaging than their own – it seems, indeed, that the rumours were fed by one of James’s resentful doctors. The suffering king was probably on course for death anyway.
When Charles I came to the throne, George had free rein for his wars, launching an attack on Spain. But his military efforts were failures and parliament tried to impeach the duke for “great Evils and Mischiefs” he had brought about, listing 13 charges – the last and most serious being “His transcendent Presumption in giving Physick to the King”. Charles dissolved parliament twice to protect his friend, and the duke became extremely unpopular. When George travelled to Portsmouth in 1628 to organise a further military campaign, he was fatally stabbed at an inn by a disgruntled soldier. Less than 15 years after he caught the eye of a king at Apethorpe, George was dead, aged just 35.
Charles I ordered him buried at Westminster Abbey, but under cover of darkness, in case angry crowds disrupted the ceremony. Mary died four years later, at the age of 62, and is also buried in the abbey, her effigy resting its feet on a lion. The inscription on George’s elaborate tomb reads “the intimate in turn of two most powerful sovereigns, he was famous in peace and war”. His mark on the country was great. George left behind him a young king bent on war, always ready to dissolve parliament and totally convinced of his own rightness – the very traits that helped sow the seeds for the Civil War.
Mary & George is on Sky Atlantic at 9pm on March 5. Kate Williams’s Red Queens: A New History of Royal Women is out in November
|
||||
8327
|
dbpedia
|
0
| 18 |
https://www.mediastorehouse.com/fine-art-finder/artists/anthony-van-after-dyck/portrait-paul-van-somer-flemish-artist-court-23733788.html
|
en
|
Portrait of Paul van Somer, Flemish artist Our beautiful Wall Art and Photo Gifts include Framed Prints, Photo Prints, Poster Prints, Canvas Prints, Jigsaw Puzzles, Metal Prints and so much more
|
[
"https://monitor.fraudblocker.com/fbt.gif?sid=cnYdtc-59XGDbdNoyi6Mq",
"https://www.mediastorehouse.com/templates/printstore/2424/images/framed-prints-and-wall-art.png",
"https://www.mediastorehouse.com/p/690/portrait-paul-van-somer-flemish-artist-court-23733788.jpg",
"https://www.mediastorehouse.com/images/cards.png",
"https://www.mediastorehouse.com/t/106/elizabeth-cecil-countess-berkshire-j920198-5145919.jpg",
"https://www.mediastorehouse.com/sq/690/charles-i-chromolitho-23504394.jpg",
"https://www.mediastorehouse.com/sq/690/portrait-king-charles-i-engraving-22740238.jpg",
"https://www.mediastorehouse.com/sq/690/8629074-38502246.jpg",
"https://www.mediastorehouse.com/sq/690/falstaff-body-hotspur-back-print-33087410.jpg",
"https://www.mediastorehouse.com/sq/690/8629069-38502244.jpg",
"https://www.mediastorehouse.com/sq/690/lola-montez-irish-dancer-who-mistress-king-38390620.jpg",
"https://www.mediastorehouse.com/sq/690/gottfried-von-pappenheim-german-general-thirty-38390618.jpg",
"https://www.mediastorehouse.com/sq/690/portrait-unknown-sitter-1846-coloured-38341062.jpg",
"https://www.mediastorehouse.com/sq/690/portrait-charles-i-reproduction-brown-38341058.jpg",
"https://www.mediastorehouse.com/sq/690/illustration-world-ice-whaling-cruise-dolphin-38294322.jpg",
"https://www.mediastorehouse.com/sq/690/christ-crowned-thorns-matthew-ch-27-38294320.jpg",
"https://www.mediastorehouse.com/sq/690/guido-bentivoglio-1930-engraving-33089114.jpg",
"https://www.mediastorehouse.com/sq/690/ambrogio-spinola-doria-print-33087408.jpg",
"https://www.mediastorehouse.com/sq/690/palais-lindustrie-coming-races-1866-32104172.jpg",
"https://www.mediastorehouse.com/sq/690/frans-snyders-frans-snijders-flemish-painter-32104170.jpg",
"https://www.mediastorehouse.com/sq/690/fashionable-couple-ambigu-theatre-1861-32103490.jpg",
"https://www.mediastorehouse.com/sq/690/adriaen-brouwer-flemish-painter-32103488.jpg",
"https://www.mediastorehouse.com/sq/690/nymph-ludovisi-collection-marble-31949388.jpg",
"https://www.mediastorehouse.com/sq/690/portrait-charles-i-1600-1649-17th-century-31949386.jpg",
"https://www.mediastorehouse.com/sq/690/mercury-c-1580-bronze-31936175.jpg",
"https://www.mediastorehouse.com/sq/690/guido-bentivoglio-1579-1644-31936173.jpg",
"https://www.mediastorehouse.com/sq/690/vanitas-allegory-vanity-17th-century-31933449.jpg",
"https://www.mediastorehouse.com/sq/690/parish-museum-painting-ecce-homo-28650417.jpg",
"https://www.mediastorehouse.com/sq/690/anonymous-virgin-child-18th-century-28650415.jpg",
"https://www.mediastorehouse.com/sq/690/anonymous-virgin-child-18th-century-28650413.jpg",
"https://www.mediastorehouse.com/sq/690/susan-villiers-countess-denbigh-28382604.jpg",
"https://www.mediastorehouse.com/sq/690/charles-i-1600-1649-1600-49-oil-canvas-28382600.jpg",
"https://www.mediastorehouse.com/t/164/selection-fish-1935835.jpg",
"https://www.mediastorehouse.com/t/731/apostle-paul-1627-15040608.jpg",
"https://www.mediastorehouse.com/t/573/boothferry-park-stadium-fine-art-hull-city-14645869.jpg",
"https://www.mediastorehouse.com/t/106/elizabeth-cecil-countess-berkshire-j920198-5145919.jpg",
"https://www.mediastorehouse.com/t/164/british-national-anthem-rule-britannia-11551990.jpg",
"https://www.mediastorehouse.com/t/210/everton-1946-47-5758740.jpg",
"https://www.mediastorehouse.com/t/690/charles-i-chromolitho-23504394.jpg",
"https://www.mediastorehouse.com/t/164/life-boarding-house-eric-ravilious-14265424.jpg",
"https://www.mediastorehouse.com/t/106/tower-bridge-a076902-1338331.jpg",
"https://www.mediastorehouse.com/t/690/portrait-lady-elizabeth-seymour-22685210.jpg",
"https://www.mediastorehouse.com/t/164/anna-karenina-portrait-622400.jpg",
"https://www.mediastorehouse.com/t/164/robert-burns-creations-577267.jpg",
"https://www.mediastorehouse.com/templates/printstore/2424/images/framed-prints-and-wall-art.png",
"https://www.mediastorehouse.com/icons/icon_facebook.jpg",
"https://www.mediastorehouse.com/icons/icon_pinterest.jpg",
"https://www.mediastorehouse.com/icons/icon_card.png",
"https://www.mediastorehouse.com/icons/reviews-io.png",
"https://www.mediastorehouse.com/icons/currency-USD.png",
"https://www.mediastorehouse.com/icons/currency-GBP.png",
"https://www.mediastorehouse.com/icons/currency-EUR.png",
"https://www.mediastorehouse.com/icons/currency-AUD.png"
] |
[] |
[] |
[
"portrait paul van somer flemish artist court"
] | null |
[] | null |
Prints of 6338898 Portrait of Paul van Somer, Flemish artist and court painter to King James I of England
|
en
|
Media Storehouse Photo Prints
|
https://www.mediastorehouse.com/fine-art-finder/artists/anthony-van-after-dyck/portrait-paul-van-somer-flemish-artist-court-23733788.html
|
Fine Art Finder Photo Prints and Wall Art
Portrait of Paul van Somer, Flemish artist and court painter to King James I of England, circa 1577-1621
6338898 Portrait of Paul van Somer, Flemish artist and court painter to King James I of England, circa 1577-1621 by Thomson, J. (19th century); (add.info.: Portrait of Paul van Somer, Flemish artist and court painter to King James I of England, circa 1577-1621. Paul Vansomer. Steel engraving by J. Thomson from Edward Walmsleys Physiognomical Portraits, One Hundred Distinguished Characters, John Major, London, 1826.); © Florilegius; out of copyright. © Florilegius / Bridgeman Images
Media ID 23733788
Antwerp Collar Court Painter Edward Walmsley Goatee John Major King James I Of England One Hundred Distinguished Characters Physiognomical Portraits Royal Court Ruff Steel Engraving Thomson Flemish Artist Paul Van Somer Paulus Van Somer Regency
Framed Prints
Bring the timeless elegance of the past into your home with our Framed Prints from Media Storehouse. This exquisite piece showcases the Portrait of Paul van Somer, a renowned Flemish artist and court painter to King James I of England, circa 1577-1621. Captured by Bridgeman Images from Fine Art Finder, this portrait by Thomson is a stunning representation of van Somer's masterful use of light and shadow. Each print is meticulously framed to enhance the artwork's beauty and preserve its quality, making it a perfect addition to any room in your home or office. Experience the rich history and artistic brilliance of the past with our Framed Prints.
Photo Prints
Bring the rich history and artistic mastery of the past into your home with our Media Storehouse range of Photographic Prints. This exquisite portrait of Paul van Somer, Flemish artist and court painter to King James I of England, circa 1577-1621, captures the intricate details and vibrant colors of the original painting by Thomson. The portrait showcases Van Somer's exceptional skill as a painter, making it a stunning addition to any art collection. Our high-quality photographic prints are produced using archival inks and premium paper to ensure long-lasting beauty and brilliance. Experience the timeless allure of fine art with Media Storehouse.
Poster Prints
Bring the elegance and sophistication of the Renaissance era into your home or office with our Media Storehouse range of Poster Prints featuring the Portrait of Paul van Somer. This stunning artwork, captured by Bridgeman Images from Fine Art Finder, showcases the Flemish artist and court painter to King James I of England, circa 1577-1621. With intricate details and vivid colors, this Portrait of Paul van Somer is a true masterpiece that adds an air of sophistication and culture to any space. Order now and let the beauty of this artwork enhance your surroundings.
Jigsaw Puzzles
Discover the captivating world of Portrait of Paul van Somer with our exquisite jigsaw puzzles from Media Storehouse. This intricately detailed puzzle features an elegant portrait of Paul van Somer, a Flemish artist and court painter to King James I of England, circa 1577-1621. Bring the timeless beauty of this masterpiece by Thomson into your home and enjoy the therapeutic process of piecing together the intricate design. Our high-quality puzzles are made with premium materials, ensuring a satisfying puzzle experience for all ages. Immerse yourself in the rich history and artistry of this Flemish masterpiece and create a lasting memory with Media Storehouse.
|
|||||
8327
|
dbpedia
|
2
| 56 |
https://issuu.com/theweissgallery/docs/_22courting_favour_-_from_elizabeth
|
en
|
Courting Favour: From Elizabeth I to James I, Tudor & Jacobean Portraits, 1560 - 1625
|
[
"https://static.isu.pub/fe/product-header-frontend/781e53c/31d186ba39f38e8c4fac.png",
"https://static.issuu.com/fe/silkscreen/0.0.3042/icons/gradient/icon-canva-gradient.svg",
"https://static.isu.pub/fe/product-header-frontend/781e53c/1e794a8c4ec65e549678.png",
"https://photo.isu.pub/theweissgallery/photo_large.jpg",
"https://image.isu.pub/201123185201-08b3731daa7562a502af9008726dcac2/jpg/page_1_thumb_large.jpg",
"https://image.isu.pub/200117130743-c0dbcb946fb2026b225037f72a0be3be/jpg/page_1_thumb_large.jpg",
"https://image.isu.pub/180517111508-1b52e7d0c04ce9473e53709e00b3f65d/jpg/page_1_thumb_large.jpg",
"https://image.isu.pub/180516101615-268c070b61a80ebd7c44c1cdfa930163/jpg/page_1_thumb_large.jpg",
"https://image.isu.pub/180515105850-092379a198dd8d037818abb9d0c44e44/jpg/page_1_thumb_large.jpg",
"https://image.isu.pub/180514100614-70f6cf645a37772bb4c5da0f2a2c2e4e/jpg/page_1_thumb_large.jpg",
"https://image.isu.pub/180511152458-9eda56f07f70a630d67e23a3b437889e/jpg/page_1_thumb_large.jpg",
"https://image.isu.pub/180510112238-042aa4fe67f6de8518ca1a502082bcb4/jpg/page_1_thumb_large.jpg",
"https://static.issuu.com/fe/silkscreen/0.0.2541/icons/gradient/icon-instagram-gradient.svg"
] |
[] |
[] |
[
""
] | null |
[] |
2017-06-26T13:24:50+00:00
|
This is The Weiss Gallery's first digital-only catalogue that was published for their Summer 2017 exhibition, "Courting Favour: From Elizabeth I to...
|
en
|
/favicon.ico
|
Issuu
|
https://issuu.com/theweissgallery/docs/_22courting_favour_-_from_elizabeth
|
This is The Weiss Gallery's first digital-only catalogue that was published for their Summer 2017 exhibition, "Courting Favour: From Elizabeth I to James I". The catalogue includes a broad range of formal and privately commissioned court portraits, depicting figures such as Elizabeth I and Robert Dudley, 1st Earl of Leicester, and works by artists such as William Larkin, Robert Peake and George Geldorp. For more information on any of the works, please visit our website, www.weissgallery.com
|
||||
8327
|
dbpedia
|
1
| 0 |
https://en.wikipedia.org/wiki/Paul_van_Somer_I
|
en
|
Paul van Somer I
|
[
"https://en.wikipedia.org/static/images/icons/wikipedia.png",
"https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg",
"https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/5/5c/Somer_Francis_Bacon.jpg/220px-Somer_Francis_Bacon.jpg",
"https://upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/30px-Commons-logo.svg.png",
"https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png",
"https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1",
"https://en.wikipedia.org/static/images/footer/wikimedia-button.svg",
"https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg"
] |
[] |
[] |
[
""
] | null |
[
"Contributors to Wikimedia projects"
] |
2007-05-15T17:40:12+00:00
|
en
|
/static/apple-touch/wikipedia.png
|
https://en.wikipedia.org/wiki/Paul_van_Somer_I
|
English painter
Paul van Somer (c. 1577 – 1621), also known as Paulus van Somer, was a Flemish artist who arrived in England from Antwerp during the reign of King James I of England and became one of the leading painters of the royal court. He painted a number of portraits both of James and his consort, Queen Anne of Denmark, and of nobles such as Ludovic Stuart, Duke of Lennox, Elizabeth Stanley, Countess of Huntingdon, and Lady Anne Clifford. He is sometimes designated as "Paul van Somer I" to distinguish him from the engraver of the same name who was active in England between 1670 and 1694.
Life and career
[edit]
Paul van Somer is in some ways an elusive figure: not much is known about him, and his art is rarely written about;.[1] According to Karel van Mander, he was the brother of Barend van Someren, who married and brought back the daughter of Aert Mijtens after he returned from Italy.[2] Van Mander does not mention whether Paul had accompanied his brother to Italy or not, and only remarked that he was still a bachelor. According to the Netherlands Institute for Art History, van Somer lived between 1612–1614 in the house of Steven de Gheyn in Leiden, during 1616 in Brussels, and after that moved to London, where he became court painter.[3] He occupied an important position as one of James and Anne's favourite painters and can be seen as a forerunner of the more famous Flemish and Dutch artists, in particular Daniel Mytens and Anthony van Dyck, who followed in his footsteps as leading court painters.[4] (In fact, one of van Dyck's first tasks was to copy van Somer's royal portraits, a duty he did not enjoy.)[5] Van Somer arrived in England as a mature artist, having travelled widely in northern Europe:[6] Booth Tarkington names the year of his arrival as 1606,[7] but H.L.Meakin notes that he did not settle permanently in the country until after 1616.[8]
Van Somer received additional commissions from non-royal sources. The Earl of Rutland paid him £26 for portraits in 1618, and £37 for pictures of King James and Prince Charles in 1619.[9] Lady Anne Clifford refers in her diary to being painted by him on 30 August 1619.[10] A curiosity of van Somer's oeuvre is his portrait of Elizabeth Drury (1596–1610), a girl made famous by John Donne's poems on her death, such as "An Anatomy of the World".[11] Van Somer may have painted the portrait several years after Elizabeth's death, or possibly during her visit to the continent with her parents shortly before she died.[8] The portrait is noteworthy in that the subject is depicted in a semi-recumbent position—unusual for a non-nude of the period— which may, as H.L.Meakin points out, be intended as a sign of a philosophical or melancholy character, as in Nicholas Hilliard's portrait of Henry Percy, Earl of Northumberland.[8] Other portraits include those of Lady Elizabeth Grey, Countess of Kent, painted in about 1619,[12] and a portrait of Ludovic Stewart, 2nd Duke of Lennox.
Collections and analysis
[edit]
Van Somer's achievement is described in the gallery notes at the Royal Collection as follows: "Like Daniel Mytens, who had settled in London from the Netherlands by 1618 and was Van Somer’s neighbour in St Martin’s Lane, Van Somer brought a new grandeur, fluency and naturalism to British court portraiture."[13] Opinion of van Somer's work has, however, been divided: Horace Walpole thought one of his portraits as fine as a Van Dyck, and Booth Tarkington, in his psychological study King James in Faded Paint suggested that "Paulus van Somer had gifts and one of them was for the perception of character";[7] on the other hand, art critic Sir John Rothenstein condemned van Somer's work as dull and heavy.[14]
Copies of van Somer's royal portraits were often commissioned, particularly as James disliked sitting for painters, to be sent as gifts overseas.[13] Many variants also exist in printed form. Van Somer is said to have introduced regalia into royal portraiture, for example that of the Order of the Garter.[13] The ambassador in Brussels, William Trumbull, sent measurements for portraits to Van Somer. He replied in December 1618, via Edward Norgate, that the suggested sizes were too narrow. A standard full length portrait of usual proportions would cost £30 or £25.[15]
Some of van Somer's work can still be seen today. He completed a much-reproduced portrait of James I in 1616 and one of Queen Anne in hunting attire with her African servant, horse, and hunting dogs, in the grounds of Oatlands, a year later.[16] Van Somer had by then become Anne's favourite painter, supplanting John de Critz and Marcus Gheeraerts the Younger.[13] Another portrait of Anne of Denmark, at Drumlanrig Castle, includes several jewels, a diamond crossbow in her hair, with diamond badges of "S" and "C4" referring to her family, and a centrally placed cross or aigrette which may be the jewel known as the "Mirror of France". When she died in 1619 she owed him £170, and he joined her funeral procession as her "picture maker" with the artists Marcus Gheeraerts and Peter Oliver.[17]
Notes and references
[edit]
|
||||||
8327
|
dbpedia
|
2
| 40 |
https://edspace.american.edu/blurredlinesblackafricans/the-low-countries/
|
en
|
Person, Object, and Aesthetic: Black Africans in European Art, 1300-1600
|
[
"https://edspace.american.edu/blurredlinesblackafricans/wp-content/uploads/sites/1546/2020/01/Screen-Shot-2019-08-30-at-12.46.51-AM.png",
"https://edspace.american.edu/blurredlinesblackafricans/wp-content/uploads/sites/1546/2020/05/queen-anne.jpg",
"https://edspace.american.edu/blurredlinesblackafricans/wp-content/uploads/sites/1546/2020/05/Durer-Katharina.jpg",
"https://edspace.american.edu/blurredlinesblackafricans/wp-content/uploads/sites/1546/2020/05/Peter_Paul_Rubens_-_Diana_and_Callisto_-_WGA20326.jpg"
] |
[] |
[] |
[
""
] | null |
[] | null |
en
|
https://edspace.american.edu/blurredlinesblackafricans/the-low-countries/
|
In the Low Countries, Antwerp had become a major commercial and financial center of western Europe by the early-sixteenth century, prospering from the profits of the spice and silver trades. During this period there were only a few documented cases of Black Africans who resided there. The majority lived in the trading cities of Antwerp and Bruges where they were brought as slaves and servants in Italian, Spanish, and Portuguese households.[24] Antwerp offered a flourishing artistic environment on a scale of Florence, Rome, and Venice.[25] Its economic success was attributed in part to its selection by the Portuguese as the principal European center of its trade with Benin in Africa.[26] Black Africans were sometimes transported from Benin to Antwerp; they could reside there as free people since slavery was outlawed, although it was tolerated for foreign visitors.[27] Such commercial routes increased the cultural exchange between Italy and the Low Countries. These strong urban economies led artists to be attracted to both Antwerp and Venice; some traveled between them and became influenced by each other’s work in the process. Examples of their works reveal both similarities and differences in approaches to depicting Black Africans.
Dutch involvement in the Atlantic slave trade extended through the seventeenth to nineteenth centuries. In the seventeenth century, the Netherlands begin to acquire wealth and profit through the exploitation of their colonies in North and South America. When the Dutch West India Company (WIC) conquers part of Brazil from the Portuguese in 1630, their interest in the African slave trade was sparked. Slavery and the slave trade were inextricably and irrepressibly a part of Dutch society, political traditions and social formation.[28] However, the appearance of Black Africans in the Low Countries had previously occurred much earlier, between AD 200 and 500 when they came to the region in the service of the Roman armies.[29] In 1436, soon after the Portuguese started exploring the African continent in search of trading opportunities, the first African slaves were shipped to Portugal. The Portuguese traded in return with goods obtained from the Spanish possessions of the Netherlands, thus explaining the early presence of Africans traveling with these merchants in Netherlandish trading cities such as Antwerp.[30]
Whether Black servants were free or enslaved, they had a very low social status. Having an African servant in one’s employment became a fashion that proved particularly popular in the Spanish Netherlands in the sixteenth century.[31] One of the first northern European nobles to be painted with a person of African descent was the English queen, Anne of Denmark (1574 – 1619). Painted by the Flemish artist Paul van Somer in 1617, Anne of Denmark (Fig. 2) depicts the queen standing facing half to the right, wearing a green riding habit and a tall-crowned hat with red plumes. Five greyhounds stare adoringly up at her as she holds a leash in her left hand and rests her right hand on her hip. To her right stands a tall brown horse and, further back, in the shadows, a Black African wearing scarlet and gold livery holds her horse to the left. This placement of the three figures where the black figure falls behind, even after the horse, displays his status even more clearly as there is a hierarchy between them. A likely inspiration for this painting was from the Italian painter Titian’s Laura dei Dianti (1520) (Fig. 19), which will later be discussed.
Although most of the images discussed in this project express racist conceptions of Black Africans by white artists and patrons, some northern European images convey sympathetic perspectives about their subjects. The depiction of Black Africans in roles not previously prescribed to them in iconography suggests that artists may have been painting from personal motivation. This is the case with the German artist Albrecht Dürer’s Portrait of Katharina (1521) (Fig. 3), which the artist completed during a visit to Antwerp. Dürer commented on his encounter with an enslaved woman of the household of the Portuguese trade commissioner João Brandão, with whom the artist resided, in a journal entry of 1521: an inscription at the upper center of the drawing identifies the figure as “Katharina” and her age as 20 years old. Brandão likely acquired her through his trade dealings; her name, derived from St. Catherine, implies she had converted to Christianity. Dürer’s choice to portray Katharina’s facial features and clothing in a naturalistic, non-exaggerative way humanized her rather than reducing her to a caricature.[32] Dürer’s image of Katharina quite clearly corresponds with this analysis and suggests a degree of sensitivity to the subject as an individual rather than a type. However, before Dürer’s encounter with Katharina in Antwerp, in his 1528 book On Human Proportion, he described Black Africans negatively: “Negro faces are seldom beautiful because of their very flat noses and thick lips; similarly, their shinbones and knees as well are too bony, not so good to look upon as those of the whites; and so also it is with their hands. Howbeit I have seen some amongst those whose whole bodies have been so well built and handsome otherwise that I never beheld finer figure, nor can I conceive how they might be bettered, so excellent were their arms and all their parts.”[33] This passage suggests that Dürer’s ambivalence about the physical characteristics of the Black Africans with whom he came in contact: he appreciated the form and strength of their bodies but found their facial features unattractive.
|
|||||||
8327
|
dbpedia
|
1
| 15 |
https://en.wikipedia.org/wiki/Somer
|
en
|
Wikipedia
|
https://en.wikipedia.org/static/favicon/wikipedia.ico
|
https://en.wikipedia.org/static/favicon/wikipedia.ico
|
[
"https://en.wikipedia.org/static/images/icons/wikipedia.png",
"https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg",
"https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/9/99/WPanthroponymy.svg/30px-WPanthroponymy.svg.png",
"https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1",
"https://en.wikipedia.org/static/images/footer/wikimedia-button.svg",
"https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg"
] |
[] |
[] |
[
""
] | null |
[
"Contributors to Wikimedia projects"
] |
2022-08-10T18:03:26+00:00
|
en
|
/static/apple-touch/wikipedia.png
|
https://en.wikipedia.org/wiki/Somer
| |||||
8327
|
dbpedia
|
2
| 17 |
https://www.alamy.com/stock-photo/paul-van.html
|
en
|
res stock photography and images
|
[
"https://s.alamy.com/logos/1.68.0/alamy.svg",
"https://s.alamy.com/logos/1.68.0/alamy-black.svg",
"https://s.alamy.com/logos/1.68.0/alamy-black.svg",
"https://s.alamy.com/logos/1.68.0/alamy.svg",
"https://s.alamy.com/assets/latest/footer/mastercard.svg",
"https://s.alamy.com/assets/latest/footer/visa.svg",
"https://s.alamy.com/assets/latest/footer/amex.svg",
"https://s.alamy.com/assets/latest/footer/paypal.svg",
"https://s.alamy.com/assets/latest/footer/apple-pay.svg",
"https://s.alamy.com/assets/latest/footer/google-pay.svg"
] |
[] |
[] |
[
""
] | null |
[
"Alamy Limited"
] | null |
Find the perfect paul van stock photo, image, vector, illustration or 360 image. Available for both RF and RM licensing.
|
en
|
Alamy
|
https://www.alamy.com/stock-photo/paul-van.html
|
Alamy and its logo are trademarks of Alamy Ltd. and are registered in certain countries. Copyright © 18/08/2024 Alamy Ltd. All rights reserved.
|
|||||
8327
|
dbpedia
|
0
| 9 |
https://commons.wikimedia.org/wiki/Paul_van_Somer
|
en
|
Paul van Somer
|
[
"https://upload.wikimedia.org/wikipedia/commons/thumb/7/73/Blue_pencil.svg/15px-Blue_pencil.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/f/ff/Wikidata-logo.svg/20px-Wikidata-logo.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/f/ff/Wikidata-logo.svg/20px-Wikidata-logo.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/3/30/James_I_of_England_404446.jpg/78px-James_I_of_England_404446.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/6/63/JamesIEngland.jpg/71px-JamesIEngland.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/6/60/Anne_of_Denmark_by_Paul_Van_Somer.jpg/97px-Anne_of_Denmark_by_Paul_Van_Somer.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/d/dd/Portrait_of_Anne_of_Danemark.jpg/94px-Portrait_of_Anne_of_Danemark.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/0/03/Portrait_of_a_Nobleman_said_to_be_7th_Earl_of_Shrewsbury_in_Garter_Robes.jpg/69px-Portrait_of_a_Nobleman_said_to_be_7th_Earl_of_Shrewsbury_in_Garter_Robes.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/b/be/Lodovick_Stuart%2C_1st_Duke_of_Richmond%2C_and_2nd_Duke_of_Lennox_by_Paul_Van_Somer.jpg/69px-Lodovick_Stuart%2C_1st_Duke_of_Richmond%2C_and_2nd_Duke_of_Lennox_by_Paul_Van_Somer.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/5/58/Sir_Francis_Bacon.jpg/73px-Sir_Francis_Bacon.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/9/9f/Van_somer_christian_lady_cavendish.jpg/95px-Van_somer_christian_lady_cavendish.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/6/6c/Portrait_of_a_Young_Lady_by_Paul_Van_Somer.jpg/93px-Portrait_of_a_Young_Lady_by_Paul_Van_Somer.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/6/60/Portrait_of_a_Child_with_a_Rattle.jpg/88px-Portrait_of_a_Child_with_a_Rattle.jpg",
"https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1",
"https://commons.wikimedia.org/static/images/footer/wikimedia-button.svg",
"https://commons.wikimedia.org/static/images/footer/poweredby_mediawiki.svg"
] |
[] |
[] |
[
""
] | null |
[] | null |
en
|
/static/apple-touch/commons.png
|
https://commons.wikimedia.org/wiki/Paul_van_Somer
|
Date of birth/death
|
||||||
8327
|
dbpedia
|
3
| 20 |
en
|
File:Paul van Somer Frances Lady Willoughby and her son Francis, Lord Willoughby of Parham.jpg
|
[
"https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/Paul_van_Somer_Frances_Lady_Willoughby_and_her_son_Francis%2C_Lord_Willoughby_of_Parham.jpg/491px-Paul_van_Somer_Frances_Lady_Willoughby_and_her_son_Francis%2C_Lord_Willoughby_of_Parham.jpg?20140601231325",
"https://upload.wikimedia.org/wikipedia/commons/thumb/7/73/Blue_pencil.svg/15px-Blue_pencil.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/f/ff/Wikidata-logo.svg/20px-Wikidata-logo.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/f/ff/Wikidata-logo.svg/20px-Wikidata-logo.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/PD-icon.svg/64px-PD-icon.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/6/6e/Dialog-warning.svg/25px-Dialog-warning.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/Paul_van_Somer_Frances_Lady_Willoughby_and_her_son_Francis%2C_Lord_Willoughby_of_Parham.jpg/98px-Paul_van_Somer_Frances_Lady_Willoughby_and_her_son_Francis%2C_Lord_Willoughby_of_Parham.jpg?20140601231325",
"https://upload.wikimedia.org/wikipedia/commons/thumb/archive/6/62/20140601231323%21Paul_van_Somer_Frances_Lady_Willoughby_and_her_son_Francis%2C_Lord_Willoughby_of_Parham.jpg/98px-Paul_van_Somer_Frances_Lady_Willoughby_and_her_son_Francis%2C_Lord_Willoughby_of_Parham.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/archive/6/62/20140601231307%21Paul_van_Somer_Frances_Lady_Willoughby_and_her_son_Francis%2C_Lord_Willoughby_of_Parham.jpg/95px-Paul_van_Somer_Frances_Lady_Willoughby_and_her_son_Francis%2C_Lord_Willoughby_of_Parham.jpg",
"https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1",
"https://commons.wikimedia.org/static/images/footer/wikimedia-button.svg",
"https://commons.wikimedia.org/static/images/footer/poweredby_mediawiki.svg"
] |
[] |
[] |
[
""
] | null |
[] | null |
en
|
/static/apple-touch/commons.png
|
This is a faithful photographic reproduction of a two-dimensional, public domain work of art. The work of art itself is in the public domain for the following reason:
Public domainPublic domainfalsefalse
This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or fewer.
You must also include a United States public domain tag to indicate why this work is in the public domain in the United States.
https://creativecommons.org/publicdomain/mark/1.0/PDMCreative Commons Public Domain Mark 1.0falsefalse
The official position taken by the Wikimedia Foundation is that "faithful reproductions of two-dimensional public domain works of art are public domain".
This photographic reproduction is therefore also considered to be in the public domain in the United States. In other jurisdictions, re-use of this content may be restricted; see Reuse of PD-Art photographs for details.
|
||||||||
8327
|
dbpedia
|
0
| 22 |
https://www.supremecourt.uk/visiting/art-collection.html
|
en
|
The Supreme Court
|
[
"https://www.supremecourt.uk/images/henry-pownall.jpg",
"https://www.supremecourt.uk/images/duke-of-northumberland.jpg",
"https://www.supremecourt.uk/images/Earl-of-Northumberland.jpg",
"https://www.supremecourt.uk/images/mainwaring-painting.jpg",
"https://www.supremecourt.uk/images/sir-baptist-hicks.jpg",
"https://www.supremecourt.uk/images/georgian-tapestry.jpg"
] |
[] |
[] |
[
"Eden Upton Eddis",
"Thomas Gainsborough",
"Paul van Somer",
"commemorative"
] | null |
[
"The Supreme Court"
] | null |
Art collection
|
en
|
/favicon.ico
| null |
Middlesex Guildhall Art Collection
The collection commemorates many former Lords Lieutenants, judges, magistrates and politicians, and includes a rare opportunity to compare portraits of the 1st Duke of Northumberland by both Gainsborough and Reynolds.
Henry Pownall, by Eden Upton Eddis
Duke of Northumberland, by Thomas Gainsborough
Earl of Northumberland, by Sir Joshua Reynolds
William Mainwaring, by Gainsborough Dupont
Baptist Hicks, attributed to Paul van Somer
George III tapestry
Location of art works at the UKSC
Henry Pownall, by Eden Upton Eddis
J.G. Henry Pownall (1792-1880) was a JP and Chairman of Middlesex Quarter Sessions. He was a generous philanthropist, supporting the construction of new churches and schools, and giving money to the campaign against slavery.
Details
Oil on canvas
93¼ x 57 in. (2368 x 1448 mm)
Frame style: gallery
A plaque attached to the frame reads ‘Henry Pownall Esqre’. This painting is displayed in meeting room 3 of The Supreme Court building.
About the sitter
J.G. Henry Pownall (?1792-1871) was a JP and Chairman of Middlesex Quarter Sessions. He was a generous philanthropist, supporting the construction of new churches and schools, and giving money to the campaign against slavery.
As a devoted Anglo-catholic, he was a strong opponent of the Papacy and the introduction of the Apocrypha into British Bibles. His son, Frederick Hyde Pownall (1832-1907) was an architect of the second Middlesex Guildhall and Wandsworth Prison.
About the artist
Eden Upton Eddis (1812-1901) learnt to draw at a school run by Henry Sass in Bloomsbury before being admitted to the Royal Academy Schools in 1828 where he won a silver medal.
Having toured Europe, he exhibited at the Royal Academy from 1834 to 1883. Initially he specialised in landscapes, but gradually launched himself as a popular portrait painter. In 1883 he began to go deaf, withdrew from London society, and moved from Harley Street to Shalford near Guildford in Surrey, where he continued to paint.
Conservation
2009: Both painting and frame were assessed as stable, but would benefit from future conservation and restoration. The painting was re-framed with measures to provide protection from dust at the reverse.
Back to top
Duke of Northumberland, by Thomas Gainsborough
Hugh Percy, 1st Duke of Northumberland (c1714-1786) was a prominent politician who served as Privy Counsellor from 1762, and Lord Lieutenant of Middlesex from 1763 to 1786.
Details
Oil on canvas
90½ x 59 in. (2299 x 1499 mm)
Frame style: Neoclassic, with entwined laurel-stem guilloche between pearled and palmette-wrapped borders, designed in the George III ‘antique’ manner of the 1760s.
This painting was exhibited at the Royal Academy in 1783. It is now displayed in the law library of The Supreme Court building.
About the sitter
Hugh Percy, 1st Duke of Northumberland (c1714-1786) was a prominent politician who served as Privy Counsellor from 1762, Lord Lieutenant of Middlesex from 1763 to 1786.
After marrying an indirect heiress of the Percy family, one of England’s leading landowners, he spent much effort embellishing Northumberland House, Sion House and Alnwick Castle, employing James Paine, Robert Adam and Capability Brown.
One of his illegitimate children, James Smithson (1764-1829) was a chemist and mineralogist who founded the Smithsonian Institution in Washington.
About the artist
Thomas Gainsborough (c 1727-1788) was one of the most famous portrait and landscape painters of 18th century Britain.
Having trained in his early teens under the London engraver Hubert Gravelot, he developed his client base from local merchants and squires to important society commissions including George III and Queen Charlotte. In 1783 he quarrelled with the Royal Academy: in 1784 the King had to appoint Sir Joshua Reynolds as royal painter even though he seemed to prefer Gainsborough.
Gainsborough was both technically proficient and highly experimental, painting very thinly with long, broad brushes. Unlike many contemporaries, he only had one assistant, his nephew Gainsborough Dupont who also contributed to the Middlesex Art Collection.
Conservation
2007/9: Discoloured varnish and disfiguring over paint was removed and the painting was re-varnished. A technical report on its pigments, media etc was carried out by the Department of Conservation & Technology at the Courtauld Institute of Art, which will contribute to the wider knowledge of Gainsborough’s technique. The frame also underwent substantial restoration, with losses repaired and features re-created where they were missing, and top layers of non-original gilding were removed to a near-original layer.
2009: The painting was re-framed with measures to provide protection from dust at the reverse.
Back to top
The Earl of Northumberland, by Sir Joshua Reynolds
Hugh Percy, 1st Duke of Northumberland (c1714-1786) was a prominent politician who served as Privy Counsellor from 1762, and Lord Lieutenant of Middlesex from 1763 to 1786.
Details
Oil on canvas
94 x 58 in. (2388 x 1473 mm)
Frame style: Rococo, carved and gilded, by the famous firm of Thomas Chippendale.
This painting is displayed in Court Room 3 of The Supreme Court building.
About the sitter
Hugh Percy, 1st Duke of Northumberland (c1714-1786) was a prominent politician who served as Privy Counsellor from 1762, Lord Lieutenant of Middlesex from 1763 to 1786. This portrait was painted in 1762, before he received his full Dukedom in 1766.
After marrying an indirect heiress of the Percy family, one of England’s leading landowners, he spent much effort embellishing Northumberland House, Sion House and Alnwick Castle, employing James Paine, Robert Adam and Capability Brown.
One of his illegitimate children, James Smithson (1764-1829) was a chemist and mineralogist who founded the Smithsonian Institution in Washington.
About the artist
Sir Joshua Reynolds (1723-1792) was one of the most important and influential 18th century English painters, specialising in portraits and promotion of the ‘Grand Style’.
Apprenticed to the fashionable London portrait painter, Thomas Hudson, he studied in Italy, France and the Netherlands. When in London, his circle included Dr Johnson, Oliver Goldsmith, Edmund Burke, David Garrick and fellow artist Angelica Kaufmann.
He was a prolific and high earning portraitist, who may have painted as many as three thousand portraits of the famous and wealthy. He was a founder member of the Royal Academy and was made the first President in 1768, a position he held until his death.
Unfortunately many of his pictures suffered from premature and unusual cracking, with colours fading in ways that often make it difficult to judge the original appearance.
Conservation
2004/5: Discoloured varnish was removed, with some filling of old damages, re-touching and re-varnishing. The frame was also fully restored and re-gilded.
2008/9: Strip lining was carried out using polyester, to support the brittle original tacking edge. The painting was re-varnished, the frame was cleaned very gently and thoroughly, and some minor repairs and re-gilding were carried out.
2009: The painting was re-framed with measures to provide protection from dust at the reverse.
Back to top
William Mainwaring, by Gainsborough Dupont
William Mainwaring was MP for Middlesex from 1784, and served as Chairman of the Middlesex and Westminster Quarter Sessions.
Details
Oil on canvas
93 x 60½ in. (2362 x 1537 mm)
Frame style: Gallery
This painting was exhibited at the Royal Academy, 1793. It is now displayed in Court Room 3 of The Supreme Court building.
About the sitter
William Mainwaring was MP for Middlesex from 1784, and served as Chairman of the Middlesex and Westminster Quarter Sessions.
He became embroiled in a dispute with the radical Francis Burdett when he refused demands for an inquiry into prison abuses. This long-running dispute was fought out in elections and reflects the inflammatory nature of much late eighteenth century politics.
About the artist
Gainsborough Dupont (1754-1797) was a painter and mezzotint engraver. As a nephew of Thomas Gainsborough through his mother’s family, he was apprenticed to his uncle in Bath in 1772, and moved with him to London.
After studying at the Royal Academy Schools, he became his uncle’s studio assistant, making engravings and small-scale copies of his uncle’s works. Seemingly, he was diffident and modest, yet from 1790, he exhibited both portraits and landscapes at the Royal Academy.
After Thomas Gainsborough died in 1788, Dupont continued to produce engravings in his uncle’s studio. From this time, his own painting became more personal, but it is still difficult to distinguish much of his earlier work from that of his uncle.
Conservation
2006: The frame was cleaned and some repairs to the flaking gilding were carried out.
2007/8: More work was carried out on the frame to replace the running leaf pattern where necessary.
2008/9: The painting’s varnish was removed; it had been heavily over-painted probably to disguise severe drying cracks and wear (from earlier cleaning regimes). Retouching was carried out using a varnish and dry pigments, and the painting was re-varnished. The brittle tacking edge of the canvas was strengthened by strip lining.
2009: The painting was re-framed with measures to provide protection from dust at the reverse.
Back to top
Sir Baptist Hicks, attributed to Paul van Somer
Sir Baptist Hicks, 1st Viscount Campden (?1551-1629) was one of the most important money lenders to the Stuart kings. James I knighted him in 1603, and he was appointed a Deputy Lieutenant for Middlesex in 1625.
Details
Oil on canvas
84¼ x 53 in. (2146 x 1346 mm)
Frame style: Bolection
This painting is displayed outside Court Room 3 of The Supreme Court building.
About the sitter
Sir Baptist Hicks, 1st Viscount Campden (?1551-1629) was one of the most important money lenders to the Stuart kings. James I knighted him in 1603, and he was appointed a Deputy Lieutenant for Middlesex in 1625.
In 1611-12, he funded the building of a Sessions House for the Middlesex magistrates, which was known as Hicks Hall. He left substantial legacies to charitable causes; parish churches, the building of a market house, the endowment of almshouses in Campden, Gloucestershire, and bequests to the poor, both in Campden and in London.
About the artist
Paul (Pauwels) van Somer (1577/8-1621/2) was a portrait painter who was probably born in Antwerp. Between 1612 and 1615, he was painting in Leiden, The Hague and Brussels, but none of his work is recorded before he arrived in London.
By the autumn of 1615, he had settled in the St Martin’s Lane area with two other court painters from the Netherlands, Daniel Mytens and Abraham van Blyenberch. An important contemporary record of artists’ materials and techniques by James I’s Swiss physician praises his “incomparable varnish”.
Conservation
2007/8: Some minor repairs were carried out to the frame, and it was hoped that the painting could be fully cleaned. Unfortunately, large areas of the background had been re-painted (over damage caused by a malfunction in the drying of the paint layer). Removing this over paint could not be justified, as the considerable work involved would not have substantially improved the appearance of the painting. Instead, the uppermost, glossy and yellow layer of varnish was reduced by friction, and the painting was re-varnished.
2009: The painting was re-framed with measures to provide protection from dust at the reverse.
Back to top
George III tapestry
This ornate tapestry is woven with the Arms and Cypher of George III, the badges of the United Kingdom and the motto of the Order of the Garter.
Details
Tapestry
Dated circa 1760
97 x 193½ in. (2464 x 4915 mm)
This tapestry is displayed in the librarian’s office of The Supreme Court building.
About the tapestry
The tapestry is woven with the Arms and Cypher of George III, within a polychrome cartouche of Roman foliage, flowered with the badges of the United Kingdom and festooned with garlands and beribboned trophies uniting the emblems of Government, Justice, Arts and Commerce.
This Coat of Arms is the one used from 1714 to 1801. The same crest appears on the headboard of the bed in which George III slept at Goodwood House during this period.
The trophies in the panel include Roman fasces, Minerva’s helmet and Mercury’s caduceus. These all allude to good government and optimism at the beginning of George III’s reign.
The tapestry bears the motto of the Order of the Garter: “HONI SOIT-QUI.MAL.Y.PENSE.”: “Shamed be he who thinks evil of it”.
On the lower right, the maker’s signature is visible: ‘T.CO SHAM’
George III was born in 1738, crowned in 1760 and died in 1820. The Coat of Arms changed in 1801 to 1816 and then again in 1816 to 1837.
Conservation
2007/9: The tapestry underwent major conservation treatment: cleaning to remove heavy soiling and staining, stabilising the fabric by restoring the pH level as close to normal as possible, repairs as necessary, reducing distortions in the drape and re-backing. Over the years, the tapestry has faded considerably. A special box with a blind has been designed to protect the tapestry from further light damage and dust.
Back to top
Location of art works at the UKSC
PDF version (16KB)
The following art works can be viewed whenever the court building is open.
Court 1
Arthur Wellesley, 2nd Duke of Wellington by Ethel Mortlock
Lord Bingham by David Poole
Sir John Fielding by Nathaniel Hone
Sir Montague Sharpe by George Spencer Watson
Court 3
Earl of Northumberland by Sir Joshua Reynolds (frame by Chippendale)
William Mainwaring by Gainsborough Dupont
John Lord Campbell by Thomas Woolnoth
Richard Bethell by by Michael Gordigiani
Lord Haldane by Arthur Stockdale Cope
Edward Macnaughton by Hughde Twenebrokes Glazebrook
John Simon, Viscount Simon by Frank Salisbury
Robert Threshie Reid, Earl Loreborn by George Reid
Sir Baptist Hicks attributed to Paul van Somer
Exhibition Space
Badges of High Sheriff and Westminster Sessions
Commemorative Documents of Middlesex Guildhall
The following can be viewed on public Open Days
Library
Hugh Percy, 1st Duke of Northumberland by Thomas Gainsborough
Herbrand Arthur Russell, 11th Duke of Bedford by John Collier
James Brownlow William Cecil 2nd Marquis of Salisbury by Eden Upton Eddis
Library balcony
George Henry Byng 3rd Earl of Strafford
George III tapestry dated circa
The following can be viewed by appointment only
Please contact our enquiries team
Telephone: 020 7960 1500 or 1900.
Charles I by John Reilly (1919) after Van Dyck
Francis Const by Henry William Pickersgill (as identified by contributors to Art UK's Art Detective website)
Francis Const by unknown artist of the 'English School'
Henry Pownell by Eden Upton Eddis
Hugh Percy, 2nd Duke of Northumberland by Andres van Rymsdyk
Portrait of a Cleric -by an unkown artist of the 'English School'
Portrait of a Gentleman - unkown artist of the 'English School' 19th century
Portrait of a Judge - Unknown
Sir Francis Brockman Morley by John Collier
Sir Gilford Craig by Harold Knight
Sir Howard Button by Margaret Lindsay Williams
Sir James Nicoll McAdam by an unkown artist of the 'English school'
Sir John Fielding - after the Rev Matthew Peters R.A. by W. Dickenson
Sir Ralph Littler by Beatrice Offor
Sir Ralph Littler by Hubert von Herkomer Offor
Sir Thomas Forster by Thomas Cantrell Dugdale
Town Clerk by Herbert William Piper
Unknown man (sculpture bust) by William Merrett
William Henry Bodkin by John Prescott Knight
William Regester by John Collier
|
|||||
8327
|
dbpedia
|
1
| 81 |
https://www.waddingtons.ca/auction/international-art-dec-06-2018/gallery/lot/882/
|
en
|
Begins closing: December 06, 2018 AT 2:00 PM
|
[
"https://www.facebook.com/tr?id=1236238220055092&ev=PageView&noscript=1",
"https://www.waddingtons.ca/wp-content/themes/waddingtons-theme/dist/images/branded_logo_a319a89f.svg",
"https://www.waddingtons.ca/wp-content/themes/waddingtons-theme/dist/images/branded_logo_text_85fe1cd6.png",
"https://www.waddingtons.ca/wp-content/themes/waddingtons-theme/dist/images/logo_f082d184.png",
"https://www.waddingtons.ca/wp-content/themes/waddingtons-theme/dist/images/logo-mobile_fcca49e0.png",
"https://www.waddingtons.ca/media2/1006/waddingtons-807988b0244125fe0841a3d9b12adead.jpg",
"https://www.waddingtons.ca/media2/1006/waddingtons-807988b0244125fe0841a3d9b12adead_2.jpg",
"https://www.waddingtons.ca/media2/1006/waddingtons-807988b0244125fe0841a3d9b12adead_2.jpg",
"https://www.waddingtons.ca/media2/1006/waddingtons-807988b0244125fe0841a3d9b12adead_3.jpg",
"https://www.waddingtons.ca/media2/1006/waddingtons-807988b0244125fe0841a3d9b12adead_4.jpg",
"https://www.waddingtons.ca/media2/1006/waddingtons-807988b0244125fe0841a3d9b12adead_5.jpg",
"https://www.waddingtons.ca/wp-content/themes/waddingtons-theme/dist/images/loading_c30f8921.gif",
"https://www.waddingtons.ca/wp-content/themes/waddingtons-theme/dist/images/logo_f082d184.png",
"https://www.waddingtons.ca/wp-content/themes/waddingtons-theme/dist/images/btn-app-store-download_13d37836.png",
"https://www.waddingtons.ca/wp-content/themes/waddingtons-theme/dist/images/btn-play-store-download_d90ad564.png",
"https://googleads.g.doubleclick.net/pagead/viewthroughconversion/863155499/?guid=ON&script=0"
] |
[] |
[] |
[
""
] | null |
[] |
2017-03-28T17:06:06+00:00
|
International Art - Lot 882 - Waddingtons.ca
|
en
|
/favicon-32x32.png
|
Waddingtons.ca
|
https://www.waddingtons.ca/auction/international-art-dec-06-2018/gallery/lot/882/
|
Provenance:
According to an undated, handwritten letter from Emma Johnston, a descendent in the UK, that is disjointed with indistinctly written passages, writing to Nicholas Ferrar Davidson (who was gifted the portrait on July 23, 1908), she recollects that the painting came from Magdalene College, Cambridge. She also states that copies of the original were made;
Reportedly purchased from Magdalene College, Cambridge;
With Rosetta Ferrar, the last of the Ferrars of Little Gidding, England;
Married Capt. George Cheyne R.N. and emigrated to New Brunswick, Canada in 1836, presumably with this portrait (with a partial 19th Century London shipping label to the frame verso);
With relative: “L. Hughes” (Aunt Lyle Hughes) until November 1873;
Gifted by L. Hughes as inscribed in pen and ink to another old label: “This picture was given to Jane Marion Cheyne by me (L. Hughes) November 1873;
Gifted by Jane Marion Cheyne (Mrs. Jane Marion Wilson) to nephew Nicholas Ferrar Davidson on July 23, 1908, as inscribed on handwritten pen and ink label verso naming the sitters it is believed to depict, in the title given above for this lot ;
By descent to his daughter, Carol Davidson, Toronto until 1962;
Her Estate in 1962;
To Ottilie Ketchum, Port Hope, ON (her son Nicholas, named after their distant Ferrar relative);
Her Estate, 1989;
By descent to present Private Collection (remaining with the Ferrar family line), Cardinal, Ontario in 1989
Note:
Historically believed to be a portrait by Dutch artist “Jansen” (Cornelis Janssens van Ceulen), leading experts of Tudor portraits in London, England today, suggest this portrait is likely a late 17th or early 18th Century copy in the manner of Flemish artist, Paul Van Somer. In 1976, the Art Gallery of Ontario suggested that “the canvas might be of the period around 1620 to 1650”. Based upon the style of the costumes, it could be dated somewhere in the earlier end of this date range, between 1610 and 1620.
Nicholas Ferrar was born in London on 23 February 1592, the third son and fifth of six children of Nicholas Ferrar senior and his wife Mary (Woodenoth) Ferrar. The Ferrar family was quite wealthy and was deeply involved in the London Virginia Company, which had a Royal Charter for the plantation of the colony of Virginia. His family home was often visited by figures such as Sir Walter Raleigh and Sir Francis Drake.
In 1625, following a successful career as an academic, courtier, businessman and Member of Parliament, Ferrar, his widowed mother and older brother John, purchased an abandoned church and property at Little Gidding in Huntingdonshire. Their purpose was to found a protestant religious community. The extended family and household – about 30 to 40 people – moved into the manor house, and Nicholas became the leader and spiritual director of the community. This was the only religious community in the Church of England between the Dissolution of the Monasteries under Henry VIII and the revival of religious communities that came with the Oxford Movement in the 19th century. The household was centred on the Ferrar family and their children: Nicholas’s mother Mary; his brother John and his wife Bathsheba; and his sister Susanna and her husband John Collett.
The community attracted much attention and was visited by King Charles I. He borrowed a Gospel harmony produced at Little Gidding and only returned it several months later in exchange for a promise of a new harmony to give to his son, the future Charles II. The Ferrars then produced a beautifully bound manuscript that passed through the Royal collection and is now in the British Library
It’s not clear exactly who is depicted in this portrait. While the verso label, handwritten by a later descendent of the family, identifies them as Mary Ferrar and her son Nicholas, the portrait may also depict other ancestors. Other possible identifications could be the sister of Nicholas Ferrar, Susannah Collet; or Bathesheba, wife of John Ferrar, and her son Nicholas Ferrar Junior (b.1620 - d.1640).
|
||||
8327
|
dbpedia
|
3
| 61 |
http://spenceralley.blogspot.com/2017/11/earlier-17th-century-portraits-tate.html
|
en
|
Spencer Alley: Earlier 17th
|
[
"https://2.bp.blogspot.com/-ifBI0kameAU/WfMULZyqK_I/AAAAAAABxNQ/dyi-bnESEi0h6LLBOs6wpXqGHEtb4FulACLcBGAs/s640/Anonymous-Portrait-of-a-Lady-called-Elizabeth-Lady-Tanfield-1615-oil-on-canvas-Tate.jpg",
"https://3.bp.blogspot.com/-6X82O3BwLio/WfMUPzbaMTI/AAAAAAABxNU/ycDymeXbIRImztSV7CDssS6lzI__5QmFQCLcBGAs/s640/Peake-Robert-Portrait-of-Lady-Anne-Pope-1615-oil-on-panel-Tate.jpg",
"https://1.bp.blogspot.com/-JqiiJsbkOkU/WfMUVI1-5VI/AAAAAAABxNY/QAvIjF4IGYMaeIQMJUeWI8Xx_laJf-vigCLcBGAs/s640/Van-Somer-Paul-Portrait-of-Lady-Elizabeth-Grey-Countess-of-Kent-%2528born-Talbot-favorite-of-Anne-of-Denmark%2529-c1619-oil-on-panel-Tate.jpg",
"https://3.bp.blogspot.com/-1hxTuzGMgLU/WfMUcK-BMkI/AAAAAAABxNc/0JHTTitOxEsUfhlzPIzYNEj_lJhbATwUQCLcBGAs/s640/Gheeraerts-Marcus-II-Portrait-of-a-woman-in-red-1620-oil-on-panel-Tate-Britain.jpg",
"https://4.bp.blogspot.com/-mzktvvtxR10/WfMUiuXZtVI/AAAAAAABxNg/u7zlg3RLFwMgAP6kh0UO-B4TqXahCO16ACLcBGAs/s640/Anonymous-portrait-Anne-Wortley-later-Lady-Morton-c1620-oil-on-canvas-Tate.jpg",
"https://2.bp.blogspot.com/-lfGhtu7EJpw/WfMUoYFfmGI/AAAAAAABxNk/qdYgbFz_4h4DUz8pwUmIP-lfuiKxj278wCLcBGAs/s640/Johnson-Cornelius-Portrait-of-an-unknown-lady-1629-oil-on-panel-Tate.jpg",
"https://2.bp.blogspot.com/-flNW9WcyTcM/WfMUrYfKJGI/AAAAAAABxNs/L2vVQU9JuqQzN2fMdtVhib8ZVlfE8y6zACLcBGAs/s640/Johnson-Cornelius-Portrait-of-an-unknown-gentleman-1629-oil-on-panel-Tate.jpg",
"https://3.bp.blogspot.com/-zAgBVGhEwhY/WfMUxz3rj5I/AAAAAAABxNw/Ui18bxazaPoTuhf-DedbHw_R88UkYzpfgCLcBGAs/s640/Van-Dyck-Anthony-Portrait-of-a-Lady-of-the-Spencer-family-c1633-38-oil-on-canvas-Tate.jpg",
"https://4.bp.blogspot.com/-x-Y7AtE9zF0/WfMU6PKS86I/AAAAAAABxN4/X3bxEs0ACgE7X364P_2nohCYvtmypZ-pQCLcBGAs/s640/Anonymous-portrait-William-Style-of-Langley-1636-oil-on-canvas-Tate-Britain.jpg",
"https://2.bp.blogspot.com/-rnBSI3R6y6o/WfMVCFpFD5I/AAAAAAABxN8/wRQzc8AXN3g8EduoTTxl_jn7h3XpBhIyQCLcBGAs/s640/Dobson-William-Portrait-of-the-Artist%2527s-Wife-c1635-40-oil-on-canvas-Tate.jpg",
"https://3.bp.blogspot.com/-Wk6jpVyH_38/WfMVH7af5ZI/AAAAAAABxOA/4lkS8U8eT8Q8_s-GJa4w8iShcNHuqzZ3ACLcBGAs/s640/Van-Dyck-Anthony-Portrait-of-Mary-Hill-Lady-Killigrew-1638-oil-on-canvas-Tate.jpg",
"https://2.bp.blogspot.com/-21zIPkCYmMA/WfMVPgm8kuI/AAAAAAABxOM/2YvjhO0C1QcEhLMIIWcofhOkoGZNqmRwwCLcBGAs/s640/Dobson-William-Portrait-of-an-Officer-c1645-oil-on-canvas-Tate.jpg",
"https://1.bp.blogspot.com/-i51d7K3U7e4/WfMVVhv3QsI/AAAAAAABxOQ/rYt1WOsvFNgWqiCqzhLxY4mrRCgV-iBdgCLcBGAs/s640/Bower-Edward-Portrait-of-Sir-John-Drake-1646-oil-on-canvas-Tate.jpg",
"https://1.bp.blogspot.com/-pWQGYDiIx0E/WfMVaCaU8yI/AAAAAAABxOU/2rLtxQjbcUMQupYuz4EWprmRbAWVaPC8QCLcBGAs/s640/Johnson-Cornelius-Portrait-of-an-unknown-lady-1646-oil-on-canvas-Tate.jpg",
"https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_t-xX0pN9Dn60QnT5Mh7Aq1WxYiod4Uex17pTz_J5Zr-cschgbwUBndB6H0Ebbp_936JGmN-D-61716nCfYuMlN8SqqkdQaF3_a4TjyHZMq1A=s16-w16-h16"
] |
[] |
[] |
[
""
] | null |
[] | null |
Anonymous painter working in England Portrait of a lady, called Elizabeth, Lady Tanfield 1615 oil on canvas Tate, London Robert P...
|
en
|
http://spenceralley.blogspot.com/favicon.ico
|
http://spenceralley.blogspot.com/2017/11/earlier-17th-century-portraits-tate.html
|
Anonymous painter working in England
Portrait of a lady, called Elizabeth, Lady Tanfield
1615
oil on canvas
Tate, London Paul van Somer
Portrait of Lady Elizabeth Grey, Countess of Kent
ca. 1619
oil on panel
Tate, London Marcus Gheeraerts II
Portrait of a woman in red
1620
oil on panel
Tate, London Anonymous painter working in England
Portrait of Anne Wortley, later Lady Morton
ca. 1620
oil on canvas
Tate, London Cornelius Johnson
Portrait of an unknown lady
1629
oil on panel
Tate, London Cornelius Johnson
Portrait of an unknown gentleman
1629
oil on panel
Tate, London Anthony van Dyck
Portrait of a lady of the Spencer family
ca. 1633-38
oil on canvas
Tate, London Anonymous painter working in England
Portrait of William Style of Langley
1636
oil on canvas
Tate, London William Dobson
Portrait of the artist's wife
ca. 1635-40
oil on canvas
Tate, London William Dobson
Portrait of an officer
ca. 1645
oil on canvas
Tate, London
|
|||||
8327
|
dbpedia
|
2
| 95 |
https://www.rmg.co.uk/stories/blog/hidden-gendered-symbolism-armada-portrait
|
en
|
Hidden gendered symbolism in the Armada Portrait
|
[
"https://www.rmg.co.uk/sites/default/files/styles/navigation_thumbnail/public/2022-02/RMG-JPEG-37-FB.jpg?itok=Bj2P7OrJ",
"https://www.rmg.co.uk/sites/default/files/styles/navigation_thumbnail/public/2022-07/RMG_NMM_Families2.jpeg?itok=ROOSZimh",
"https://www.rmg.co.uk/sites/default/files/styles/navigation_thumbnail/public/Queens%20House_Landscape_RGB_P2010C_LR_SQUARE.jpg?itok=dEmaDN2m",
"https://www.rmg.co.uk/sites/default/files/styles/navigation_thumbnail/public/2020-07/royal%20observatory%20prime%20meridian%20line.jpg?itok=L1Kpbf8U",
"https://www.rmg.co.uk/sites/default/files/styles/navigation_thumbnail/public/2022-03/cutty%20sark%20rig%20climb%20experience%202022%20-%20main%20image_0.jpg?itok=B4gcRrxE",
"https://www.rmg.co.uk/sites/default/files/styles/navigation_thumbnail/public/2022-08/Phyllis%20Wheatley%20illustration%20-%20International%20Slavery%20Remembrance%20Day.jpg?itok=6fSBppEU",
"https://www.rmg.co.uk/sites/default/files/styles/navigation_thumbnail/public/2023-05/once%20upon%20a%20star.png?itok=KztdfshJ",
"https://www.rmg.co.uk/sites/default/files/styles/navigation_thumbnail/public/2024-06/Bow%20view%20of%20Cutty%20Sark%20with%20Nannie%20and%20rigging.jpg?itok=4lSRNjLl",
"https://www.rmg.co.uk/sites/default/files/styles/navigation_thumbnail/public/2024-01/OS-2913-67%20Solar%20Flare%20X1%20from%20AR2994%20in%20%27Motion%27%20%C2%A9%20Miguel%20Claro%20-%20Astronomy%20Photographer%20of%20the%20Year%202023%20Our%20Sun.jpg?itok=KrOkal19",
"https://www.rmg.co.uk/sites/default/files/styles/navigation_thumbnail/public/2024-07/T4002-detail.jpg?itok=JAz7hoA0",
"https://www.rmg.co.uk/sites/default/files/styles/navigation_thumbnail/public/S5727-048-square.jpg?itok=_stCR9bm",
"https://www.rmg.co.uk/sites/default/files/styles/navigation_thumbnail/public/2020-04/PPMCC%20children_0.jpg?itok=KVZN03wM",
"https://www.rmg.co.uk/sites/default/files/styles/navigation_thumbnail/public/caird%20library%20banner.png?itok=hfHZsvk2",
"https://www.rmg.co.uk/sites/default/files/styles/full_width_1440/public/The%20Armarda%20Portrait%20of%20Elizabeth%201.jpg?itok=-W21jpVI",
"https://www.rmg.co.uk/sites/default/files/styles/max_width_1440/public/migrations/Untitled_4.png?itok=xrcohqBd",
"https://www.rmg.co.uk/sites/default/files/styles/max_width_1440/public/migrations/Headpiece.png?itok=xXxtohzp",
"https://www.rmg.co.uk/sites/default/files/styles/max_width_1440/public/migrations/sieve%20portrait.jpg?itok=kNOZRv7t",
"https://www.rmg.co.uk/sites/default/files/styles/max_width_1440/public/migrations/11090841.jpg?itok=WC-GtlZc",
"https://www.rmg.co.uk/sites/default/files/styles/max_width_1440/public/migrations/Anne%20of%20Denmark.jpg?itok=EwWkPheT",
"https://www.rmg.co.uk/sites/default/files/styles/full_width_1440/public/QueenElizabeth_banner_crop.jpg?itok=xr1aE-nz"
] |
[] |
[] |
[
""
] | null |
[] | null |
How did Elizabeth I use gendered symbolism in the Armada Portrait? Dr Kit Heyam explores.
|
en
|
/themes/custom/rmg_theme/favicon.ico
|
https://www.rmg.co.uk/stories/blog/hidden-gendered-symbolism-armada-portrait
|
Elizabeth I was constantly aware of how she performed her gender. Subject to sexual rumours about her relationships with her male favourites, and constantly working to distance herself from early modern gendered ideologies which saw women as unreliable subjects to their passions, she inevitably incorporated gender into the crafted symbolism of her portraits.
Among the overtly gendered symbols of the Armada Portrait, like Elizabeth’s virginal pearls, are symbols whose gendered significance is less obvious. This portrait contains many more gendered histories than that of Elizabeth herself.
In 2019, I was privileged to be part of ‘Gendering Interpretations’: a collaborative project between the V&A Museum (London), University of Plymouth, Vasa Museum (Stockholm), Lund University, Leiden University and the University of Western Australia. Building on the earlier project ‘Gender, Power and Materiality in Early Modern Europe’, we worked with a selection of objects at the V&A and Vasa museums to develop a way to uncover these hidden gendered stories. By looking at the role of people of all genders in an object’s life story – and by paying attention not just to the gendered rules of early modern England, but to the people, like Elizabeth, who broke those rules – we revealed rich gendered histories behind the most ordinary of objects. The Armada Portrait is no exception.
The globe
One of the most clear and potent symbols in the portrait is the globe on which Elizabeth’s right hand rests. It’s no coincidence that her fingers are resting on the Americas: this was the focal point of European colonial ambition, which had already seen England clash with Spain, the Catholic enemy whose defeat the portrait commemorates.
The story of Western European invasion and colonisation of the Americas is often told – but what we hear about less often is the way in which that story of colonisation is also the story of the imposition of Western European gender hierarchies and binaries on indigenous American societies.
This story was being written from the moment of first contact between Europeans and the indigenous people of the Caribbean. The first group to encounter Christopher Columbus’s party of invaders were the Taíno people of the Caribbean.
Taíno society and gender
Prior to European invasion, Taíno society didn’t have a very distinct gender hierarchy. Their role of chief was not gender-specific, and women had important political and economic roles.
Spanish colonisation, including the enslavement of Taíno men to labour in silver mines, undermined this relative equality: in particular, as Spanish men married Taíno women, they imposed European hierarchical gender roles.
A similar process took place in other colonised societies: for European men, marrying indigenous women – sometimes consensually, sometimes not – was seen as a key strategy for gaining advantageous trade deals.
And in societies whose understanding of gender didn’t fit neatly into the Western European gender binary, colonisers suppressed other genders and misrepresented them as sexually transgressive.
The pearls in Elizabeth’s splendid headdress, probably from Venezuela, are also implicated in colonialism.
On a symbolic level, though, they also function to emphasise Elizabeth’s chastity. It’s no surprise that Elizabeth chose to use her headdress to communicate this: headwear in the early modern period was a focal point of gendered symbolism and performance.
When late sixteenth- and early seventeenth-century writers inveighed against gender nonconformity, their complaints focused overwhelmingly on the head: long, luxuriant hair on people assigned male at birth, and short hair and hats on people assigned female.
Young, fashionable courtiers in particular were often accused of effeminacy – a term which, in this period, suggested excessive desire for women, reflecting (or perhaps causing) excessive attention to one’s appearance and a ‘womanlike’ lack of sexual control.
We can see these courtiers cavorting in the background of Elizabeth I’s sieve portrait.
Complaints about women and people assigned female at birth, meanwhile, are exemplified by the anonymous pamphlet Hic mulier: or, The man-woman, printed in 1620, in which writer complained that people assigned female at birth were ‘exchanging the modest attire of the comely Hood, Cawle, Coyfe, handsome Dresse or Kerchiefe, to the cloudy Ruffianly broad-brim’d Hatte, and wanton Feather’.
Here and elsewhere in this pamphlet, we can see the association of ‘women in men’s clothes’ with sexual licentiousness – the hat doesn’t just have a feather, but a ‘wanton feather’ – which reflects the fact that men’s clothes were tighter and more revealing, and that presenting as male was one way to sneak into intimate situations with men.
This kind of gender nonconformity might have incensed some pamphleteers, but – like the long-haired, decoratively dressed courtiers – it was fashionable.
The hunting costume we see in Paul van Somer’s 1617 portrait of Anne of Denmark, complete with ‘broad-brim’d Hatte and wanton Feather’, is a good example.
Anne’s social status, of course, gave her the freedom to evade censure: like many kinds of gendered and sexual transgressions in early modern England, the real problem came when it disrupted the social hierarchy. But the fashionability of this gendered presentation, and the many textual responses to it, tells us that it was widespread.
This means that among the large group of gender nonconforming people, we should make room for individual motivations: for women who were following fashion; women who used male presentation to access economic opportunity; women who wanted to attract other women; and other people assigned female at birth, for whom male presentation felt most comfortable in line with how they saw themselves, and who might today have identified under the trans umbrella.
Of course, while the globe and headpiece of the Armada Portrait have many layers of hidden gendered significance, they are overtly symbolic: included in the portrait to make the viewer notice them and contemplate their meaning.
But this portrait also contains many less obvious symbols. Most crucially, what it obscures is labour: the invisible work that went into producing Elizabeth’s sumptuous outfit and the objects that surround her.
Much of that labour was carried out by poorly paid women, whose work was central to the early modern textile industry, from spinning to ribbon-making.
Beyond cloth, the ‘Gendering Interpretations’ team at Stockholm’s Vasa Museum – home to a vast seventeenth-century warship – have revealed women’s many contributions to maritime history of the kind we see in this portrait, from cannonball manufacture to ship carvings.
Pictures like the Armada Portrait, and all the other wonderful portraits that populate the rooms of the Queen’s House, shape our views of the past – and in doing so, they influence whose past we think about.
Delving deeper into the gendered symbolism of the Armada Portrait reveals that it doesn’t just contain the histories of royalty and national politics: it can also tell us about the histories of people of colour, queer and gender nonconforming people, and working-class people.
We just have to learn how to look for them.
|
|||||
8327
|
dbpedia
|
3
| 37 |
https://www.realclearhistory.com/2017/07/25/bermuda_born_of_a_shipwreck_2962.html
|
en
|
Bermuda: Born of a Shipwreck
|
[
"https://www.realclearhistory.com/asset/img/rchi-site-arrow.png",
"https://www.realclearhistory.com/asset/img/mobile-site-arrow.png",
"https://www.realclearhistory.com/asset/img/rchi-header-logo.png",
"https://www.realclearhistory.com/asset/img/rchi-home-logo.png",
"https://www.realclearhistory.com/asset/img/rchi-logo-footer.png"
] |
[] |
[] |
[
""
] | null |
[
"Keith Archibald Forbes"
] |
2017-07-25T00:00:00
|
Sir George Somers: A man and his Times. Book by Bermudian the late David Raine.
The portrait below right was painted by Paul van Somer (no relation) originally from the Netherlands, believed to be dur
|
en
|
/favicon.ico
|
RealClearHistory
|
https://www.realclearhistory.com/2017/07/25/bermuda_born_of_a_shipwreck_2962.html
|
Sir George Somers: A man and his Times. Book by Bermudian the late David Raine.
The portrait below right was painted by Paul van Somer (no relation) originally from the Netherlands, believed to be during the lifetime of the Admiral.
The original oil painting canvas -in much greater detail than shown above - measures 45 x 35 inches, in wood and gilded 54.5 by 43.25 inch frame.
It and its twin - of wife Lady Somers - were purchased in 1932 (some say 1937) by the Bermuda Historical Monuments Trust and Bermuda Historical Society (BHS) from Miss E. Winifred Bellamy, of Woodside Cottage, Plymouth, Devon, England, a descendant of Sir George. Both paintings had been handed down from generation to generation in England through a collateral branch of the Somers family.
Also in the Museum of the BHS at Par la Ville, 13 Queen Street, Hamilton is the wooden sea chest belonging to Sir George. It is of early 17th century Italian origin. The chest is thought to be Venetian and has a scene from Greek mythology showing Artemis, Goddess of the Hunt, surprised by Acteon, a hunter, while bathing. To punish him she turns him into a stag, whereupon his own dogs attack and kill him, no longer recognizing him as their master.
The Bellamy family, direct descendants of the Admiral, also sold Sir George's lode stone. This was used to magnetize his compass needles during his earlier seafaring voyages. The lode stone is thought to date back to 1600. Egg-shaped and banded by strips of iron, it is mounted on an oak plinth with a plaque which states 'Lodestone, Sir George Summer, obit 1610'. Also on display at the BHS Museum is a freehand sketch of the 1609 Somer's Map, a hand-painted reproduction of the original map of Bermuda charted by Sir George. The original map is in the Bermuda Archives.
The existence of these valuable artifacts was first made known to Bermudians by Major-General and two times Governor of Bermuda and historian Sir John Henry Lefroy. In the 1882 edition of the manuscript in the Sloane Collection, British Museum he edited, he added an original and unpublished portrait of Admiral Sir George Somers which Miss Bellamy inherited from her ancestor, Dr. Bellamy, MD, connected with the Somers family. Lefroy reproduced the painting on page 11 of his book "Historye of the Bermudaes or Summer Islands."
Lefroy was also the author of "Memorials Of the Discovery and Early Settlement of the Bermudas or Somers Islands." It was first published in MDCCCLXXXII by the Hakluyt Society in a limited edition. No. LXV is today in the collection of the Bermuda Historical Society. On pages 49 to 52, the lives of Sir George and Lady Somers are described by historian Preston Davie in the book Virginia Historical Portraiture, 556 pages. It was first published in 1929 in a Limited Edition of One Thousand Copies, of which the Bermuda Historical Society has Copy No. 369.
|
||||
8327
|
dbpedia
|
2
| 94 |
https://issuu.com/theweissgallery/docs/aceye-layouts.sp-16jan.20
|
en
|
A Connoisseur's Eye
|
[
"https://static.isu.pub/fe/product-header-frontend/781e53c/31d186ba39f38e8c4fac.png",
"https://static.issuu.com/fe/silkscreen/0.0.3042/icons/gradient/icon-canva-gradient.svg",
"https://static.isu.pub/fe/product-header-frontend/781e53c/1e794a8c4ec65e549678.png",
"https://photo.isu.pub/theweissgallery/photo_large.jpg",
"https://image.isu.pub/201123185201-08b3731daa7562a502af9008726dcac2/jpg/page_1_thumb_large.jpg",
"https://image.isu.pub/180517111508-1b52e7d0c04ce9473e53709e00b3f65d/jpg/page_1_thumb_large.jpg",
"https://image.isu.pub/180516101615-268c070b61a80ebd7c44c1cdfa930163/jpg/page_1_thumb_large.jpg",
"https://image.isu.pub/180515105850-092379a198dd8d037818abb9d0c44e44/jpg/page_1_thumb_large.jpg",
"https://image.isu.pub/180514100614-70f6cf645a37772bb4c5da0f2a2c2e4e/jpg/page_1_thumb_large.jpg",
"https://image.isu.pub/180511152458-9eda56f07f70a630d67e23a3b437889e/jpg/page_1_thumb_large.jpg",
"https://image.isu.pub/180510112238-042aa4fe67f6de8518ca1a502082bcb4/jpg/page_1_thumb_large.jpg",
"https://image.isu.pub/180517124633-4bff17b3404ecd3dd6bc4592272ba3de/jpg/page_1_thumb_large.jpg",
"https://static.issuu.com/fe/silkscreen/0.0.2541/icons/gradient/icon-instagram-gradient.svg"
] |
[] |
[] |
[
""
] | null |
[] |
2020-01-17T00:00:00+00:00
|
In this, our first catalogue of the new decade, I am very proud to offer some truly exceptional works, many of which are newly discovered and publi...
|
en
|
/favicon.ico
|
Issuu
|
https://issuu.com/theweissgallery/docs/aceye-layouts.sp-16jan.20
|
In this, our first catalogue of the new decade, I am very proud to offer some truly exceptional works, many of which are newly discovered and published here for the very first time. It has been produced to coincide with our first ever independent exhibition in the USA held at Daniel Crouch Rare Books in New York as part of Master Drawings Week (24 January – 1 February), as well as for TEFAF in Maastricht (7 – 15 March), 2020.
|
||||
8327
|
dbpedia
|
0
| 62 |
https://mx.pinterest.com/pin/14003448822064933/%3Famp_client_id%3DCLIENT_ID(_)%26from_amp_pin_page%3Dtrue%26mweb_unauth_id%3D%257B%257Bdefault.session%257D%257D
|
en
|
Pinterest
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
Discover recipes, home ideas, style inspiration and other ideas to try.
|
en
|
Pinterest
|
https://mx.pinterest.com/pin/14003448822064933/%3Famp_client_id%3DCLIENT_ID(_)%26from_amp_pin_page%3Dtrue%26mweb_unauth_id%3D%257B%257Bdefault.session%257D%257D
| ||||||
8327
|
dbpedia
|
1
| 96 |
https://en.wikisource.org/wiki/Page:Dictionary_of_National_Biography_volume_58.djvu/141
|
en
|
Page:Dictionary of National Biography volume 58.djvu/141
|
https://en.wikisource.org/static/favicon/wikisource.ico
|
https://en.wikisource.org/static/favicon/wikisource.ico
|
[
"https://upload.wikimedia.org/wikipedia/commons/thumb/5/53/Dictionary_of_National_Biography_volume_58.djvu/page141-1024px-Dictionary_of_National_Biography_volume_58.djvu.jpg",
"https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1",
"https://en.wikisource.org/static/images/footer/wikimedia-button.svg",
"https://en.wikisource.org/static/images/footer/poweredby_mediawiki.svg"
] |
[] |
[] |
[
""
] | null |
[] | null |
en
|
/static/favicon/wikisource.ico
|
https://en.wikisource.org/wiki/Page:Dictionary_of_National_Biography_volume_58.djvu/141
|
other works of art, which were advertised for sale at Somerset House on 14 May 1677 (London Gazette).
[Walpole's Anecdotes of Painting, ed. Wornum; Bathoe's Cat. of James II's Collection; Law's Cat. of the Pictures at Hampton Court; Rombouts and Lerius's Liggeren der St. Lukas Gild te Antverpen; Vertue's Diaries (Brit. Mus. Addit. MSS. 23071, &c.).]
VAN LEMENS, BALTHASAR (1637–1704), painter, born at Antwerp in 1637, came over to England, and had some slight success in painting small pieces of history. Meeting, however, with misfortunes, he was reduced to working for other people, drawing and making sketches to assist the work of both painters and engravers. Among the latter he was chiefly employed by Paul Van Somer [q. v.], the mezzotint-engraver. He also copied portraits by Van Dyck and others. He had a brother who practised in Brussels, and painted Balthasar's portrait. Van Lemens died in Westminster in 1704.
[Walpole's Anecdotes of Painting, ed. Wornum; De Piles's Lives of the Painters (Suppl.); Chaloner Smith's British Mezzotinto Portraits.]
VAN MILDERT, WILLIAM (1765–1836), the last bishop of Durham to exercise the palatine dignities, belonged to a family formerly resident at Mildert or Meldert in North Brabant, but the first of them to settle in England came from Amsterdam about 1670. Some documents from the archives of the Dutch church in Austin Friars were communicated to Strype by Daniel Van Mildert, one of its ‘ancient elders’ (Annals, ed. 1826, vol. ii. pt. i. p. 422; cf. also Moens, Dutch Church Registers, pp. 51, 210, 212). The bishop's grandfather, Abraham Van Mildert (b. December 1680), a merchant first at Thames Street and then at Great St. Helen's, was a deacon of the Dutch church in 1711. His father was Cornelius Van Mildert, a distiller, of St. Mary, Newington, Surrey (d. 1799), who married Martha (1732–1818), daughter of William Hill of Vauxhall.
William, their second son, was born in Blackman Street, London, on 6 Nov. 1765 and baptised at Newington church on 8 Dec. by Samuel Horsley [q. v.] When about eight years old he was sent to St. Saviour's school, Southwark, and from 1779 to 1784 he was at Merchant Taylors' school, where he was much influenced by Samuel Bishop [q. v.] His first wish was to be apprenticed to the trade of a chemist, but he soon determined upon becoming a clergyman. At Merchant Taylors' he was friendly with (Sir) Albert Pell and Thomas Percy (1768–1808) [q. v.], and he contributed to Percy's ‘Poems by a Literary Society’ in 1784. He matriculated as a commoner from Queen's College, Oxford, on 21 Feb. 1784, graduating B.A. on 23 Nov. 1787, M.A. on 17 July 1790, and B.D. and D.D. in 1813 (cf. Nichols, Illustr. of Lit. iv. 787–8).
On Trinity Sunday 1788 Van Mildert was ordained deacon and licensed to the curacy of Lewknor, which he served from Oxford. Next year, when he was serving a curacy in Kent, he was ordained priest, and in 1790 he was appointed to the curacy of Witham in Essex. There he remained until 1795, and during those years he travelled in Holland and Belgium. On 24 April 1795 he was instituted, on the nomination of Cornelius Ives, his cousin and brother-in-law, to the rectory of Bradden, near Towcester. He was chaplain to the Grocers' Company, and through the influence of his uncle, Mr. Hill, was instituted in October 1796 to the rectory of St. Mary-le-Bow, London, on the nomination of the company, which had the presentation for that turn. As there was no parsonage-house suitable for his habitation, he lived for the most part until 1812 at 14 Ely Place, Holborn. He had not long been in possession of the living before he was sued for non-residence ‘by a qui tam attorney,’ or common informer, and his claim for exemption, through the want of a parsonage-house, was not held to exempt him from penalty; but he and several other city incumbents in similar circumstances were relieved from the consequences by an act of parliament.
Van Mildert was appointed Lady Moyer's lecturer at St. Paul's about 1797, and from 1802 to 1804 he preached the Boyle lectures. Their subject was ‘An Historical View of Infidelity, with a Refutation’ (London, 1806, 2 vols; 5th edit. 1838). They were received with great favour, although their value now lies in the information contained in the notes. In 1807 he was one of the editors of ‘The Churchman's Remembrancer,’ a collection in two volumes of tracts in defence of the church of England. By the gift of Archbishop Manners-Sutton he was collated on 10 April 1807 to the vicarage of Farningham in Kent; this benefice he held until late in 1813; he retained the rectory of St. Mary-le-Bow until August 1820.
In 1812 Van Mildert was elected by a large majority of the benchers to the preachership at Lincoln's Inn, which he held until he was raised to the episcopal bench. One of his earliest sermons preached in this new situation was ‘On the Assassination of Mr. Spencer Perceval,’ and it was printed in 1812. Two volumes of his scholarly ‘Sermons
|
||||
8327
|
dbpedia
|
0
| 35 |
https://edspace.american.edu/blurredlinesblackafricans/the-low-countries/
|
en
|
Person, Object, and Aesthetic: Black Africans in European Art, 1300-1600
|
[
"https://edspace.american.edu/blurredlinesblackafricans/wp-content/uploads/sites/1546/2020/01/Screen-Shot-2019-08-30-at-12.46.51-AM.png",
"https://edspace.american.edu/blurredlinesblackafricans/wp-content/uploads/sites/1546/2020/05/queen-anne.jpg",
"https://edspace.american.edu/blurredlinesblackafricans/wp-content/uploads/sites/1546/2020/05/Durer-Katharina.jpg",
"https://edspace.american.edu/blurredlinesblackafricans/wp-content/uploads/sites/1546/2020/05/Peter_Paul_Rubens_-_Diana_and_Callisto_-_WGA20326.jpg"
] |
[] |
[] |
[
""
] | null |
[] | null |
en
|
https://edspace.american.edu/blurredlinesblackafricans/the-low-countries/
|
In the Low Countries, Antwerp had become a major commercial and financial center of western Europe by the early-sixteenth century, prospering from the profits of the spice and silver trades. During this period there were only a few documented cases of Black Africans who resided there. The majority lived in the trading cities of Antwerp and Bruges where they were brought as slaves and servants in Italian, Spanish, and Portuguese households.[24] Antwerp offered a flourishing artistic environment on a scale of Florence, Rome, and Venice.[25] Its economic success was attributed in part to its selection by the Portuguese as the principal European center of its trade with Benin in Africa.[26] Black Africans were sometimes transported from Benin to Antwerp; they could reside there as free people since slavery was outlawed, although it was tolerated for foreign visitors.[27] Such commercial routes increased the cultural exchange between Italy and the Low Countries. These strong urban economies led artists to be attracted to both Antwerp and Venice; some traveled between them and became influenced by each other’s work in the process. Examples of their works reveal both similarities and differences in approaches to depicting Black Africans.
Dutch involvement in the Atlantic slave trade extended through the seventeenth to nineteenth centuries. In the seventeenth century, the Netherlands begin to acquire wealth and profit through the exploitation of their colonies in North and South America. When the Dutch West India Company (WIC) conquers part of Brazil from the Portuguese in 1630, their interest in the African slave trade was sparked. Slavery and the slave trade were inextricably and irrepressibly a part of Dutch society, political traditions and social formation.[28] However, the appearance of Black Africans in the Low Countries had previously occurred much earlier, between AD 200 and 500 when they came to the region in the service of the Roman armies.[29] In 1436, soon after the Portuguese started exploring the African continent in search of trading opportunities, the first African slaves were shipped to Portugal. The Portuguese traded in return with goods obtained from the Spanish possessions of the Netherlands, thus explaining the early presence of Africans traveling with these merchants in Netherlandish trading cities such as Antwerp.[30]
Whether Black servants were free or enslaved, they had a very low social status. Having an African servant in one’s employment became a fashion that proved particularly popular in the Spanish Netherlands in the sixteenth century.[31] One of the first northern European nobles to be painted with a person of African descent was the English queen, Anne of Denmark (1574 – 1619). Painted by the Flemish artist Paul van Somer in 1617, Anne of Denmark (Fig. 2) depicts the queen standing facing half to the right, wearing a green riding habit and a tall-crowned hat with red plumes. Five greyhounds stare adoringly up at her as she holds a leash in her left hand and rests her right hand on her hip. To her right stands a tall brown horse and, further back, in the shadows, a Black African wearing scarlet and gold livery holds her horse to the left. This placement of the three figures where the black figure falls behind, even after the horse, displays his status even more clearly as there is a hierarchy between them. A likely inspiration for this painting was from the Italian painter Titian’s Laura dei Dianti (1520) (Fig. 19), which will later be discussed.
Although most of the images discussed in this project express racist conceptions of Black Africans by white artists and patrons, some northern European images convey sympathetic perspectives about their subjects. The depiction of Black Africans in roles not previously prescribed to them in iconography suggests that artists may have been painting from personal motivation. This is the case with the German artist Albrecht Dürer’s Portrait of Katharina (1521) (Fig. 3), which the artist completed during a visit to Antwerp. Dürer commented on his encounter with an enslaved woman of the household of the Portuguese trade commissioner João Brandão, with whom the artist resided, in a journal entry of 1521: an inscription at the upper center of the drawing identifies the figure as “Katharina” and her age as 20 years old. Brandão likely acquired her through his trade dealings; her name, derived from St. Catherine, implies she had converted to Christianity. Dürer’s choice to portray Katharina’s facial features and clothing in a naturalistic, non-exaggerative way humanized her rather than reducing her to a caricature.[32] Dürer’s image of Katharina quite clearly corresponds with this analysis and suggests a degree of sensitivity to the subject as an individual rather than a type. However, before Dürer’s encounter with Katharina in Antwerp, in his 1528 book On Human Proportion, he described Black Africans negatively: “Negro faces are seldom beautiful because of their very flat noses and thick lips; similarly, their shinbones and knees as well are too bony, not so good to look upon as those of the whites; and so also it is with their hands. Howbeit I have seen some amongst those whose whole bodies have been so well built and handsome otherwise that I never beheld finer figure, nor can I conceive how they might be bettered, so excellent were their arms and all their parts.”[33] This passage suggests that Dürer’s ambivalence about the physical characteristics of the Black Africans with whom he came in contact: he appreciated the form and strength of their bodies but found their facial features unattractive.
|
|||||||
8327
|
dbpedia
|
3
| 3 |
https://en.wikisource.org/wiki/Dictionary_of_National_Biography,_1885-1900/Van_Somer,_Paul
|
en
|
Dictionary of National Biography, 1885
|
https://en.wikisource.org/static/favicon/wikisource.ico
|
https://en.wikisource.org/static/favicon/wikisource.ico
|
[
"https://upload.wikimedia.org/wikipedia/commons/thumb/8/81/Wikimedia-logo.svg/18px-Wikimedia-logo.svg.png",
"https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1",
"https://en.wikisource.org/static/images/footer/wikimedia-button.svg",
"https://en.wikisource.org/static/images/footer/poweredby_mediawiki.svg"
] |
[] |
[] |
[
""
] | null |
[
"Contributors to Wikimedia projects"
] |
2010-09-23T16:53:04+00:00
|
en
|
/static/favicon/wikisource.ico
|
https://en.wikisource.org/wiki/Dictionary_of_National_Biography,_1885-1900/Van_Somer,_Paul
|
VAN SOMER, PAUL (1576–1621), portrait-painter, was born at Antwerp in 1576. An elder brother, Bernard Van Somer, was entered in the guild of St. Luke at Antwerp in 1588 as the pupil of Philippe Lisart, but there is no trace of Paul Van Somer having become a member of the guild. The two brothers, according to the historian of art, Karel Van Mander, were in 1604 residing at Amsterdam, both in good esteem for portrait-painting and other branches of the art. Paul was then a bachelor, but Bernard had married in Italy the daughter of Arnold Mytens, who was probably related to Daniel Mytens [q. v.], for so many years Van Somer's rival as a portrait-painter in England. It is uncertain when he came over to England. A portrait of Christian IV, king of Denmark, at Hampton Court, is dated 1606, and it is possible that he came over in that king's train, as he seems always to have been the favourite painter of James I's consort, Anne of Denmark, and her household. Van Somer is chiefly known by a number of full-length portraits, both male and female, which are of great interest historically from the carefully rendered details of the costume, resembling very much the portraits by the great Spanish painter, Sanchez Coello. They are sometimes, when not signed, with difficulty distinguished from those by Mytens of a similar character. Speaking generally, those by Van Somer are more freely handled, and are richer in colour, showing a strong predilection for deep reds and browns. Van Somer also frequently introduced a piece of landscape or a view of a building into the background. A portrait of Anne of Denmark in hunting dress, with her dogs, painted in 1617, and now at Hampton Court, has a view of Oatlands in the background, another of the same queen has a view of Inigo Jones's facade at St. Paul's Cathedral. A portrait of James I, painted in 1619–20, also at Hampton Court, has a view of the newly erected banqueting-house at Whitehall in the background. Two interesting portraits of the Earl and Countess of Arundel, in the possession of the Duke of Norfolk, painted in 1618, show views of the earl's picture gallery and collections of marbles. A fine portrait of Henry, prince of Wales, formerly at Blenheim Palace, is in the National Portrait Gallery. Among other important portraits by Van Somer are those of Sir Simon Weston (1608); William Herbert, third earl of Pembroke (1617, engraved by Simon Van de Passe); Henry Wriothesley, earl of Southampton (engraved by Simon Van de Passe); Francis Bacon, viscount St. Albans (at Gorhambury); Sir Thomas Lyttelton (1621, at Hagley); Robert Carr, earl of Ancrum (1619); and others. There is a fine series of paintings by Van Somer at Ditchley, the seat of Viscount Dillon, representing ladies of Anne of Denmark's court. Van Somer died in London, and was buried on 5 Jan. 1621 in St. Martin's-in-the-Fields. It has been stated that his descendants remained in London and established a carpet manufactory. A portrait by Van Somer of himself was formerly at Ham House.
It is uncertain whether the mezzotint engravers Jan and Paul Van Somer belonged to this family. Jan Van Somer lived in Amsterdam, but his brother, Paul Van Somer, came to London in 1674, and lived in Newport Street, Soho, where he published many mezzotint engravings, and died in 1694.
[Walpole's Anecdotes of Painting, ed. Wornum; Van Mander's Vies des Peintres, ed. Hymans; De Piles's Lives of the Painters.]
|
||||
8327
|
dbpedia
|
3
| 76 |
https://jenikirbyhistory.getarchive.net/topics/globus%2Bcruciger%2Bin%2Bportrait%2Bpaintings
|
en
|
71 Globus cruciger in portrait paintings Images: PICRYL
|
[
"https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE2MTgvMTIvMzEvcGF1bC12YW4tc29tZXItamFtZXMtaS1vZi1lbmdsYW5kLWphbWVzLXZpLW9mLXNjb3RsYW5kLWdvb2dsZS1hcnQtcHJvamVjdC02MDU3MjktMTAyNC5qcGc%3D/40/63/jpg",
"https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzIwMjEvMDIvMDUva2luZy1nZW9yZ2UtaWktYnktY2hhcmxlcy1qZXJ2YXMtMDAwYzk5LTEwMjQuanBn/40/68/jpg",
"https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE2OTAvMTIvMzEva2luZy13aWxsaWFtLWlpaS1mcm9tLW5wZy0yLTFmZDI0My0xMDI0LmpwZw%3D%3D/40/61/jpg",
"https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzIwMjEvMDIvMDUvZWxpemFiZXRoLW9mLWJvaGVtaWEtc3R1ZGlvLW9mLWdlcnJpdC12YW4taG9udGhvcnN0LTg0YTNiZS0xMDI0LmpwZw%3D%3D/40/64/jpg",
"https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzIwMjEvMDMvMDYvbWV5dGVucy1mcmFuY2lzLWktaW4tc3BhbmlzaC1tYW50ZWxrbGVpZC1iZWx2ZWRlcmUtYTA5N2MxLTEwMjQuanBn/40/59/jpg",
"https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE3NjcvMTIvMzEvYnJvb2tseW4tbXVzZXVtLXRoZS12aXJnaW4tb2YtbWVyY3ktd2l0aC10aHJlZS1zYWludHMtbWF1cmljaW8tZ2FyY2lhLW92ZXJhbGwtNzYxYjAwLTY0MC5qcGc%3D/40/54/jpg",
"https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE4NDAvMTIvMzEvZnJhbmNlc2NvLWhheWV6LTA0Ny0zYmI5MDMtMTAyNC5qcGc%3D/40/53/jpg",
"https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE3NjEvMTIvMzEvbHVjYXMtY29ucmFkLXBmYW5kemVsdC0wMDEtODQzMTkxLTEwMjQuanBn/40/50/jpg",
"https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE2NDQvMTIvMzEvY2VjaWxpYS1yZW5hdGEtMTYxMTE2NDQtYXJjaGR1Y2hlc3Mtb2YtYXVzdHJpYS1xdWVlbi1vZi1wb2xhbmQtbmF0aW9uYWxtdXNldW0tMTZmMzExLTEwMjQuanBn/40/58/jpg",
"https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE3NzUvMTIvMzEvdGhlLWRvd2FnZXItcXVlZW4tbG92aXNhLXVscmlrYS1vZi1zd2VkZW4tbG9yZW5zLXBhc2NoLWR5LW5hdGlvbmFsbXVzZXVtLTIwMDU5LTU2YTYyMi0xMDI0LmpwZw%3D%3D/40/55/jpg",
"https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzIwMjEvMDMvMTYvbmFwb2xlb24taS1ieS1hbm5lLWxvdWlzLWdpcm9kZXQtZGUtcm91Y3ktdHJpb3Nvbi1jcm9wcGVkLWU0NDBlNi0xMDI0LmpwZw%3D%3D/40/62/jpg",
"https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzIwMjEvMDMvMTYvbmFwb2xlb24taS1ieS1hbm5lLWxvdWlzLWdpcm9kZXQtZGUtcm91Y3ktdHJpb3Nvbi0yOTI2YzgtMTAyNC5qcGc%3D/40/56/jpg",
"https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE4MDAvMTIvMzEvYm9yb3Zpa292c2tpeS1wdHBhdmxhMWdybS1jcm9wcGVkLWNmN2I3NC0xMDI0LmpwZw%3D%3D/40/63/jpg",
"https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE4MDAvMTIvMzEvYm9yb3Zpa292c2tpeS1wdHBhdmxhMWdybS01MmZiNjAtMTAyNC5qcGc%3D/40/55/jpg",
"https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE4NDcvMTIvMzEvbGVvcG9sZC1rdXBlbHdpZXNlci1rYWlzZXItZmVyZGluYW5kLWktNTkzNjFjLTEwMjQuanBn/40/51/jpg",
"https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE3NTAvMTIvMzEvbWFydGluLXZhbi1tZXl0ZW5zLXdvcmtzaG9wLWZyYW56LXN0ZXBoYW4tOGM2OGQyLTEwMjQuanBn/40/51/jpg",
"https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE3OTkvMTIvMzEvam9zZXBoLWR1Y3JldXgtc3R5bGUtb2YtbWFyaWEtdGhlcmVzaWEtYXMtd2lkb3ctYzlkMTliLTEwMjQuanBn/40/50/jpg",
"https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE3NjIvMTIvMzEvY29yb25hdGlvbi1wb3J0cmFpdC1vZi1wZXRlci1paWktb2YtcnVzc2lhLTE3NjEtZGVhOGE5LTEwMjQuanBn/40/52/jpg",
"https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzIwMjMvMDYvMDMvbG91aXMteHZpaWktb2YtZnJhbmNlLWluLWNvcm9uYXRpb24tcm9iZXMtYnktZnJhbmNvaXMtZ2VyYXJkLTQ3Mzk4OC0xMDI0LmpwZw%3D%3D/40/57/jpg",
"https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE2NDMvMTIvMzEvY2VjeWxpYS1yZW5hdGEtaGFic2J1cnphbmthLTE5OGQwNS02NDAuanBn/40/59/jpg",
"https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE3NzUvMTIvMzEvbG92aXNhLXVscmlrYS1hdi1wcmV1c3Nlbi1tYWxhZC1hdi1sb3JlbnMtcGFzY2gtZHktN2EwNmNlLTEwMjQuanBn/40/54/jpg",
"https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzIwMjEvMDUvMjkvY3JvcC1vZi1nZXJhcmQtbG91aXMteHZpaWktb2YtZnJhbmNlLWluLWNvcm9uYXRpb24tcm9iZXMtODE0ZmI4LTY0MC5qcGc%3D/40/53/jpg",
"https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzIwMjEvMDUvMjkvZ2VyYXJkLWxvdWlzLXh2aWlpLW9mLWZyYW5jZS1pbi1jb3JvbmF0aW9uLXJvYmVzLWRhMjM0NS0xMDI0LmpwZw%3D%3D/40/57/jpg",
"https://cache.getarchive.net/Prod/thumb/cdn2/L3RodW1ibmFpbC8xODExLzEyLzMxL3JvYmVydC1sZWZldnJlLTAyLTM5ZDVmYi0yMDAuanBn/40/40/jpg",
"https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzIwMjEvMDkvMTkvY2hhcmxlcy1paS0xNjMwLTE2ODUtYnktc2lyLXBldGVyLWxlbHktMjg4NmI3LTEwMjQuanBn/40/68/jpg",
"https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE2ODgvMTIvMzEva2luZy1qYW1lcy1paS1hbmQtdmlpLTE2MzMtMTcwMS1jYzhlMWUtMTAyNC5qcGc%3D/40/64/jpg",
"https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE3MDIvMTIvMzEvam9zZXBoLWktaG9seS1yb21hbi1lbXBlcm9yLTAwMi0yYWJlMjMtNjQwLmpwZw%3D%3D/40/80/jpg",
"https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzIwMjEvMDkvMTkvcXVlZW4tYW5uZS1zdHVkaW8tb2YtbWljaGFlbC1kYWhsLTZkNTZhNy02NDAuanBn/40/68/jpg",
"https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzIwMjEvMDkvMTkvamFuLWZyYW5zLXZhbi1kb3V2ZW4tMDAzLWNiNjFmZi0xMDI0LmpwZw%3D%3D/40/56/jpg",
"https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE3MzAvMTIvMzEvam9oYW5uLWdvdHRmcmllZC1hdWVyYmFjaC0wMDQtZDljYTRiLTEwMjQuanBn/40/61/jpg",
"https://cache.getarchive.net/Prod/thumb/cdn2/L3RodW1ibmFpbC8xNzYwLzEyLzMxL2NhcmxlLXZhbmxvby1wb3J0cmFpdC1kZS1saW1wZXJhdHJpY2UtZWxpc2FiZXRoLXBldHJvdm5hLTE3NjAtMWIwNjM0LTIwMC5qcGc%3D/40/40/jpg",
"https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE3NjIvMTIvMzEvY2F0aGVyaW5lLWlpLWJ5LWlhcmd1bm92LTE3NjItcnVzc2lhbi1tdXNldW0tY2FkODc3LTEwMjQuanBn/40/55/jpg",
"https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE3NjgvMTIvMzEvZWxpc2FiZXRoLXBldHJvdm5hLWJ5LWhlaW5yaWNoLWJ1Y2hob2x6LTkyNGZhZC02NDAuanBlZw%3D%3D/40/57/jpg",
"https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzIwMjEvMDkvMTkvZnJ5ZGVyeWstYW50b25pLWxvaHJtYW5uLWZyeWRlcnlrLWlpLWI2ZjE2Yy02NDAuanBn/40/52/jpg",
"https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE3NTAvMTIvMzEvbmlrb2xhaS1hcmd1bm92LTA2LWZkMGY0OC0xMDI0LmpwZWc%3D/40/53/jpg",
"https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE3OTYvMTIvMzEvY2F0aGVyaW5lLWlpLWJ5LXBldHItZHJvemhkaW4tMTc5Ni10cmV0eWFrb3YtZ2FsbGVyeS0wYjFmODktMTAyNC5qcGc%3D/40/55/jpg",
"https://cache.getarchive.net/Prod/thumb/cdn2/L3RodW1ibmFpbC8xODA2LzEyLzMxL2pvaGFubi1kYW5pZWwtZG9uYXQtZW1wZXJvci1sZW9wb2xkLWlpLWluLXRoZS1yZWdhbGlhLW9mLXRoZS1nb2xkZW4tZmxlZWNlLWIyZGRhZS0yMDAucG5n/40/40/jpg",
"https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE4OTkvMTIvMzEvZnJhbnotaWktam9zZXBoLWtyZXV0emluZ2VyLXVtLTE4MDUtYzYyODMwLTEwMjQuanBn/40/50/jpg",
"https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE4MDcvMTIvMzEvbmFwb2xlb24taS1pbi1jb3JvbmF0aW9uLWNvc3R1bWUtYnktcm9iZXJ0LWxlZmVidnJlLTE4MDctZWY3MDM0LTEwMjQuanBn/40/52/jpg",
"https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE4MDAvMTIvMzEvcGF2ZWwtaS1ieS1ib3Jvdmlrb3Zza3ktaW4td2hpdGUtMGI0MTNmLTEwMjQuanBn/40/56/jpg",
"https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE3NTAvMTIvMzEvZWxpemFiZXRoLW9mLXJ1c3NpYS1ieS1sY2FyYXZhcXVlLTE3NTAtZ3JtLTU0YjlhZS0xMDI0LmpwZw%3D%3D/40/55/jpg",
"https://cache.getarchive.net/Prod/thumb/cdn2/L3RodW1ibmFpbC8xNjUwLzEyLzMxL2NoYXJsZXMtaWktaGVucmktZ2FzY2FyZC0wZGE3N2QtMjAwLmpwZw%3D%3D/40/40/jpg",
"https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE2ODUvMTIvMzEvY2hhcmxlcy1paS1vZi1lbmdsYW5kLWJ5LWtuZWxsZXItOTVhYjM1LTEwMjQuanBn/40/65/jpg",
"https://cache.getarchive.net/Prod/thumb/cdn2/L3RodW1ibmFpbC8xNzUwLzEyLzMxL2VsaXNhYmV0aC1jaHJpc3RpbmUtb2YtYnJ1bnN3aWNrLWJldmVybi1xdWVlbi1vZi1wcnVzc2lhLTg4MTAzMy0yMDAuanBn/40/40/jpg",
"https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE3NTAvMTIvMzEvZWxpemFiZXRoLW9mLXJ1c3NpYS1ieS1hbm9ueW1vdXMtY2FyYXZhcXVlLXR5cGUtMTh0aC1jLWdpbS01YjY4NmMtMTAyNC5qcGc%3D/40/60/jpg",
"https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE4NDcvMTIvMzEvZmVyZGluYW5kLWkta2VpemVyLXZhbi1vb3N0ZW5yaWprLWFkZmU2MS0xMDI0LmpwZw%3D%3D/40/51/jpg",
"https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE2OTkvMTIvMzEvZWxpemFiZXRoLXN0dWFydC1xdWVlbi1vZi1ib2hlbWlhLWIwNTA1My0xMDI0LmpwZw%3D%3D/40/57/jpg",
"https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzIwMjEvMDkvMTgva2Fpc2VyaW4tbWFyaWEtdGhlcmVzaWEtYS0xOGpoLTFkM2JmNy02NDAuanBn/40/49/jpg",
"https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzIwMjEvMDkvMTgvc3RhbmlzbGF3LWxlc3pjenluc2tpLWtvbmlnLXZvbi1wb2xlbi1wZXNuZS0xZGE4YjEtMTAyNC5qcGc%3D/40/54/jpg",
"https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE3NDMvMTIvMzEvcG9ydHJhaXQtb2YtZW1wcmVzcy1lbGl6YXZldGEtcGV0cm92bmEtYnktaXZhbi12aXNobnlha292LWY5MTU2Yi0xMDI0LmpwZw%3D%3D/40/58/jpg",
"https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzIwMjEvMTEvMjIvY2F0aGVyaW5lLWlpLWJ5LWZyb2tvdG92LWFmdGVyLXJvc2xpbi0xNzgwcy1oZXJtaXRhZ2UtMi04OGI3MDAtMTAyNC5qcGc%3D/40/52/jpg",
"https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE3NTgvMTIvMzEvZWxpemFiZXRoLW9mLXJ1c3NpYS1ieS1sb3Vpcy10b2NxdWUtZjljNDEyLTY0MC5qcGVn/40/52/jpg",
"https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE3NzcvMTIvMzEvY2F0aGVyaW5lLWlpLWJ5LWFyb3NsaW4tMTc3Ni03LWhlcm1pdGFnZS1hYzhiMTEtMTAyNC5qcGc%3D/40/57/jpg",
"https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE2MzMvMTIvMzEvZGFuaWVsLW15dGVucy1pLWNoYXJsZXMtaS0xMTgtMTkxNi1zYWludC1sb3Vpcy1hcnQtbXVzZXVtLTNiNDZkNS0xMDI0LmpwZw%3D%3D/40/62/jpg",
"https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE2MzMvMTIvMzEvY2hhcmxlc2ltaWp0ZW5zLTRjN2MyZi0xMDI0LmpwZw%3D%3D/40/59/jpg",
"https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzIwMjEvMTIvMTEvY2FsbG90LWpvaG4taWktY2FzaW1pci03MTI2N2QtNjQwLmpwZw%3D%3D/40/53/jpg",
"https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzIwMjEvMTIvMTEvd2lsbGlhbWlpaS1lZTY1OTAtMTAyNC5qcGc%3D/40/66/jpg",
"https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE3MDYvMTIvMzEvY2hhcmxlcy1ib2l0LXF1ZWVuLWFubmUtYW5kLXByaW5jZS1nZW9yZ2UtY3JvcC0yMjFlYWUtNjQwLmpwZw%3D%3D/40/54/jpg",
"https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE3NDUvMTIvMzEvbWV5dGVucy1zY2hvb2wtb2YtZnJhbmNpcy1pLWluLXNwYW5pc2gtbWFudGVsa2xlaWQtc2Nob25icnVubi00MGZjZmMtNjQwLnBuZw%3D%3D/40/51/jpg",
"https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE3NTYvMTIvMzEvZWxpemFiZXRoLW9mLXJ1c3NpYS1ieS1sb3Vpcy10b2NxdWUtMTc1Ni1hOGY5NTgtMTAyNC5qcGVn/40/51/jpg",
"https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE3NTAvMTIvMzEvZWxpemFiZXRoLW9mLXJ1c3NpYS1ieS1nZW9yZy1jaHJpc3RvcGgtZ3Jvb3RoLWI4ZWJlNy0xMDI0LmpwZw%3D%3D/40/55/jpg",
"https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE3NzkvMTIvMzEvY2hyaXN0aWFuLXZpaS1vZi1kZW5tYXJrLWFkYzYzOS0xMDI0LmpwZw%3D%3D/40/58/jpg",
"https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE3OTAvMTIvMzEvY2F0aGVyaW5lLWlpLWJ5LWZyb2tvdG92LWFmdGVyLXJvc2xpbi0xNzgwcy1oZXJtaXRhZ2UtMjRlNTljLTEwMjQuanBn/40/56/jpg",
"https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE3NTAvMTIvMzEvY2F0aGVyaW5lLWktb2YtcnVzc2lhLWJ5LWJ1Y2hob2x6LWM2MjRhMy0xMDI0LmpwZw%3D%3D/40/58/jpg",
"https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE3NTAvMTIvMzEvY2F0aGVyaW5laS05OWM2OTEtMTAyNC5qcGc%3D/40/56/jpg",
"https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE4MTEvMTIvMzEvbmFwb2xlb25pLTc5YzI3OC0xMDI0LmpwZw%3D%3D/40/61/jpg",
"https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE4NTkvMTIvMzEvZW1wZXJvci1mcmFuei1qb3NlcGgtaS1vZi1hdXN0cmlhLXNlcHQtMjAwNi0wMDEtMDViOWIwLTEwMjQuanBn/40/61/jpg",
"https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE4NTAvMTIvMzEvYWRlbC1pbS13YW5kZWwyNzAtZmJkY2VmLTEwMjQuanBn/40/83/jpg",
"https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzIwMjEvMTIvMTIvam9zZXBoLWlpLWFzLWEtY2hpbGQtaW4taHVuZ2FyaWFuLWNvc3R1bWUtc2Nob25icnVubi1jYThkZDUtNjQwLmpwZw%3D%3D/40/54/jpg",
"https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE2MjkvMTIvMzEvY2hhcmxlcy0xLW1panRlbnMtOTk5N2QzLTEwMjQuanBn/40/57/jpg",
"https://cache.getarchive.net/Prod/thumb/cdn2/L3RodW1ibmFpbC8xNjMzLzEyLzMxL2RhbmllbC1tYXJ0ZW5zei1teXRlbnMtdGhlLWVsZGVyLWNoYXJsZXMtaS1hY2ExYWEtMjAwLmpwZw%3D%3D/40/40/jpg",
"https://jenikirbyhistory.getarchive.net/img/country/en.png",
"https://jenikirbyhistory.getarchive.net/img/country/de.png",
"https://jenikirbyhistory.getarchive.net/img/country/ru.png"
] |
[] |
[] |
[
""
] | null |
[] | null |
Download Images of - Free for commercial use, no attribution required. From: Paul van Somer - James I of England (James VI of Scotland) - Google Art Project, to Daniel Martensz Mytens the Elder - Charles I. Find images dated from 1600 to 1900.
|
en
|
/favicon.ico
|
PICRYL - Public Domain Media Search Engine
|
https://jenikirbyhistory.getarchive.net/topics/globus%2Bcruciger%2Bin%2Bportrait%2Bpaintings
|
King George II by Charles Jervas
Companion portrait to Caroline of Ansbach, NPG 369 Public domain photograph of 18th-century female portrait painting, free to use, no copyright restrictions image - Picryl description
Elizabeth of Bohemia, studio of Gerrit van Honthorst
Born 16 August 1596 at Dunfermline Palace, Fife, as Princess Elizabeth of Scotland; married 14 February 1613 to Frederick V, Elector Palatine, at the royal chapel at the Palace of Whitehall; died 13 February ... More
Meytens - Francis I in Spanish Mantelkleid - Belvedere
Portrait of Francis I, Holy Roman Emperor (1708-1765) Public domain photograph of 18th-century male portrait painting, free to use, no copyright restrictions image - Picryl description
Leopold Kupelwieser - Kaiser Ferdinand I
Portrait of Emperor Ferdinand I in ceremonial robe of Order of the Golden Fleece
Cecylia Renata Habsburżanka - Public domain portrait painting
The portrait depicts the Queen standing in the loggia of the Villa Regia Palace (Kazimierzowski Palace) in Warsaw with the famous garden in the background.
Crop of Gérard - Louis XVIII of France in Coronation Robes
Louis XVIII of France in Coronation Robes Public domain photograph of cabinet, furniture, free to use, no copyright restrictions image - Picryl description
Charles II (1630-1685) by Sir Peter Lely
Portrait of Charles II of England (1630-1685) Public domain photograph of 17th-century portrait painting, free to use, no copyright restrictions image - Picryl description
Charles II of England by Kneller
Portrait of Charles II of England Public domain photograph of 17th-century portrait painting, free to use, no copyright restrictions image - Picryl description
Elisabeth Christine of Brunswick-Bevern, queen of Prussia
Elisabeth Christine of Brunswick-Bevern (1715-1797), queen of Prussia Public domain photograph of 18th-century female portrait painting, free to use, no copyright restrictions image - Picryl description
Ferdinand I; Keizer van Oostenrijk
Portrait of Emperor Ferdinand I in ceremonial robe of Order of the Golden Fleece
Elizabeth Stuart, Queen of Bohemia
Born 16 August 1596 at Dunfermline Palace, Fife, as Princess Elizabeth of Scotland; married 14 February 1613 to Frederick V, Elector Palatine, at the royal chapel at the Palace of Whitehall; died 13 February ... More
Charles I Mijtens - Public domain portrait painting
1633 oil on canvass portrait of Charles Stuart by Daniel Mytens the Elder, photographed on display at the Saint Louis Art Museum
Christian VII of Denmark - Public domain portrait painting
Public domain image of portrait painting, 18th century, free to use, no copyright restrictions - Picryl description
Catherine II by F.Rokotov after Roslin (1780s, Hermitage)
Public domain photo of portrait art painting, 18th century, free to use, no copyright restrictions image - Picryl description.
Catherine I of Russia by Buchholz
Public domain image - 18th-century female portrait, aristocracy, free to use, no copyright restrictions image - Picryl description.
Catherine I - Public domain portrait painting
Picryl description: Public domain photo of portrait art painting, free to use, no copyright restrictions image.
Napoleon I - Public domain portrait painting
Public domain image of a French military uniform, Napoleonic Wars, armed forces, France, revolution, free to use, no copyright restrictions - Picryl description
Emperor Franz Joseph I of Austria Sept. 2006 001
Image reproduction of a painting hanging at the Café Central in Vienna's first district Innere Stadt. The piece was painted in 1859 according to the information plaque below.
Joseph II as a child in Hungarian costume - Schönbrunn
Joseph II (1741-1790) as a child in Hungarian costume Deutsch: Joseph II. als Kind in ungarischer Tracht
Charles 1 Mijtens - Public domain portrait painting
Public domain image of portrait painting, 16th-17th century, free to use, no copyright restrictions image - Picryl description
|
||||
8327
|
dbpedia
|
0
| 8 |
http://www.colonialsense.com/Society-Lifestyle/Census/Person/Paul_van_Somer_I/4665.php
|
en
|
Colonial Sense: Census: Paul van Somer I
|
http://www.colonialsense.com/favicon.ico
|
http://www.colonialsense.com/favicon.ico
|
[
"http://www.colonialsense.com/Colonial/Pix/Logos/08CSHeader.jpg",
"http://www.colonialsense.com/Colonial/Pix/NavBarH.png"
] |
[] |
[] |
[
"Paul van Somer I",
"1577 ca",
"1621",
"Netherlands"
] | null |
[] | null |
Paul van Somer I: Biography, Facts, Information, Timeline, Links, Images, Notes, Quotes, Dictionary Citations, Contemporaries
|
/favicon.ico
| null | |||||
8327
|
dbpedia
|
2
| 82 |
https://rupertshepherd.info/tag/james-vi-i
|
en
|
Rupert Shepherd
|
[
"https://rupertshepherd.info/wp-content/uploads/2014/05/copy-Banner_2014.png",
"https://rupertshepherd.info/wp-content/uploads/2020/02/Rijks_RP-P-OB-7498__banner-672x372.jpg",
"https://rupertshepherd.info/wp-content/uploads/2020/02/Rijks_RP-P-OB-7498-783x1024.jpg",
"https://licensebuttons.net/p/zero/1.0/80x15.png",
"https://rupertshepherd.info/wp-content/uploads/2020/02/YCBA_B1981_25_1448__detail.jpg",
"https://rupertshepherd.info/wp-content/uploads/2020/02/NG35.jpg",
"https://i.creativecommons.org/l/by-nc-nd/4.0/80x15.png",
"https://rupertshepherd.info/wp-content/uploads/2020/02/YCBA_B1982_18-644x1024.jpg",
"https://rupertshepherd.info/wp-includes/images/rss.png",
"https://static.licdn.com/scds/common/u/img/webpromo/btn_in_20x15.png",
"https://rupertshepherd.info/wp-content/plugins/jetpack/images/rss/orange-small.png",
"https://rupertshepherd.info/wp-content/plugins/jetpack/images/rss/orange-small.png"
] |
[] |
[] |
[
""
] | null |
[] |
2020-02-16T11:34:38+00:00
|
en
|
Rupert Shepherd
|
https://rupertshepherd.info/tag/james-vi-i
|
This is prompted by a question that arose during a meeting for ArtUK’s project to pilot the automatic updating of data on their website by speaking directly to the databases of contributing organisations – but it’s not really about that, fascinating and welcome as the project is. At some point in the discussion the question of dates came up, and this reminded me of something that’s been bugging me for some time: have museums been recording their dates properly? It’s a matter I raised a couple of years ago in the users’ email list for the collections management system I use at the National Gallery, Gallery Systems’ TMS – where it was met with a resounding silence.
Let me explain. Most museum collections management systems allow users to record dates in two ways: as free text (sometimes called a ‘display date’), which could be as vague as ‘early fifteenth century’ or as specific as ‘2 February 1976’; and as a properly machine-readable date (or dates), following a standard format. The format that they use is almost always that mandated by ISO 8601, Data elements and interchange formats – Information interchange – Representation of dates and times.
The formatting element of ISO 8601 is quite simple; of the variants it offers, the one most often used in museum software is the basic YYYY-MM-DD (which can be reduced down to as little as YYYY for less precise dates). The problem is to do with calendars. ISO 8601 specifies that dates should be recorded using the Gregorian calendar – the calendar in use in much of the world today, first introduced in some countries on 15 October 1582 as a result of reforms instigated by Pope Gregory XIII, and designed to reduce the disjunction between astronomical time and calendar time that had crept into the previous Julian calendar because of the way that leap years were calculated: the Julian calendar was by then 10 days adrift of astronomical time. In other words, when the Gregorian calendar was first adopted, 4 October 1582 was, in some countries, immediately followed by 15 October 1582. (The days of the week, however, ran on in their normal sequence.) The calendar was adopted across the world gradually: it only came into use in the British Isles in 1752, when 2 September 1752 was followed by Thursday 14 September 1752 (after me, now: ‘Give us our eleven days!’)
But what about dates before 15 October 1582? According to ISO 8601, these can only be recorded ‘by mutual agreement of the partners exchanging information’; they should be recorded using the proleptic Gregorian calendar, which simply extends the Gregorian calendar back in time before its creation. This means that the precise dates of events that took place in the past should be shifted accordingly when entered into museum databases, if they are actually to adhere to the standard they profess to use. For example, Titian’s Bacchus and Ariadne arrived at its destination, Ferrara, on the Julian calendar date of 20 January 1523 (or thereabouts) – or 30 January in the proleptic Gregorian calendar.
I’d like to ask anyone reading this who works in museum documentation: are you really recording pre-Gregorian dates in ISO 8601-formatted fields using the proleptic Gregorian calendar – or are you just using the Julian calendar, and formatting your dates to look like ISO ones?
I can understand why museums might not be implementing ISO 8601 properly. For one thing, it means that the proleptic Gregorian date needs to be calculated every time you enter a Julian date. For another, it leads to problems when we consider anniversaries. The Wikipedia article on the Gregorian calendar discusses the supposed coincidence of the deaths of both Cervantes and Shakespeare on 23 April 1616 – although, as Spain at that time used the Gregorian calendar, and England the Julian, Cervantes actually died ten days before Shakespeare, the interval by which the two calendars diverged in 1616. But in 2020, we will mark the anniversary of Shakespeare’s death on its calendar date, 23 April, and not 404 years (of 365/366 days) after it actually took place, on 3 May. In other words, our anniversaries are out of step with our calendars if the events being commemorated occurred under the Julian calendar. And museums, as memory institutions, do like to mark anniversaries – even more so when there are social media accounts to feed with regular content. To return to the example of the Titian painting I mentioned earlier: when should we tweet the anniversary of its arrival in Ferrara – on 20 January (Julian date) or 30 January (ISO 8601 date)?
But if we stick with Julian calendar dates entered using the ISO YYYY-MM-DD format, we’re setting ourselves up for further problems when we come to calendars where the new year doesn’t fall on 1 January. Many European states – including England and, before 1600, Scotland – marked the new year on Lady Day (the Feast of the Annunciation, 25 March). So in England, for example, 31 December 1602 was followed immediately by 1 January 1602, and 24 March 1602 by 25 March 1603. If we were to write these dates using the ISO format, and list them in chronological order, we would end up with the sequence:
1602-12-31
1602-01-01
1602-03-24
1603-03-25
Why does this matter? First of all, there’s the problem of putting chronological dates in order: YYYY-MM-DD dates should sort nicely, as they’re arranged in order from largest to smallest component. But they don’t, if the year doesn’t begin neatly at YYYY-01-01. Secondly, there’s ample scope for confusion: James VI of Scotland succeeded to the throne of England as James I, bringing about the Union of the Crowns, upon the death of his cousin Elizabeth I late on 24 March 1603 by the Scots calendar – but 24 March 1602 by the English. (To resolve the ambiguity, dates are sometimes written using the conventions ’24 March 1602/3′, or ’24 March 1602 Old Style (O.S.)’ / ’24 March 1603 New Style (N.S.)’.) In the United Kingdom, all this – the date of the new year and the divergence between the Julian and Gregorian calendars – was resolved by the Calendar (New Style) Act 1750.
And – if you’re not already banging your head on your desk in despair – ISO 8601 also creates a discrepancy with dates BC. The Julian calendar, as conventionally reckoned (remember, the Romans didn’t know to mark the birth of Christ in the year in which it occurred) included no year 0: 1 BC was followed immediately by AD 1. This is the convention followed in most historical texts. But the proleptic Gregorian calendar as used by ISO 8601 includes a year 0, with dates before that given negative numbers, and dates after (dates AD) given positive ones. So Julian 1 BC is in fact proleptic Gregorian 0, Julian 2 BC is proleptic Gregorian -1, etc.
So I can understand why museums might not actually be adhering to the standard that they profess to be using when they record dates. And with that happy thought I’ll sign off. For those of you who like to do things the old-fashioned way (and have some Italian), I find Adriano Cappelli, Cronologia, cronografia e calendario perpetuo: dal principio dell’era cristiana ai nostri giorni, 7th edn, Manuali Hoepli (Milan: Ulrico Hoepli, 1988, and reissued subsequently), ISBN 88-203-2502-0, a useful compendium of calendar-related information. My copy came with a calendar conversion program on 3.5″ floppy disk (remember them?), which I can’t get to run on Windows 10; fortunately, there’s now a superfluity of calendar converters online – John Walker’s, available here, has the added advantage of downloadable code that you can install locally should you wish.
Now, back to working out how to record fifteenth-century dates from Florence (using the Julian calendar and starting the New Year on Lady Day) in my collections management system.
Updates
|
||||||
8327
|
dbpedia
|
1
| 14 |
http://www.artnet.com/artists/paul-van-somer/
|
en
|
[] |
[] |
[] |
[
""
] | null |
[] | null | null | ||||||||||
8327
|
dbpedia
|
2
| 41 |
https://ancestors.familysearch.org/en/GMZZ-Q92/gerrit-jan-somer-1881-1919
|
en
|
FamilySearch.org
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
Discover your family history. Explore the world’s largest collection of free family trees, genealogy records and resources.
|
en
| null | |||||||
8327
|
dbpedia
|
1
| 1 |
https://learn.ncartmuseum.org/artists/paul-van-somer/
|
en
|
Paul van Somer – NCMALearn
|
[
"https://learnncartmstg.wpengine.com/wp-content/uploads/2022/08/Learn-logo-rebrand.png",
"https://learn.ncartmuseum.org/wp-content/uploads/2017/06/van-SOMER-Portrait-of-Christian-Lady-Cavendish-Later-Countess-of-Devonshire-and-her-Daughter-G_58_3_1-520x365.jpg",
"https://learn.ncartmuseum.org/wp-content/uploads/2017/06/van-SOMER-Portrait-of-Lord-Cavendish-Later-Second-Earl-of-Devonshire-and-His-Son-G_58_4_1-520x365.jpg",
"https://learn.ncartmuseum.org/wp-content/uploads/2022/08/learn-footer-logo-type-150x150.png"
] |
[] |
[] |
[
""
] | null |
[] | null |
en
|
https://learn.ncartmuseum.org/artists/paul-van-somer/
|
About
Soon after his arrival in London in 1618, Paul van Somer, a native of Antwerp, became the favorite court painter under King James I and his wife, Anne of Denmark.
|
|||||||
8327
|
dbpedia
|
2
| 77 |
https://britishart.yale.edu/apply-view-here-0
|
en
|
Apply for “The View from Here”
|
https://britishart.yale.edu/core/misc/favicon.ico
|
https://britishart.yale.edu/core/misc/favicon.ico
|
[
"https://britishart.yale.edu/sites/default/files/styles/landscape/public/2024-04/3billboard_finalfl_small77.jpg?h=3eb68ecc&itok=SIjEk0tG",
"https://britishart.yale.edu/sites/default/files/styles/landscape/public/2024-03/web_tvfh2024_websitebanner_02.jpg?h=aeaae5c8&itok=IshUt4ME",
"https://britishart.yale.edu/sites/default/files/img/overview/2023-09/web2_YCBA_26Jan2019-329_D8.jpg",
"https://britishart.yale.edu/sites/default/files/img/overview/2023-09/web_2016EF11.572_D8.jpg",
"https://britishart.yale.edu/sites/default/files/styles/landscape/public/2024-04/cropped_ba-obj-4985-0001-pub.jpg?h=854a7be2&itok=8enXzjYa",
"https://britishart.yale.edu/sites/default/files/styles/landscape/public/2024-08/ba-obj-83331-0012-pub_adj_web.jpg?h=330d2a35&itok=2ul46bL0",
"https://britishart.yale.edu/sites/default/files/img/overview/2023-09/web_ba-exb-983-0001-bar.jpg",
"https://britishart.yale.edu/sites/default/files/img/overview/2024-03/turners-last-sketchbook-cover-web_0.jpg",
"https://britishart.yale.edu/sites/default/files/img/overview/2023-09/web_2016EF11.585_D8.jpg",
"https://britishart.yale.edu/sites/default/files/img/overview/2023-09/web_ba-arc-5040414-0004-mas-copy_D8_3_1.jpg"
] |
[] |
[] |
[
""
] | null |
[] | null |
en
|
/core/misc/favicon.ico
|
https://britishart.yale.edu/apply-view-here-0
|
Address
Address
Address 2
City/Town
State/Province
ZIP/Postal Code
Are you under eighteen years of age?
High School Students
High school name
High school address
Address
Address 2
City/Town
State/Province
ZIP/Postal Code
Country
Guidance counselor name
Guidance counselor email
College/university students:
College/university name
College/university address
Address
Address 2
City/Town
State/Province
ZIP/Postal Code
Country
Course of study
Year of high school graduation
The use of a smartphone is required for this class. Please provide information on the type of smartphone that you plan to use, including the brand, type, and available storage space.
How did you learn about this program? (250 words max)
What most interests you about this program, and what do you hope to gain from this experience? (250 word max)
What extracurricular activities are you involved in at school/college or in your local community? (250 words max)
Please describe your photography practice. Where do you take photos? What do you take pictures of, and why do you do it? (250 words max)
Availability
“The View from Here” runs from September 26, 2024 through February 20, 2025 and meets Thursdays, 3–4:30 pm. The program will not meet on November 21, December 19, December 26, January 2, or January 9. Please note: More than two unexcused absences will result in removal from the program. Stipends will be paid after completion of the program and exhibition.
Please briefly describe your availability in the fall semester.
“The View from Here” is open to United States citizens, permanent residents, and individuals eligible to work in the United States without visa sponsorship. This means that you are able to provide working papers to the Yale Center for British Art, which includes your social security number. We regret that the Yale Center for British Art cannot provide visa sponsorship.
CAPTCHA
|
||||
8327
|
dbpedia
|
1
| 22 |
https://www.royprecious.co.uk/731082/portrait-of-tristram-stafford-1613-circle-of-paul-van-somer/
|
en
|
Portrait Of Tristram(?) Stafford, 1613; Circle Of Paul Van Somer.
|
[
"https://www.royprecious.co.uk/logos/LG_dealer_precious.png",
"https://www.royprecious.co.uk/logos/XS_dealer_precious.png",
"https://www.royprecious.co.uk/photosnew/dealer_precious/dealer_precious_highres_1601482616090-8231782687.jpg",
"https://www.royprecious.co.uk/photosnew/dealer_precious/dealer_precious_midder_1601482628520-7181421086.jpg",
"https://www.royprecious.co.uk/photosnew/dealer_precious/dealer_precious_midder_1601482638008-7152625549.jpg",
"https://www.royprecious.co.uk/photosnew/dealer_precious/dealer_precious_midder_1601482645820-6068148196.jpg",
"https://www.royprecious.co.uk/photosnew/dealer_precious/dealer_precious_midder_1601482656414-0072330239.jpg",
"https://www.royprecious.co.uk/photosnew/dealer_precious/dealer_precious_midder_1601482669969-8591787897.jpg",
"https://www.royprecious.co.uk/photosnew/dealer_precious/dealer_precious_midder_1601482676770-4279449428.jpg",
"https://www.royprecious.co.uk/photosnew/dealer_precious/dealer_precious_midder_1601482685625-7171673556.jpg",
"https://www.sellingantiques.co.uk/img/emailsent.png",
"https://www.royprecious.co.uk/photosnew/dealer_precious/dealer_precious_large_1406898047801-8673862229.jpg",
"https://www.royprecious.co.uk/photosnew/dealer_precious/dealer_precious_large_1503763990973-0574229586.jpg",
"https://www.royprecious.co.uk/photosnew/dealer_precious/dealer_precious_large_1447775827824-8119482038.jpg",
"https://www.royprecious.co.uk/photosnew/dealer_precious/dealer_precious_large_1597754557883-6026374045.jpg",
"https://www.royprecious.co.uk/photosnew/dealer_precious/dealer_precious_large_1414849228211-6290651218.jpg",
"https://www.royprecious.co.uk/photosnew/dealer_precious/dealer_precious_large_1427811066793-3944169839.jpg",
"https://www.royprecious.co.uk/photosnew/dealer_precious/dealer_precious_highres_1601482616090-8231782687.jpg",
"https://www.royprecious.co.uk/photosnew/dealer_precious/dealer_precious_highres_1601482628520-7181421086.jpg",
"https://www.royprecious.co.uk/photosnew/dealer_precious/dealer_precious_highres_1601482638008-7152625549.jpg",
"https://www.royprecious.co.uk/photosnew/dealer_precious/dealer_precious_highres_1601482645820-6068148196.jpg",
"https://www.royprecious.co.uk/photosnew/dealer_precious/dealer_precious_highres_1601482656414-0072330239.jpg",
"https://www.royprecious.co.uk/photosnew/dealer_precious/dealer_precious_highres_1601482669969-8591787897.jpg",
"https://www.royprecious.co.uk/photosnew/dealer_precious/dealer_precious_highres_1601482676770-4279449428.jpg",
"https://www.royprecious.co.uk/photosnew/dealer_precious/dealer_precious_highres_1601482685625-7171673556.jpg",
"https://www.royprecious.co.uk/img/loading.gif",
"https://www.royprecious.co.uk/img/loading.gif",
"https://www.royprecious.co.uk/img/loading.gif"
] |
[] |
[] |
[
""
] | null |
[] | null |
Declaration: Portrait Of Tristram(?) Stafford, 1613; Circle Of Paul Van Somer. has been declared an antique and was approved for sale on sellingantiques.co.uk.
|
en
|
favicon.ico
| null |
Cookies
The www.royprecious.co.uk site uses cookies. Cookies enable the www.royprecious.co.uk web visitors to store their favourite items without the need to create an account, help track how many people visit the site and also provide information about what pages are the most / least popular which help improve the overall website experience.
Copyright
© 2024 Roy Precious - Antiques & Fine Art
Photos or content cannot be reproduced without the written consent of Roy Precious - Antiques & Fine Art
|
|||||
8327
|
dbpedia
|
2
| 20 |
https://www.facebook.com/photo.php%3Ffbid%3D774777594841741%26id%3D100069285227621%26set%3Da.563585149294321
|
en
|
Facebook
|
https://static.xx.fbcdn.net/rsrc.php/yb/r/hLRJ1GG_y0J.ico
|
https://static.xx.fbcdn.net/rsrc.php/yb/r/hLRJ1GG_y0J.ico
|
[
"https://facebook.com/security/hsts-pixel.gif"
] |
[] |
[] |
[
""
] | null |
[] | null |
Sieh dir auf Facebook Beiträge, Fotos und vieles mehr an.
|
de
|
https://static.xx.fbcdn.net/rsrc.php/yb/r/hLRJ1GG_y0J.ico
|
https://www.facebook.com/login/
| ||||
8327
|
dbpedia
|
0
| 39 |
https://www.garyschwartzarthistorian.nl/385-the-dutchness-of-english-art/
|
en
|
385 The Dutchness of English art – Gary Schwartz Art Historian
|
[
"http://www.garyschwartzarthistorian.nl/wp-content/uploads/2020/07/MijtensJanFamilieWIllemVanDenKerckhoven1652HaagsHistorischMuseum.jpg",
"http://www.garyschwartzarthistorian.nl/wp-content/uploads/2020/07/HuysmansCa1680Melbourne.jpg",
"http://www.garyschwartzarthistorian.nl/wp-content/uploads/2020/07/Presentatie2-1024x576.jpg",
"http://www.garyschwartzarthistorian.nl/wp-content/uploads/2020/07/KnyffHamptonCourtFromTheSouthCa1702BritishMuseum-1024x670.jpg",
"https://www.paypal.com/en_US/i/btn/btn_donate_LG.gif",
"https://secure.gravatar.com/avatar/d5317196ffb136abe59540dd5792fe74?s=49&d=mm&r=g",
"https://secure.gravatar.com/avatar/07c091e63a51dc7ef2ee8ceb11295343?s=42&d=mm&r=g",
"https://secure.gravatar.com/avatar/d5317196ffb136abe59540dd5792fe74?s=42&d=mm&r=g",
"https://secure.gravatar.com/avatar/44927b3841a0bb9c244ba7995ba5cd80?s=42&d=mm&r=g",
"https://secure.gravatar.com/avatar/d5317196ffb136abe59540dd5792fe74?s=42&d=mm&r=g",
"https://secure.gravatar.com/avatar/5d63ff6899b9cdab7264ab43bf80deca?s=42&d=mm&r=g",
"https://secure.gravatar.com/avatar/d5317196ffb136abe59540dd5792fe74?s=42&d=mm&r=g",
"https://secure.gravatar.com/avatar/e302a2227e694d693dd8b2aafc426087?s=42&d=mm&r=g",
"https://secure.gravatar.com/avatar/d5317196ffb136abe59540dd5792fe74?s=42&d=mm&r=g",
"https://secure.gravatar.com/avatar/b6808f8444330b500db11ac3e921a115?s=42&d=mm&r=g",
"https://secure.gravatar.com/avatar/d5317196ffb136abe59540dd5792fe74?s=42&d=mm&r=g",
"https://secure.gravatar.com/avatar/05e6fc18d74fad0d24596206500f707f?s=42&d=mm&r=g",
"https://secure.gravatar.com/avatar/d5317196ffb136abe59540dd5792fe74?s=42&d=mm&r=g"
] |
[] |
[] |
[
""
] | null |
[
"Author Gary Schwartz"
] |
2020-07-27T15:11:21+00:00
|
en
|
https://www.garyschwartzarthistorian.nl/385-the-dutchness-of-english-art/
|
In the second half of the seventeenth century, Dutch artists swarmed all over Europe in search of earnings that were drying up at home. They virtually annexed the art scene of Great Britain, giving shape to much of what we think of as English culture. Schwartz’s view of British Baroque.
In those long-gone early March days before the lockdown, I was able to relish the exhibition British Baroque: power and illusion at Tate Britain. Sadly, after it was forced to close on 18 March, it could not reopen. All that is left is the catalogue, which fortunately is excellent. The exhibition curator, Tabitha Barber, introduces the subject thus:
The Restoration of Charles II in 1660 was greeted, initially at least, with overwhelming public joy. An outpouring of royalist literature eulogised Stuart monarchy and presented the King’s return as miraculous and his majesty as God-given. […] The return of the King necessitated a practical restaging of monarchy. Magnificence and splendour, the essential indicators of power and authority, had to be reinstated and the court re-established as the brilliant epicentre of not only politics and government but also cultural life. The sumptuousness of the King’s physical surroundings and the pomp and ceremony that accompanied his daily actions were requisites for impressing upon people respect and engendering reverence.
And so the court made itself reliant on artists to project all that grandeur. And to whom did they turn? There was a model sans pareil for portraiture and religious paintings, and that was the English production of the Flemish artist Anthony van Dyck (1599-1641). Had he not died so young, van Dyck would have been 61 years old at the Restoration, and would undoubtedly have taken charge of imagery for the court of Charles II as he had for that of his father. But there were followers, British and Netherlandish alike, to enter if not to fill the gap.
The image of the king himself was paramount, and was actually put in charge of full-fledged royal officials.
Peter Lely, succeeded by John Riley in 1681, held the post of the King’s Limner and Picture Drawer (later known as Principal Painter), while Samuel Cooper, followed by Richard Gibson (1672), Nicholas Dixon (1673) and Peter Crosse (1678), was the King’s Picturemaker in Ordinary (miniature painter). The holders of these two posts were responsible for establishing the face pattern of the King, to be used in all official contexts necessitating his image.
Peter Lely (1618-80), “acknowledged as the best artist in Britain,” painted not only the king but, with a large studio at his disposal, a myriad of aristocrats, most strikingly the fashionable, sexy wives and mistresses of the king and his courtiers. Lely was born in Soest, Germany, to Dutch parents, and had his training in Haarlem. The modes in which he worked after moving to London in his early twenties, were Dyckian, and were followed by English painters as well. It is not too much to say, then, that the image of the British royals and their favorites was the creation of Netherlandish artists.
In Restoration England, they showed marked agility in adapting their Low-Country training to the demands of the Stuart high court. An Antwerp artist like Jacob Huysmans (1633-1696), when called upon about 1680 to paint a group portrait of the children of John Coke of Melbourne Hall, could draw on a Netherlandish tradition that saw the creation of a painting like Jan Mijtens’s family portrait of Willem van den Kerckhoven and his family, and turn it into what Monty Python would have called something completely different.
Jan Mijtens (ca. 1614-1670), Willem van den Kerckhoven and his family, 1652, 1655
The Hague, Haags Historisch Museum
Jacob Huysmans (1633-1696), The children of John Coke of Melbourne Hall, ca. 1680
Lord Ralph Kerr, The Melbourne Trust
When Charles was succeeded, after the fated three-year reign of James II, by the Dutch stadholder William of Orange and his consort Mary Stuart, the tendency to rely on artists from the Low Countries for propagating the royal and state image reached even higher heights. The Battle of the Boyne, which cemented William’s reputation as a hero of Protestant Britain, was immortalized in print after drawings by the Haarlem-Hague artist Dirk Maas (1656-1717). The main painter of battle scenes and military equestrian portraits was another Haarlemer, Jan Wyck (1652-1700). English glory was the creation of fortune-seeking immigrants.
Favorite still-life specialties – the current events trompe l’oeil, the domestic luxury picture, the flower still life – were practiced at their best by Edwaert Collier of Breda (1640-1708), Pieter van Roestraeten of Haarlem (1630-1700) and Simon Verelst of The Hague (1644-1721). The best topographical paintings of the royal palaces were by Hendrick Danckerts of The Hague (1625-80); monumental bird’s-eye views of country houses – nearly a hundred of them – were drawn and engraved by Leonard Knyff of Haarlem (1650-1722) and the Amsterdamer Johannes Kip (1652/53-1722) and published as Britannia illustrata, giving “the houses of the aristocracy and gentry the same visibility as royal palaces for the first time.”
Leonard Knyff, Bird’s-eye view of Hampton Court from the south, ca.1702
London, British Museum
For sculpture, the English called on French artists and the Fleming Arnold Quellin (Artus Quellinus III); for wall and ceiling paintings French and Italian masters. Germans and Swedes made signal contributions, as well as one Hungarian, Jacob Bogdani. The foreigners outnumbered local talents (with miniature portraiture as the only native contribution) by more than two to one. The single largest group of artists in the exhibition were the Dutch, even without counting Godfrey Kneller, a prolific portraitist from Lübeck who had his training in Holland and forged a sterling career under Charles II, William and Mary, and George I, who made him a baronet. Remarkably, the exhibition catalogue does not even mention Willem van de Velde the Younger of Leiden (1633-1707), whose maritime art for the English set a standard for centuries to come. Seen in this perspective, when at the end of the year Britain leaves Europe, it will be turning its back on itself.
Why did all those Dutch artists cross the Channel? As irony will have it, in large part because of the sea wars Holland was fighting with England in those very waters. The outbreak of the First Anglo-Dutch War in 1651 set a downward art-buying spiral in motion from which Dutch expenditure on contemporaneous painting never recovered. The largest and best-trained cohort of visual artists in Europe found its home market collapsing under its feet. Those who stayed put competed with each other in domestic niches like the household paintings of Pieter de Hooch and Johannes Vermeer. In the expansive atmosphere of Restoration England, emigrant artists could earn bigger bucks while cultivating higher genres.
The above is intended not only as a corrective to whatever overly insular self-image some Brits may cherish. As colleagues will have known from the title, it is also a polite rejoinder to ideas implicit in the titles of lectures by two art historians I admire a great deal, Nikolaus Pevsner (“The Englishness of English art”) and Christopher Brown (“The Dutchness of Dutch art”). In opposition to the spirit of these axiomatic titles, I see all of European art – and in large measure world art – interwoven so inextricably that national essences simply do not exist.
© Gary Schwartz 2020. Published on the Schwartzlist on 27 July 2020. 15 August 2020: see the sequel, Schwartzlist 386.
Last week I crossed what is still the national border of the Netherlands for the first time since returning from England on 5 March. Something I would have taken for granted before this year became a rare treat – spending a week doing research in Weimar, Germany. I was grateful for being admitted to the Herzogin Anna Amalia Bibliothek, the Landesarchiv Thüringen, the Stadtschloss Weimar, the Goethe-Nationalmuseum, and the Museum Neues Weimar, in search for traces of a portrait of Rembrandt that passed through the city between the 1880s (I still know not when) to April 1921, when it was stolen. I met with colleagues from the museums, the archives and the cultural umbrella organization for Thüringen, and enjoyed myself thoroughly, even though the documentation of the painting continues to elude my grasp.
Not enjoyable was my visit to Buchenwald Concentration Camp, within hiking distance of Weimar. (I took the bus.) It brought into sharp focus unanswered, unanswerable questions I generally keep hazy. What am I doing on this continent? How can I love it so much here? Should I move to Britain?
Responses in the Reply box below (these will be viewed by all visitors to the site) or personally to Gary.Schwartz@xs4all.nl are always appreciated and will be answered.
So will donations. Please do send a donation.
Your donations help defray the costs of the Schwartzlist and encourage Gary Schwartz to write more columns.
|
|||||||
8327
|
dbpedia
|
3
| 83 |
https://www.metmuseum.org/art/collection/search/385548
|
en
|
The Works of Horatio Walpole, Earl of Orford. In Five Volumes.
|
[
"https://www.metmuseum.org/Rodan/dist/svg/rolling-0.9s-30px.svg",
"https://www.metmuseum.org/Rodan/dist/svg/no-image-image-related.svg",
"https://www.metmuseum.org/Rodan/dist/svg/no-image-image-related.svg",
"https://www.metmuseum.org/Rodan/dist/svg/no-image-image-related.svg",
"https://www.metmuseum.org/Rodan/dist/svg/no-image-image-related.svg",
"https://collectionapi.metmuseum.org/api/collection/v1/iiif/424121/preview",
"https://www.metmuseum.org/-/media/Images/About-The-Met/Collection-Areas/Drawings-and-Prints/Materials-and-Techniques/Printmaking/Engraving/Collection-Explainers/engravings_sm.jpg",
"https://www.metmuseum.org/-/media/images/About-The-Met/Collection-Areas/Drawings-and-Prints/Materials-and-Techniques/Printmaking/Etching/Collection-Explainers/etchings_sm.jpg",
"https://www.metmuseum.org/-/media/images/about-the-met/collection-areas/drawings-and-prints/zodiac-department-page/dp_dept_teaser.jpg"
] |
[] |
[] |
[
"Hollar",
"Wenceslaus",
"Walpole",
"Horace 4th Earl of Orford",
"Berry",
"Robert G.",
"Robinson",
"G. G. J & J.",
"Edwards",
"J.",
"Evans",
"T.",
"Walker",
"Anthony",
"Grignion",
"Charles I",
"Vertue",
"George",
"Zincke",
"Christian Friedrich",
"Ripley",
"Thomas",
"Edwards",
"Edward",
"Morris",
"Thomas",
"Godfrey",
"Richard Bernard",
"Newton",
"James",
"Pars",
"William",
"Essex",
"James",
"Bannerman",
"Alexander",
"Chambars",
"Thomas",
"Dyck",
"Anthony van",
"Wouters",
"Frans",
"Beale",
"Mary",
"Bretherton",
"Charles",
"Bretherton",
"James",
"Hibbart",
"William",
"Carpentiers",
"Adrien",
"Eccardt",
"Johann Aegidius",
"Heath",
"James",
"Poelenburch",
"Cornelis van",
"Vanderbank",
"John the younger",
"Hogarth",
"William",
"Largillierre ( Largillière)",
"Nicolas de",
"Schoonjans",
"Anton",
"Medina",
"John Baptiste de Sir",
"Richardson",
"Jonathan",
"Sr.",
"Seeman",
"Enoch",
"the Younger",
"Hayls",
"John",
"Kneller",
"Godfrey",
"Sir",
"Marlow",
"William",
"Cooper",
"Samuel",
"Oliver",
"Peter",
"Gossart",
"Jan (called Mabuse)",
"Barlow",
"John",
"Mor",
"Antonis",
"Müller",
"Johann Sebastian",
"Fuller",
"Isaac",
"Hysing",
"Hans",
"Schalcken",
"Godfried",
"Oliver",
"Isaac",
"Lawrence",
"Thomas",
"Sir",
"Somer",
"Paul van",
"Honthorst",
"Gerrit van",
"Mytens",
"Daniel I",
"Streater",
"Robert",
"Bacon",
"Nathaniel Sir",
"Rubens",
"Peter Paul",
"Lely",
"Peter",
"Sir (Pieter van der Faes)",
"Mascall",
"Edward",
"Dobson",
"William",
"Janssen",
"Cornelius",
"Worlidge",
"Thomas",
"Tilson",
"Henry",
"Dahl",
"Michael",
"Greenhill",
"John",
"Hondius",
"Abraham",
"Mercier",
"Philip",
"Killigrew",
"Anne",
"Faithorne",
"William",
"the Elder",
"Lievens",
"Jan",
"Gheeraerts",
"Marcus",
"the Younger",
"Holbein",
"Hans",
"the Younger",
"Stippling",
"Illustrations",
"Engraving",
"Stipple engraving",
"Etching",
"Books",
"Europe",
"United Kingdom"
] | null |
[] | null |
en
|
https://www.metmuseum.org/content/img/presentation/icons/favicons/favicon.ico?v=3
|
The Metropolitan Museum of Art
|
https://www.metmuseum.org/art/collection/search/385548
|
Title: The Works of Horatio Walpole, Earl of Orford. In Five Volumes.
Author: Horace Walpole, 4th Earl of Orford (British, London 1717–1797 London)
Editor: Robert G. Berry
Publisher: G. G. J. & J. Robinson (London)
Publisher: J. Edwards (London)
Designer: Vol. 3 Sir Nathaniel Bacon (British, Suffolk 1585–1627)
Designer: Vol. 3, Samuel Cooper (British, London (?) 1608?–1672 London)
Designer: Vol. 3, Mary Beale (British, Barrow, Suffolk baptised 1633–1699 London)
Designer: Vol. 3, Adrien Carpentiers (Flemish, active 1739–78 London (active England))
Designer: Vols. 3, 4, Michael Dahl (Swedish, Stockholm 1659–1743 London)
Designer: Vols. 3, 4 William Dobson (British, London 1611–1646 London)
Designer: Vols. 3, 4 Anthony van Dyck (Flemish, Antwerp 1599–1641 London)
Designer: Vol. 5, Johann Aegidius Eccardt (British (born Germany), active London from, 1739, died 1779 London)
Designer: Vol. 2, Edward Edwards (British, London 1738–1806 London)
Designer: Vol. 2, James Essex (British, baptized Cambridge 1722–1784 Cambridge)
Designer: Vol. 4, William Faithorne the Elder (British, London ca. 1620–1691 London)
Designer: Vol. 3, Isaac Fuller (British, 1606/20–1672 London)
Designer: Vol. 3, Marcus Gheeraerts the Younger (Flemish, Bruges 1561–1635/36 London)
Designer: Vol. 3, Jan Gossart (called Mabuse) (Netherlandish, Maubeuge ca. 1478–1532 Antwerp (?))
Designer: Vol. 3, John Greenhill (British, Salisbury 1644–1676 London)
Designer: Vol. 3, John Hayls (British, active ca. 1645, died 1679)
Designer: Vol. 3, William Hogarth (British, London 1697–1764 London)
Designer: Vol. 3, Hans Holbein the Younger (German, Augsburg 1497/98–1543 London)
Designer: Vol. 3, Wenceslaus Hollar (Bohemian, Prague 1607–1677 London)
Designer: Vol. 3, Abraham Hondius (Dutch, Rotterdam ca. 1631–1691 London)
Designer: Vol. 3, Gerrit van Honthorst (Dutch, Utrecht 1592–1656 Utrecht)
Designer: Vol. 3, Hans Hysing (Swedish, Stockholm 1678–1753 London)
Designer: Vol. 3, Cornelius Janssen (British, London, baptised 1593–1661 Utrecht)
Designer: Vol. 3, Anne Killigrew (British, London 1660–1685 London)
Designer: Vol. 3, Sir Godfrey Kneller (German, Lübeck 1646–1723 London)
Designer: Vol. 3, Nicolas de Largillierre (or Largillière) (French, Paris 1656–1746 Paris)
Designer: Vol. 1, Sir Thomas Lawrence (British, Bristol 1769–1830 London)
Designer: Vol. 3, Sir Peter Lely (Pieter van der Faes) (British, Soest 1618–1680 London)
Designer: Vol. 3, Jan Lievens (Dutch, Leiden 1607–1674 Amsterdam)
Designer: Vol. 2, William Marlow (British, Southwark, London 1740/41–1813 Twickenham, London)
Designer: Vol. 3 Edward Mascall (British, ca. 1627–after 1675)
Designer: Vol. 3, Sir John Baptiste de Medina (Belgian Flemish, Brussels 1659–1710 Edinburgh)
Designer: Vol. 3, Philip Mercier (French, Berlin 1689/91–1760 London (active England))
Designer: Vol. 3, Antonis Mor (Flemish, Utrecht ca. 1512/20–ca. 1576 Antwerp)
Designer: Vol. 3, Daniel Mytens I (Dutch (Flemish origin), Delft ca. 1590–ca. 1647 The Hague (?))
Designer: Vols. 1, 3, Isaac Oliver (British, ca. 1565–1617)
Designer: Vol. 3, Peter Oliver (British, London 1589–1647 Isleworth, Middlesex)
Designer: Vol. 2, William Pars (British, London 1742–1782 Rome)
Designer: Vol. 3, Cornelis van Poelenburch (Dutch, Utrecht (?) 1594/95–1667 Utrecht)
Designer: Vols. 3, 4, Jonathan Richardson Sr. (British, London 1667–1745 London)
Designer: Vol. 2, Thomas Ripley (British, ca. 1683–1758)
Designer: Vol. 3, Peter Paul Rubens (Flemish, Siegen 1577–1640 Antwerp)
Designer: Vol. 3, Godfried Schalcken (Dutch, Made 1643–1706 The Hague)
Designer: Vol. 3, Anton Schoonjans (Sevonyans) (Dutch, ca. 1655–1726)
Designer: Vol. 3, Enoch Seeman the Younger (German, Danzig ca. 1690–1744 London)
Designer: Vol. 3 Paul van Somer (Flemish, Antwerp (?) ca. 1577–1621/22)
Designer: Vol. 3, Robert Streater (British, London 1621–1679 London)
Designer: Vol. 3, Henry Tilson (British, England ca. 1659–1695 London)
Designer: Frans Wouters (Flemish, Lier 1612–1659 Antwerp)
Designer: Vol. 3, John Vanderbank, the younger (British, London (?) 1694–1739 London)
Designer: Vol. 2, George Vertue (British, London 1684–1756 London)
Designer: Vol. 3, Thomas Worlidge (British, Peterborough 1700–1766 Hammersmith)
Designer: Vol. 3, Frans Wouters (Flemish, Lier 1612–1659 Antwerp)
Designer: Vol. 2, Christian Friedrich Zincke (German, Dresden 1683/85–1767 London)
Engraver: Vol. 3, Alexander Bannerman (British, born Cambridge ca. 1730, active through 1792)
Engraver: Vo. 2, John Barlow (British, 1759/60–1810 or later)
Engraver: Vol. 3, Charles Bretherton (British, ca. 1760–1783)
Engraver: Vol. 3, James Bretherton (British, active 1750–99)
Engraver: Vols. 3, 4 Thomas Chambars (Irish, ca. 1724–1789 London)
Engraver: Vol. 1, T. Evans (British, active late 18th century)
Engraver: Vol. 2, Richard Bernard Godfrey (British, ca. 1728–1795 after)
Engraver: Vols. 1, 3, Charles Grignion, I (British, London baptised 1721–1810 London)
Engraver: Vol. 5, James Heath (British, London 1757–1834 London)
Engraver: Vol. 3, William Hibbart (British, 1725–1808)
Engraver: Vol. 2, Thomas Morris (British, active 1750–1811)
Engraver: Vol. 2, 3 Johann Sebastian Müller (German, Nuremberg 1715–1790 London)
Engraver: Vol. 2, James Newton (British, London 1748–ca. 1804)
Engraver: Vol. 2, George Vertue (British, London 1684–1756 London)
Engraver: Vols. 1, 2, 3, Anthony Walker (British, Thirsk, Yorkshire, 1726–1765 London)
Date: 1798
Medium: Illustrations: stipple engraving, engraving and etching
Dimensions: Each volume: 12 1/2 x 9 1/2 x 2 in. (31.8 x 24.1 x 5.1 cm) (depth varies between 1 1/2 - 2 1/2 in.)
Classification: Books
Credit Line: Gift of Harvey Smith, 1981
Accession Number: 1981.1202.1(1–5)
|
|||||
8327
|
dbpedia
|
2
| 36 |
https://www.americanhistorycentral.com/entries/king-james-i-colonial-america/
|
en
|
King James I, Colonial America, Facts, Timeline, APUSH
|
[
"https://www.americanhistorycentral.com/wp-content/uploads/2024/02/American-History-Central-Logo-2024-8.jpg",
"https://www.americanhistorycentral.com/wp-content/uploads/2024/02/American-History-Central-Logo-2024-8.jpg",
"https://www.americanhistorycentral.com/wp-content/uploads/2024/02/American-History-Central-Logo-2024-Mobile-5.jpg",
"https://www.americanhistorycentral.com/wp-content/uploads/2024/02/King-James-I-of-England-Portrait-Somer.webp",
"https://www.americanhistorycentral.com/wp-content/uploads/2023/05/Landing-at-Jamestown-Illustration.webp",
"https://www.americanhistorycentral.com/wp-content/uploads/2022/11/Mayflower-Compact-Ferris.webp",
"https://www.americanhistorycentral.com/wp-content/uploads/2022/11/Scrooby-Manor-House-in-1907.webp",
"https://www.americanhistorycentral.com/wp-content/uploads/2023/05/Sir-Walter-Raleigh-Portrait-1590.webp",
"https://www.americanhistorycentral.com/wp-content/uploads/2022/11/Plymouth-Colony-in-1622.webp",
"https://www.americanhistorycentral.com/wp-content/uploads/2024/02/Queen-Elizabeth-I-Portrait-Gower.webp",
"https://pixel.quantserve.com/pixel/p-_10LYUcHZhLYC.gif"
] |
[
"https://www.youtube.com/embed/ZmyTGwiMbEU?feature=oembed"
] |
[] |
[
""
] | null |
[
"Randal Rust"
] |
2024-02-08T15:18:09+00:00
|
King James I facts, timeline, impact on Colonial America and AP US History (APUSH) review. 1st King over the 13 Original Colonies.
|
en
|
American History Central
|
https://www.americanhistorycentral.com/entries/king-james-i-colonial-america/
|
King James I followed Queen Elizabeth I on the English throne. During his reign (1603–1625), the two most significant of the early English colonies in America were established — Jamestown and Plymouth.
King James I and His Connections to Colonial America
King James I played a significant role in the establishment of Colonial America, especially the Southern Colonies and the New England Colonies.
Persecution of Puritans and Separatists
King James I ascended to the English throne in 1603 and expressed his intention to put an end to church reform movements and deal harshly with critics of the Church of England, who were generally referred to as “Non-Conformists.” Some of these people were Separatists and they escaped to the Netherlands where they were allowed to freely worship, eventually settling in Leiden.
The Virginia Company
On April 10, 1606, King James I granted a charter that created two companies — the Virginia Company of London and the Virginia Company of Plymouth — to establish English colonies along the east coast of North America.
Jamestown
Jamestown was founded to find gold and silver and establish a trade route to the Pacific Ocean. Many of the colonists were unprepared for the harsh reality of life in the New World. However, the settlement survived, due to the efforts of Captain John Smith and others.
Second Virginia Charter
A second charter was issued for Virginia in 1609 which expanded its territory. It was the first “sea to sea” charter because it extended the western border to the Pacific Ocean. It also gave the Virginia Company the authority to make laws, as long as they did not violate existing English laws, setting a precedent for colonial governments in the American Colonies.
Newfoundland and the Cupid Colony
Newfoundland was first explored by John Cabot in 1497. In 1583, Sir Humphrey Gilbert claimed it for England in the name of Queen Elizabeth I. The first colonization attempt took place in 1610 when John Guy established a colony at Cuper’s Cove, which is known today as Cupids.
Third Virginia Charter
James issued a third charter in 1612 that extended the boundaries of the colony to include Bermuda. A new joint stock company was created to fund the colonization of Bermuda, which was known as the Somers Isles at the time. The company was called the Somers Isles Company and was led by Sir Thomas Smythe. Eventually, settlers from Bermuda emigrated to the continent and helped establish the Province of North Carolina.
House of Burgesses and the Headright System
The Virginia Company issued the “Great Charter of Virginia” in 1618. It established the House of Burgesses and the Headright System. The Headright System was used by the other Southern Colonies, and a modified version, known as the Patroon System, was used by the Province of New York.
Captive Africans in Virginia
The first captive Africans arrived in Jamestown in 1619. According to some accounts, there were already 30 Africans working in Jamestown as indentured servants. However, the Africans that were purchased in 1619 are often considered to be the first slaves in the Province of Virginia.
Plymouth and the Growth of New England
On November 3, 1620, King James I granted the “Great Patent of New England” to the Council for New England, which gave the Council the power to govern the territory of New England in America. This led to the establishment of Plymouth, Massachusetts, Connecticut, and Rhode Island.
Virginia Becomes a Royal Colony
In 1622, the Powhatan Confederacy attacked Jamestown and New Town in Virginia, starting the Second Anglo-Powhatan War. The incident led King James I to revoke the colonial charters and Virginia became a Royal Colony in 1624.
The Early Life of King James I
Son of Mary Stuart, Queen of Scotland
King James I was born on June 19, 1566, at Edinburgh Castle in Scotland.
He was the only son of Mary Stuart, Queen of Scotland, and Henry Stuart, Lord Darnley.
His mother’s cousin was Queen Elizabeth I of England.
Lord Darnley was assassinated, and Mary Stuart married James Hepburn, Earl Bothwell, one of the alleged assassins
Scottish nobles demanded her resignation and she fled to England.
James was proclaimed James VI of Scotland at just one-year-old.
In England, Mary was accused of being involved in a plot to assassinate Elizabeth and was eventually executed.
John Knox, the Scottish Reformation, and Presbyterianism
James was educated as a Presbyterian and followed the teachings of John Knox.
Knox was a Scottish minister, theologian, and writer who was a leader of the Scottish Reformation (1546). He was the founder of the Presbyterian Church of Scotland.
During the Scottish Reformation, Scotland adopted a Calvinist theology and broke away from the Catholic Church.
Presbyterianism is a Protestant religion based on the principles of John Calvin.
Presbyterian theology emphasizes the sovereignty of God, the authority of the Scriptures, and grace through faith in Jesus Christ.
Young James
George Buchanan served as a tutor to young James.
James spoke his Scottish language, along with Greek, Latin, French, and English.
He was an accomplished speaker and writer, which helped him gain a reputation as a capable ruler and leader.
James enjoyed hunting but was known to be a reckless horseman and afraid of weapons.
He was particularly afraid of knives and always wore heavy clothing as protection.
King James of Scotland Becomes King of England
King James faced manipulation from the Scottish nobility during his early years as king.
In 1589, he married Anne of Denmark and had three sons and four daughters.
Elizabeth died on March 24, 1603, and the English throne passed to her oldest living male blood relative, which was James.
When James took the throne, he became King James I of England.
Although he was the monarch of both Scotland and England, the nations were not united because they had separate Parliaments and church systems.
King James I moved to London, which surprised his new subjects.
King James I and Conflict with Puritans
Hampton Court Conference
In 1603, Puritan leaders sent the Millenary Petition to King James I, which he received while he was on his way to London.
The petition asked for changes to the practices and procedures of the Church of England.
James responded by holding the Hampton Court Conference, which included leaders from the Church of England and the Puritan movement.
The conference discussed changes to church government and the Book of Common Prayer, along with a new translation of the Bible.
James agreed to a new translation of the Bible, which is known as the King James Version. Over time, it replaced the Geneva Bible.
However, James was frustrated with the Puritans, and declared he would make them conform or he would “harry them out of the land.”
King James Version of the Bible
King James I appointed six committees, which included 54 scholars, to prepare the new translation of the Bible.
They used previous English Bible translations, and the best Hebrew, Greek, and Latin texts and manuscripts.
The completed King James Version was first published in 1611.
King James I Embraced the Church of England
King James I surprised Calvinist Protestants and Catholics by supporting the Church of England.
He was a believer in the philosophy of the “Divine Right of Kings” and being the head of the Church of England gave him power.
He shocked Calvinists who opposed the role of Bishops in the church by saying, “No Bishop. No King.”
James issued the Book of Sports, allowing recreational activities on the Sabbath, which angered English Puritans and Separatists.
Scrooby Separatists Move to Leiden
During the reign of King James I, heightened persecution of Puritans, Separatists, and other religious dissenters by the Church of England led some to escape from England.
A congregation of Separatists from the town of Scrooby decided to leave England.
The group included Pastor John Robinson, William Brewster, and William Bradford.
They escaped to Amsterdam and later moved to Leiden.
After living in Leiden for a decade, they made arrangements to move to Virginia.
Sir Walter Raleigh and the Main Plot
Sir Walter Raleigh had been a favorite of Queen Elizabeth I and was responsible for the Lost Colony of Roanoke Island. He also played a significant role in the Anglo-Spanish War (1585–1604) and was hated by the Spanish.
In 1603, Raleigh was accused of being involved in the “Main Plot,” a scheme to assassinate King James I, which intended to place Lady Arabella Stuart on the English throne.
Raleigh was linked to the plot through his association with Henry Brooke, Lord Cobham.
Cobham worked to raise money to fund an army to challenge the King.
Although Cobham denied Raleigh was involved, James had him imprisoned anyway.
Raleigh was imprisoned in the Tower of London for 13 years.
Guy Fawkes and the Gunpowder Plot
In November 1605, Catholics devised a scheme to assassinate King James I and destroy Parliament during the Opening of Parliament.
The plan was organized by Robert Catesby, a devout Catholic.
A member of Parliament received an anonymous tip about the plot, and Guy Fawkes was found with a stockpile of gunpowder.
James distanced himself from Catholic supporters after the plot was exposed.
King James I Orders the Execution of Sir Walter Raleigh
King James I released Raleigh from prison in 1617 and authorized him to lead an expedition to the New World to find El Dorado, the legendary city of gold.
One of the conditions Raleigh agreed to was he would not engage in hostilities with Spain, which would violate peace agreements.
During the expedition, some of Raleigh’s men attacked a Spanish outpost.
Upon his return to England, the Spanish Ambassador demanded that he be arrested.
James I had Raleigh arrested and beheaded in the Old Palace Yard at Westminster Palace on October 29, 1618.
The 30 Years’ War (1618–1648)
The Twelve Years Truce was agreed to in 1609 and temporarily ended fighting between Spain and the Dutch Republic.
During the 12 years, the Netherlands became a haven for religious dissenters.
As the Twelve Years’ Truce between Spain and the United Provinces of the Netherlands came to an end, tension increased in Europe.
The Thirty Years’ War started in 1618 and eventually engulfed Europe.
Parliament clashed with James I because he refused to involve England in the war, even though it meant potentially saving his son-in-law, Frederick V of the Palatinate, who was also known as the “Winter King.”
Effects of the 30 Years’ War
Leading up to the expiration of the Twelve Years’ Truce, the Scrooby Separatists made arrangements to leave Leiden and move to Virginia.
The 30 Years’ War was one of the most destructive wars in early European history and altered the political landscape in Europe.
Much of the Holy Roman Empire was devastated.
In the Netherlands, Italy, France, and Spain, there were significant casualties and destruction of property.
The war altered the status of many European nations and contributed to the decline of Spain and the dominance of France.
King James I and the Develoment of English Colonies in America
King James I focused on the development of England’s American colonies.
Under his rule, the Virginia Company was granted a charter for the establishment of Jamestown.
He allowed the Scrooby Separatists to move to Virginia, where they established Plymouth, the first permanent English settlement in New England.
He also encouraged Puritans to move to Plymouth.
King James I and Tobacco
Despite his dislike for tobacco and his publication of an anti-tobacco pamphlet, he supported the Virginia Company’s efforts to expand and increase tobacco production in the colonies.
Writing about smoking tobacco, James said it was a “custom loathsome to the eye, hateful to the nose, harmful to the brain, dangerous to the lungs, and, in the black stinking fume thereof, nearest resembling the horrible Stygian smoke of the pit that is bottomless.”
King James I and the Shadow of Queen Elizabeth I
King James I faced unfair comparisons to his predecessor, Queen Elizabeth I, who had left behind a larger-than-life image and significant debts.
In 1610, James I proposed a deal with Parliament, offering to guarantee an income from tax revenue in exchange for relinquishing unpopular royal prerogatives such as granting monopolies and single-item customs revenue.
When Parliament rejected this proposal, James I resorted to raising money by creating the title of Baronet and selling it to ambitious families who had a good social standing.
King James I and the Divine Right of Kings
King James I held a strong belief in the concept of divine-right kingship, which he documented in a treatise intended for the instruction of his son. James wrote:
“Kings are justly called gods, for that they exercise a manner or resemblance of divine power upon earth: for if you will consider the attributes to God, you shall see how they agree in the person of a king. God hath power to create or destroy make or unmake at his pleasure, to give life or send death, to judge all and to be judged nor accountable to none; to raise low things and to make high things low at his pleasure, and to God are both souls and body due. And the like power have kings: they make and unmake their subjects, they have power of raising and casting down, of life and of death, judges over all their subjects and in all causes and yet accountable to none but God only…”
King James I and William Shakespeare
King James I was a strong supporter of the arts in England.
He funded efforts to transform London into a Renaissance court.
Soon after he took the throne, James started to sponsor William Shakespeare’s company, the Lord Chamberlain’s Men, which became known as the King’s Men.
Shakespeare celebrated the new king with Macbeth, which was written around 1606.
James was believed to be descended from Banquho the thane of Lochquhaber, the historical counterpart of Shakespeare’s Banquo, the friend whom Macbeth betrayed and murdered.
Later Years of King James I
In his later years, James I faced increasing health issues related to porphyria, a painful hereditary chemical imbalance.
He indulged excessively in food and drink, often to a degree considered disgusting.
His reign earned him the nickname “the wisest fool in Christendom.”
Death and Succession
King James I died on March 27, 1625, at Theobald’s Park, Hertfordshire.
He was succeeded on the English throne by his son, Charles Stuart, who became King Charles I.
King James I Accomplishments and Achievements
Despite facing unpopularity during his reign, James I achieved several significant accomplishments:
King James I united England and Scotland under a single monarchy.
He worked to prevent English colonies from becoming targets in the Catholic-Protestant conflicts in Europe.
James I attempted to reform medieval royal finance and promoted Britain as a cultural center of the Northern Renaissance.
Under his reign, the the first permanent English settlements in North American were established.
King James I APUSH Review
Use the following links and videos to study King James I, Jamestown, and the Pilgrims for the AP US History Exam. Also, be sure to look at our Guide to the AP US History Exam.
King James I APUSH Definition
King James I, also known as James VI of Scotland, ascended to the English throne in 1603, succeeding Queen Elizabeth I. His reign marked the beginning of the Stuart dynasty in England. James I is perhaps best known for commissioning the King James Version of the Bible, a landmark English translation that became widely influential. He also faced challenges from Parliament, particularly regarding his beliefs in the divine right of kings and his attempts to assert royal authority. James’ reign set the stage for later conflicts between the monarch and Parliament and influenced the development of English governance and religious thought. He was an advocate of English colonization in the New World, and Jamestown and Plymouth were established during his reign.
King James I APUSH Video
This video from Timeline discusses the reign of King James I of England.
NOTE: This is not a comprehensive biography of the life and reign of King James I of England. It is intended to provide an overview of his association with the 13 Original Colonies in America and to provide a glimpse at other key moments in his life.
|
|||||
8327
|
dbpedia
|
3
| 95 |
https://streetsofsalem.com/2014/12/12/anne-of-denmark-queen-of-style/
|
en
|
Anne of Denmark, Queen of Style
|
[
"https://streetsofsalem.com/wp-content/uploads/2023/11/cropped-Untitled-Facebook-Page-Cover-1.jpg",
"https://i0.wp.com/streetsofsalem.com/wp-content/uploads/2014/12/anne-of-denmark-as-queen-of-scotland.jpg?resize=490%2C649&ssl=1",
"https://i0.wp.com/streetsofsalem.com/wp-content/uploads/2014/12/anne-of-denmark-royal-collection-trust.jpg?resize=490%2C630&ssl=1",
"https://i0.wp.com/streetsofsalem.com/wp-content/uploads/2014/12/anne-of-denmark-1617-rct.jpg?resize=490%2C629&ssl=1",
"https://i0.wp.com/streetsofsalem.com/wp-content/uploads/2014/12/anne-of-denmark-lulls-jewels.jpg?resize=428%2C568&ssl=1",
"https://i0.wp.com/streetsofsalem.com/wp-content/uploads/2014/12/anne-of-denmark-lulls-jewels-2.jpg?resize=432%2C554&ssl=1",
"https://i0.wp.com/streetsofsalem.com/wp-content/uploads/2014/12/anne-of-denmark-lulls-brooch.jpg?resize=429%2C620&ssl=1",
"https://i0.wp.com/streetsofsalem.com/wp-content/uploads/2014/12/anne-of-denmark-close-up.jpg?resize=490%2C276&ssl=1",
"https://i0.wp.com/assets.pinterest.com/images/pidgets/pinit_fg_en_rect_gray_20.png?w=490",
"https://secure.gravatar.com/avatar/9a82b760cfd110df12bf26710a3ab8be?s=32&d=identicon&r=g",
"https://secure.gravatar.com/avatar/f234d2af3b4309bf4fd3de823f16392a?s=96&d=identicon&r=g",
"https://i0.wp.com/assets.pinterest.com/images/pidgets/pinit_fg_en_rect_gray_20.png?w=490",
"https://i0.wp.com/www.blogtopsites.com/v_90629.gif?w=490",
"https://s0.wp.com/i/badges/freshly-pressed-rectangle.png",
"https://1.gravatar.com/avatar/d52e96c4f51aedc3132ba2a9650fd4beb9a6012da4ae958ae1d9c8c44c0b77c9?s=96&d=identicon&r=G",
"https://2.gravatar.com/avatar/b37c7d64add78880fc6d1e57fa92de3ba6de9b43aef3a9b5ce2c0b48642a519a?s=96&d=identicon&r=G",
"https://1.gravatar.com/avatar/1c93056994450d033a1c476416f28017ce9b31ce03adc85d8c6265ab0e25eeb3?s=96&d=identicon&r=G",
"https://2.gravatar.com/avatar/2f6ec5c677fb43c0661309b02d64701ce971051e25f56fe7bf0c5620e03f2e92?s=96&d=identicon&r=G",
"https://2.gravatar.com/avatar/8c30737e9dbf5509cb512cedb8566ee3e39ed9a38cda69af2f6d1cf62390bd4f?s=96&d=identicon&r=G",
"https://2.gravatar.com/avatar/b7feb1ca5627dd11602b0b1adb5c713344f24070c2227e5a6ae830656993ef61?s=96&d=identicon&r=G",
"https://0.gravatar.com/avatar/3afa8b8394ffea34d7381bd23bd6d80fcf0c4e5e94d5e277b34b58f826a3060b?s=96&d=identicon&r=G",
"https://2.gravatar.com/avatar/2bce908ff0219a8a7c5d04af0e83571b7b30de4553804c7b97832628cb996a9c?s=96&d=identicon&r=G",
"https://2.gravatar.com/avatar/5dc0d66b7917b6b65bb99acc64625dc5b88a347eef6b0b869246d499abd9d23b?s=96&d=identicon&r=G",
"https://0.gravatar.com/avatar/92765c4cdacceb06a136d4612119abddf6c6881e41cdddfe4c1b1ff70afd8e8d?s=96&d=identicon&r=G",
"https://0.gravatar.com/avatar/906a9f012135c6358727a0f30cf01c6ed40c1a9b8a870f574ee028934bafa47c?s=96&d=identicon&r=G",
"https://0.gravatar.com/avatar/98bf465adb693b87505b9f17f46fa40cc43eaaeb890e5d3d4f210807b773af77?s=96&d=identicon&r=G",
"https://1.gravatar.com/avatar/a3947a4c0f3e9db745d92a9067f2f6876e1a8014f7acd59af5e6346c6948c712?s=96&d=identicon&r=G",
"https://0.gravatar.com/avatar/9bf0d894583e1c911f8866a6a52f2bc5516e6ea31097d163d1940e4a023da6b6?s=96&d=identicon&r=G",
"https://1.gravatar.com/avatar/a3239f1dcce0b670bab8b518230603e0e9a114c92b9d234b59ec0dfb6ab852e1?s=96&d=identicon&r=G",
"https://1.gravatar.com/avatar/dbf324c11aaefb393bd3a4382f56d235a6b578b952c80389e3e78f2c5b8c4de4?s=96&d=identicon&r=G",
"https://0.gravatar.com/avatar/04b490ea884fab6cd4898ef0aa77f417748bcf994e732f966f6cf6d340afb24c?s=96&d=identicon&r=G",
"https://2.gravatar.com/avatar/53d2bc8a48e89b15ed381a6985d1f8769566ce64913a535822416f92d82421c2?s=96&d=identicon&r=G",
"https://0.gravatar.com/avatar/39b9a3a588135fe7a60f34f64fb56088aa1fa7351520748b6c4eda3654176798?s=96&d=identicon&r=G",
"https://2.gravatar.com/avatar/24928b22f7665fa28ccfd58b78713422119ed27a80f1d1e662768bd9ac5023f2?s=96&d=identicon&r=G",
"https://2.gravatar.com/avatar/b6cf513b09479d4ddf4ac189c8d21d870a6bee5d462fdcc254b32c63bda4d15e?s=96&d=identicon&r=G",
"https://0.gravatar.com/avatar/c136e114a0f6027e25c109b93fbdb2c5affbd29801feb24eecf6f33951d94395?s=96&d=identicon&r=G",
"https://0.gravatar.com/avatar/ce64b8fb5342c8a2c48ef7d1df3fa751a987f2381afd5d9856aceaed8abb7790?s=96&d=identicon&r=G",
"https://2.gravatar.com/avatar/2876238f6e1dff200894f4ef217f931d5bee5a144aa42047bb437ecde00251eb?s=96&d=identicon&r=G",
"https://0.gravatar.com/avatar/0027d70be2b00c9b983022cb617290496c5eb1f62027180a3427b1d96cdf9b0f?s=96&d=identicon&r=G",
"https://2.gravatar.com/avatar/225c03b78f96eb40ef7efe82ca6f4c10923832af5088974a59fe3eab5b5266d1?s=96&d=identicon&r=G",
"https://2.gravatar.com/avatar/b153ed55a34aa28c378385dd98d34b2916629eccf80afcae227c6102c36b73fe?s=96&d=identicon&r=G",
"https://platform-lookaside.fbsbx.com/platform/profilepic/?asid=10228347049172702&height=50&width=50&ext=1717737582&hash=AbaYdyZaCGq2X1IYSsvfz0Zd",
"https://2.gravatar.com/avatar/5e40f4b55e1c8a6cbb9f1325731f9cc9a67f979cd2410a8c66411f44a16657a6?s=96&d=identicon&r=G",
"https://2.gravatar.com/avatar/b27f4798330e7aa77b5d96e52c758d176c573bffbe72cbb016d42e3401445212?s=96&d=identicon&r=G",
"https://2.gravatar.com/avatar/201cb805ae6724dc8316bf0dc226afd6744b96a964ede6e2ee4bbe6bc4d5fd2a?s=96&d=identicon&r=G",
"https://1.gravatar.com/avatar/aae73212989499e5b63e0feacd440c5cea8d1f1c5d579ed24d224dfbe94f5dfc?s=96&d=identicon&r=G",
"https://0.gravatar.com/avatar/f78ae8885951d4cbc0e909395da8b6e20fd4a631d1f199365f619619247db16e?s=96&d=identicon&r=G",
"https://2.gravatar.com/avatar/82f67dc25cad6dc868dd0dbc2403484c81c0be24f8a24bbd68aeac29c0ab88ef?s=96&d=identicon&r=G",
"https://0.gravatar.com/avatar/3984cf6b9c7414507aa5b4219ace6991f053274531acbebf295faccd352d4f66?s=96&d=identicon&r=G",
"https://0.gravatar.com/avatar/3d3ebab2849048ea4080e8be4e2191cef4e080a3faa4bc031a68d96e3b5c430a?s=96&d=identicon&r=G",
"https://0.gravatar.com/avatar/33f7ff2c127f707e3e4c5093c27bcba4ddc7418d1c1d2e22fbc05ac3e845a3c4?s=96&d=identicon&r=G",
"https://0.gravatar.com/avatar/0ebd3f62448c8309319fc41c913598e35818f8306000d71fa69992a632f05427?s=96&d=identicon&r=G",
"https://2.gravatar.com/avatar/be17c346244078a979300b4775b3b4d8189930525e14dcb7f9af411091e4cd47?s=96&d=identicon&r=G",
"https://0.gravatar.com/avatar/c87e3b085881ac1b727dc72ad00810987d8cc98d82459429b3a616f571e3918c?s=96&d=identicon&r=G",
"https://1.gravatar.com/avatar/a00292e34184ff7e70b6ef1586cf1abbfbf0c59fd86b22288ff6a5a2a045fd44?s=96&d=identicon&r=G",
"https://0.gravatar.com/avatar/9f7bd8de8640be89c26681a0e3f5be9d934cc1c29443b86641c46d14123e1a1d?s=96&d=identicon&r=G",
"https://0.gravatar.com/avatar/caf220ab9fa1ed31d93eaedabc1aa19b09ee9b221e1546bab87c0d11497b4b8d?s=96&d=identicon&r=G",
"https://2.gravatar.com/avatar/bac4c5050a76da63480629c5f169b0473a1017d7802b5721936df78a603baa47?s=96&d=identicon&r=G",
"https://1.gravatar.com/avatar/18267b157d031bd09bdc6a9bb82ea91d4a844b45e677a32aceccfc8e3a799bbe?s=96&d=identicon&r=G",
"https://2.gravatar.com/avatar/8eba15bf9005ac796c40663cb82167ac01417e17102cb4c00a86e1e2e093c182?s=96&d=identicon&r=G",
"https://0.gravatar.com/avatar/39a1acccdae28386d09376e68ef92e3a47c0ae716203cadbbe3f466eb6d47c2f?s=96&d=identicon&r=G",
"https://2.gravatar.com/avatar/ea9eff67b32047c266a59f9cc584efaaea79d0cbe81d655e50a90e53fb84c98a?s=96&d=identicon&r=G",
"https://1.gravatar.com/avatar/1973b60f0ef2d080c01c953c35fc27d182867a1c11f8e6f6c9824d219f788516?s=96&d=identicon&r=G",
"https://1.gravatar.com/avatar/a01a1aea846af5bba8f4dab459ae56a6a71a2f21df0f22abb6cdab6170bab6d1?s=96&d=identicon&r=G",
"https://i0.wp.com/streetsofsalem.com/wp-content/uploads/2016/05/snail-and-microscope.jpg?w=486&h=268&ssl=1",
"https://i0.wp.com/streetsofsalem.com/wp-content/uploads/2020/01/20200114_110054.jpg?resize=490%2C238&ssl=1"
] |
[] |
[] |
[
""
] | null |
[] |
2014-12-12T00:00:00
|
We are used to queens, princesses, duchesses and first ladies being scrutinized for their sartorial splendor (or lack thereof), but this is really nothing new: public women, deemed so by their proximity to power or in some cases their own power, have always been subject to the fashion police. Queen Elizabeth’s projected image seldom escaped …
|
en
|
streetsofsalem
|
https://streetsofsalem.com/2014/12/12/anne-of-denmark-queen-of-style/
|
We are used to queens, princesses, duchesses and first ladies being scrutinized for their sartorial splendor (or lack thereof), but this is really nothing new: public women, deemed so by their proximity to power or in some cases their own power, have always been subject to the fashion police. Queen Elizabeth’s projected image seldom escaped the notice of her contemporaries, and so too did that of her successor’s wife, Anne of Denmark, who was born on this day in 1574. When I first started studying English history I formed a perception of the Queen Consort of James I as sort of an English version of Marie Antoinette, concerned more with her dresses, jewels, and court life than her subjects. This was the historical view, formed by generations of historians who no doubt (at first) disliked Anne’s conversion to Catholicism, and easily perceived her clear delight in the staging of elaborate masques at court during a time of intensifying scornful Puritanism. And then there are her portraits, projecting an image of a lady that was not particularly beautiful, but certainly very well-dressed, all the way up until her death in 1619.
Anne of Denmark as Queen of Scotland, Cornelis Janssens van Ceulen, Royal College of Physicians, Edinburgh; Anne of Denmark, 1614, attributed to Marcus Gheeraerts the Younger (c. 1561-1636); Anne of Denmark, 1617, Paul van Somer, both Royal Collection Trust/© Her Majesty Queen Elizabeth II 2014.
|
|||||
8327
|
dbpedia
|
0
| 97 |
https://www.kollerauktionen.ch/en/zuerich/a162/old-master-paintings-6/
|
en
|
Auction Old Master Paintings
|
[
"https://www.facebook.com/tr?id=269214570462531&ev=PageView&noscript=1",
"https://www.kollerauktionen.ch/KundenUpload/M10_2021/Images/General/logo.svg",
"https://www.kollerauktionen.ch/KundenUpload/M10_2021/Images/General/logo.svg",
"https://www.kollerauktionen.ch/CatCache/catcache.2/pictures/53418/53418_M_1.jpg",
"https://www.kollerauktionen.ch/CatCache/catcache.2/pictures/53426/53426_M_1.jpg",
"https://www.kollerauktionen.ch/CatCache/catcache.2/pictures/53432/53432_M_1.jpg",
"https://www.kollerauktionen.ch/CatCache/catcache.2/pictures/53438/53438_M_1.jpg",
"https://www.kollerauktionen.ch/CatCache/catcache.2/pictures/53444/53444_M_1.jpg",
"https://www.kollerauktionen.ch/CatCache/catcache.2/pictures/53450/53450_M_1.jpg",
"https://www.kollerauktionen.ch/CatCache/catcache.2/pictures/53456/53456_M_1.jpg",
"https://www.kollerauktionen.ch/CatCache/catcache.2/pictures/53462/53462_M_1.jpg",
"https://www.kollerauktionen.ch/CatCache/catcache.2/pictures/53468/53468_M_1.jpg",
"https://www.kollerauktionen.ch/CatCache/catcache.2/pictures/53482/53482_M_1.jpg",
"https://www.kollerauktionen.ch/CatCache/catcache.2/pictures/64616/64616_M_1.jpg",
"https://www.kollerauktionen.ch/CatCache/catcache.2/pictures/64623/64623_M_1.jpg",
"https://www.kollerauktionen.ch/CatCache/catcache.2/pictures/53488/53488_M_1.jpg",
"https://www.kollerauktionen.ch/CatCache/catcache.2/pictures/64632/64632_M_1.jpg",
"https://www.kollerauktionen.ch/CatCache/catcache.2/pictures/53494/53494_M_1.jpg",
"https://www.kollerauktionen.ch/CatCache/catcache.2/pictures/53500/53500_M_1.jpg",
"https://www.kollerauktionen.ch/CatCache/catcache.2/pictures/53506/53506_M_1.jpg",
"https://www.kollerauktionen.ch/CatCache/catcache.2/pictures/53512/53512_M_1.jpg",
"https://www.kollerauktionen.ch/CatCache/catcache.2/pictures/53518/53518_M_1.jpg",
"https://www.kollerauktionen.ch/CatCache/catcache.2/pictures/53524/53524_M_1.jpg",
"https://www.kollerauktionen.ch/CatCache/catcache.2/pictures/53536/53536_M_1.jpg",
"https://www.kollerauktionen.ch/CatCache/catcache.2/pictures/53542/53542_M_1.jpg",
"https://www.kollerauktionen.ch/CatCache/catcache.2/pictures/53548/53548_M_1.jpg",
"https://www.kollerauktionen.ch/CatCache/catcache.2/pictures/53554/53554_M_1.jpg",
"https://www.kollerauktionen.ch/CatCache/catcache.2/pictures/53560/53560_M_1.jpg"
] |
[] |
[] |
[
""
] | null |
[] | null |
Gemälde Alter Meister - Koller Auctions Ltd, Zurich, Switzerland
|
en
|
apple-touch-icon-57x57.png
| null |
Lot 3002 - A162 Old Master Paintings - Friday 21 September 2012, 03.00 PM
DENYS CALVAERT
(Antwerp 1540–1619 Bologna)
The Wedding at Cana.
Oil on copper.
43.1 × 31.5 cm.
CHF 10 000 / 15 000 | (€ 10 310 / 15 460)
Sold for CHF 60 000 (including buyer’s premium)
All information is subject to change.
Lot 3003 - A162 Old Master Paintings - Friday 21 September 2012, 03.00 PM
BYZANTINE SCHOOL, 2ND HALF OF THE 12TH CENTURY
Icon, Christ, known as a Schulterstück. Egg tempera on oak panel. 62.8 x 52 x 3.5 cm. Provenance:–Gilonne Henriette Marie d'Harcourt (1876-1952), married to Alexandre Auguste, Comte Catoire de Bioncourt (1863-1913).–Alexandra Wassiljewa Catoire de Bioncourt (1906-1956), married to Gerard Laurent Auguste Sixte François de Loriol (1904-1973).–Château d'Allaman, Pays de Vaud, Switzerland.–Via inheritance to the current Swiss private collection. Our thanks to Ivan Bentchev for identifying this icon and for his scholarly contribution to this catalogue entry.
Ikone, Christus, sogen. Schulterstück.
Eitempera auf Eichenholz.
62,8 x 52 x 3,5 cm.
CHF 60 000 / 80 000 | (€ 61 860 / 82 470)
Sold for CHF 204 000 (including buyer’s premium)
All information is subject to change.
Lot 3004 - A162 Old Master Paintings - Friday 21 September 2012, 03.00 PM
JACOPO DEL CASENTINO
(Pratovecchio circa 1297–circa 1349 Florence) Madonna and Child surrounded by angels and Saints Gregory, Andrew, Peter and Paul; (in gable) "Noli me tangere". Circa 1330-35. Tempera and gold ground on panel. 57 x 31 cm. Provenance:–Sotheby's, London, 23.3.1960, Lot 147.–Swiss private collection.
Madonna mit Kind umgeben von Engeln und den Heiligen Gregorius, Andreas, Petrus und Paulus; (im Giebel) "Noli me tangere". Um ca. 1330-35.
Tempera und Goldgrund auf Holz.
57 x 31 cm.
CHF 80 000 / 100 000 | (€ 82 470 / 103 090)
Sold for CHF 96 000 (including buyer’s premium)
All information is subject to change.
Lot 3006 - A162 Old Master Paintings - Friday 21 September 2012, 03.00 PM
Circle of GONZALO PEREZ
(Valencia, beginning of the 15th century) The Birth of Christ. Circa 1410. Tempera on panel. 80 x 84 cm. Expertise:–Curt Benedict, Paris 1939.–Dr. Ernst von Meyenburg, Basel 1939. Provenance:–French private collection.–F. Stöcklin, Basel, before 1939.–Thence in a Swiss private collection.
Geburt Christi. Um 1410.
Tempera auf Holz.
80 x 84 cm.
CHF 20 000 / 30 000 | (€ 20 620 / 30 930)
Sold for CHF 62 400 (including buyer’s premium)
All information is subject to change.
Lot 3007 - A162 Old Master Paintings - Friday 21 September 2012, 03.00 PM
Attributed to PIETRO GALLO VON ALBA
(documented Genoa ca. 1385-1401 Genoa) Altar with wings, with the Crucifixion, and the Annunciation and the Apostles Peter (?) and Paul on the side panels. Circa 1390-1395. Tempera on panel. 46.5 x 25 cm (with plinth).
Flügelaltärchen mit der Kreuzigung und auf den Seitentafeln der Verkündigung und den Apostelfürsten Petrus (?) und Paulus. Um ca. 1390-1395.
Tempera auf Holz.
46,5 x 25 cm (mit Sockel).
CHF 30 000 / 40 000 | (€ 30 930 / 41 240)
Sold for CHF 36 000 (including buyer’s premium)
All information is subject to change.
Lot 3009 - A162 Old Master Paintings - Friday 21 September 2012, 03.00 PM
Attributed to FRANCESCO BRINA
(1540 Florence 1586) Madonna and Child. Oil on panel. 86 x 63.5 cm. Provenance: Swiss private collection.
Madonna mit Kind.
Öl auf Holz.
86 x 63,5 cm.
CHF 35 000 / 50 000 | (€ 36 080 / 51 550)
Sold for CHF 43 200 (including buyer’s premium)
All information is subject to change.
Lot 3010 - A162 Old Master Paintings - Friday 21 September 2012, 03.00 PM
LORENZO FASOLO
(Pavia 1463–1516 Genoa) Predella with the Legend of Joachim. Oil on panel. 22.7 x 123 cm. Provenance:–Private collection, Vienna.–Swiss private collection. Literature: Suida, Wilhelm: La pittura del Rinascimento nel Cantone Ticino (Monumenti storici ed artistici del Cantone Ticino XV-XVI), Milan 1932, p. 7, fig. 4.
Predellentafel mit der Legende von Joachim.
Öl auf Holz.
22,7 x 123 cm.
CHF 30 000 / 40 000 | (€ 30 930 / 41 240)
Sold for CHF 33 600 (including buyer’s premium)
All information is subject to change.
Lot 3015 - A162 Old Master Paintings - Friday 21 September 2012, 03.00 PM
Circle of HANS SCHÄUFELIN
(Nuremberg circa 1482–1539/40 Nördlingen) Panel painted on both sides with the Crucifixion and a Benedictine monk in atonement, with a devotional text below. Oil on panel. 58.5 x 29 cm. Expertise: Ludwig Meyer, art history archive, 19.7.2012.
Zweiseitig bemaltes Tafelbild mit der Kreuzigung Christi, auf der Kehrseite ein büssender Benediktinermönch und darunter ein frommer Text.
Öl auf Holz.
58,5 x 29 cm.
CHF 10 000 / 16 000 | (€ 10 310 / 16 490)
Sold for CHF 20 400 (including buyer’s premium)
All information is subject to change.
Lot 3016 - A162 Old Master Paintings - Friday 21 September 2012, 03.00 PM
JOOS VAN CLEVE and workshop
(circa 1485 Antwerp circa 1540)
Christ and John as children embracing.
Oil on panel.
97.2 × 59 cm.
CHF 220 000 / 280 000 | (€ 226 800 / 288 660)
Sold for CHF 1 066 500 (including buyer’s premium)
All information is subject to change.
Lot 3018 - A162 Old Master Paintings - Friday 21 September 2012, 03.00 PM
JACQUES DARET
(Tournai circa 1403–active until 1468) Right hand wing of an altar: Saint Francis receiving the stigmata. Oil on panel. 80.4 x 28.4 cm. Provenance: European private collection. Literature: Huillet, Liliane: Jacques Daret (1403-1470), in: Moyen Âge, Jan-Feb 2003, no. 29, pp. 17-19 (as by Jacques Daret).
Rechter Flügel eines Altars: Der Hl. Franziskus empfängt die Stigmata.
Öl auf Holz.
80,4 x 28,4 cm.
CHF 200 000 / 300 000 | (€ 206 190 / 309 280)
Sold for CHF 264 000 (including buyer’s premium)
All information is subject to change.
Lot 3019 - A162 Old Master Paintings - Friday 21 September 2012, 03.00 PM
ANTWERP, CIRCA 1550
The Temptation of Saint Anthony. Tempera on canvas. 69 x 89.8 cm. Provenance: Swiss private collection. The composition as well as the stylistic execution of this lot with the Temptation of Holy Anthony is related to the painting previously located in the Paul Dansette Collection (Oil on wood, 45,5 x 55,5 cm), which Gerd Unverfehrt brings in connection with the Mandyn-Huys group of unsigned and not fully identified works with influences from both artists (see: Unverfehrt, Gerd: Hieronymus Bosch. Die Rezeption seiner Kunst im frühen 16. JAHRHUNDERT, Berlin 1980, Kat. Nr. 132, pp. 282-283, fig. 148). The latter was described by Marlier as a work by Jan Mandyn (Marlier, G.: Jan Mandyn, in: Le Siècle de Bruegel, Ausst. Kat. Musées Royaux des Beaux-Arts, Brüssel 1963, Nr. 152), with the figures more relating to the style of Pieter Coecke. Jan Mandyn and Pieter Huys (about 1519/20-1581/84) were followers of Hieronymus Bosch and had continued his tradition of the fantastic painting in Antwerp in the middle of the 16th century. As a possible attribution Dr. Larry Silver considers Gillis Mostaert (1528-1598) as the author of this painting and we thank him for his opinion. This work has been painted in the "Tuchlein" technique, which means that the tempera- pigments where bound with animal glue, and which was most popular with early Netherlandish painters around Quentin Massys.
Die Versuchung des Heiligen Antonius.
Tempera auf Leinwand.
69 x 89,8 cm.
CHF 18 000 / 25 000 | (€ 18 560 / 25 770)
Sold for CHF 36 000 (including buyer’s premium)
All information is subject to change.
Lot 3020 - A162 Old Master Paintings - Friday 21 September 2012, 03.00 PM
Circle of SEBASTIAEN VRANCX
(1573 Antwerp 1647) Allegory of winter. Oil on panel. 52 x 65.5 cm. Provenance: Swiss private collection.
Allegorie des Winters.
Öl auf Holz.
52 x 65,5 cm.
CHF 20 000 / 30 000 | (€ 20 620 / 30 930)
Sold for CHF 50 400 (including buyer’s premium)
All information is subject to change.
Lot 3021 - A162 Old Master Paintings - Friday 21 September 2012, 03.00 PM
Circle of JACOB DE BACKER
(circa 1540 Antwerp before 1600) Allegory of love. Oil on canvas. 146.6 x 189.8 cm.
Allegorie der Liebe.
Öl auf Leinwand.
146,6 x 189,8 cm.
CHF 50 000 / 70 000 | (€ 51 550 / 72 160)
Sold for CHF 74 400 (including buyer’s premium)
All information is subject to change.
Lot 3022 - A162 Old Master Paintings - Friday 21 September 2012, 03.00 PM
DONATO CRETI
(Cremona 1672–1749 Bologna) Portrait of a soldier with helmet. Circa 1730. Oil on canvas. 51.5 x 42.5 cm. Provenance:–this painting was acquired by Johannes Badrutt-Berry (1819-1889), Hotelier-Pioneer and founder of the hotel Engadiner Kulm (1856), during one of his journeys in Italy around 1860.–Collection of the great grand nephew of Johannes Badrutt-Berry, Gian Andrea Berry, St.Moritz.
Bildnis eines Soldaten mit Helm. Um 1730.
Öl auf Leinwand.
51,5 x 42,5 cm.
CHF 16 000 / 22 000 | (€ 16 490 / 22 680)
Sold for CHF 21 600 (including buyer’s premium)
All information is subject to change.
Lot 3023 - A162 Old Master Paintings - Friday 21 September 2012, 03.00 PM
PIETRO LIBERI
(Padua 1614–1687 Venice) Chronos the god of time reveals the truth. Oil on canvas. 90.2 x 143 cm. Expertise: Dr. Hermann Voss, 28.7.1960.
Der Zeitgott Chronos enthüllt die Wahrheit.
Öl auf Leinwand.
90,2 x 143 cm.
CHF 60 000 / 80 000 | (€ 61 860 / 82 470)
Sold for CHF 72 000 (including buyer’s premium)
All information is subject to change.
Lot 3027 - A162 Old Master Paintings - Friday 21 September 2012, 03.00 PM
FRANCESCO DEL CAIRO
(1607 Milan 1665) Judith and Holophernes. Oil on canvas. 143 x 141 cm. Provenance: Private collection, Switzerland.
Judith und Holophernes.
Öl auf Leinwand.
143 x 141 cm.
CHF 40 000 / 60 000 | (€ 41 240 / 61 860)
Sold for CHF 36 000 (including buyer’s premium)
All information is subject to change.
Lot 3029 - A162 Old Master Paintings - Friday 21 September 2012, 03.00 PM
Attributed to JACOPO PALMA the Younger
(circa 1544 Venice 1628) Portrait of the Venetian senator and historian Andrea Morosini (1558-1618). Oil on canvas. Inscribed upper left: ANDREAS MAVROC.NO VIX. ANN LX MENS. IIII. 104 x 91 cm. Provenance: Private collection, Switzerland.
Portrait des venezianischen Senators und Historikers Andrea Morosini (1558-1618).
Öl auf Leinwand.
Oben links bezeichnet: ANDREAS MAVROC.NO VIX. ANN LX MENS. IIII.
104 x 91 cm.
CHF 15 000 / 25 000 | (€ 15 460 / 25 770)
Sold for CHF 18 000 (including buyer’s premium)
All information is subject to change.
Lot 3033 - A162 Old Master Paintings - Friday 21 September 2012, 03.00 PM
ANTIVEDUTO DELLA GRAMMATICA
(1569 Rome 1626) Madonna and Child, with a lily. Oil on canvas. 136 x 99 cm. Provenance:–Galerie Fischer auctions, Lucerne, 16./17.6.1967, Lot 47.–Galerie Fischer auctions, Lucerne, 20.-23.5.1980, Lot 9.–Piero Corsini Inc, art dealers, New York, 1986.–Collection of Dr. Carlo Croce, Philadelphia.–Christie's, New York, 12.1.1994, Lot 114.–Swiss private collection. Exhibited: Wilmington, Delaware Art Museum, "Mostly baroque paintings and drawings from the Carlo Croce collection", 4.4.-14.6.1992. Literature:–Riedl, Helmut Philipp / Schleier, Erich: Ein unbekanntes Hochaltarbild Antiveduto della Grammaticas in Todi und weitere Neuzuweisungen, in: Pantheon L, November 1992, pp. 66 and 72, Anm. 35.–Riedl, Helmut Philipp: Antiveduto della Grammatica. Leben und Werk, Munich 1998, cat. no. 36, fig. 57.
Madonna mit Kind und Lilie.
Öl auf Leinwand.
136 x 99 cm.
CHF 25 000 / 35 000 | (€ 25 770 / 36 080)
Sold for CHF 28 800 (including buyer’s premium)
All information is subject to change.
Lot 3034 - A162 Old Master Paintings - Friday 21 September 2012, 03.00 PM
FRANCISCO DE GOYA
(Fuendetodos 1746–1828 Bordeaux)
Lot and his daughters.
Oil on canvas.
91 × 125 cm.
CHF 600 000 / 800 000 | (€ 618 560 / 824 740)
Sold for CHF 2 665 000 (including buyer’s premium)
All information is subject to change.
Lot 3035 - A162 Old Master Paintings - Friday 21 September 2012, 03.00 PM
DANIEL VERTANGEN
(The Hague circa 1598–1657 Amsterdam) Diana and the nymphs bathing and dancing in a southern landscape. Oil on panel. Signed lower left: D. Vertagen. 31.3 x 43.3 cm. Provenance:–Brod Gallery, London.–European private collection. Prof. Marcel Röthlisberger has kindly confirmed the authenticity of this painting on the basis of a photograph.
Diana und Nymphen beim Bade und Tanz in südlicher Landschaft.
Öl auf Holz.
Unten links signiert: D. Vertagen.
31,3 x 43,3 cm.
CHF 12 000 / 18 000 | (€ 12 370 / 18 560)
Sold for CHF 13 800 (including buyer’s premium)
All information is subject to change.
|
|||||
8327
|
dbpedia
|
1
| 34 |
https://www.pinterest.com/pin/366550857182463551/
|
en
|
[] |
[] |
[] |
[
""
] | null |
[] |
2021-12-23T22:42:06+00:00
|
ค้นพบ (และบันทึก!) พินของคุณเองใน Pinterest
|
en
|
Pinterest
|
https://www.pinterest.com/pin/paul-van-somer--366550857182463551/
| |||||||
8327
|
dbpedia
|
0
| 54 |
https://www.nationaltrustcollections.org.uk/object/485127
|
en
|
King James I (James VI of Scotland) (1566–1625) 485127
|
[
"https://www.nationaltrustcollections.org.uk/ntcAssets/img/ntlogo.svg",
"https://images.ntpl.org.uk/hppa-zooms/00000000702/cms_pcf_485127.bro",
"https://images.ntpl.org.uk/hppa-zooms/00000000462/cms_485127_2.bro"
] |
[] |
[] |
[
""
] | null |
[
"National Trust"
] | null |
en
|
/ntcAssets/img/icon/apple-touch-icon-57x57.png
|
https://www.nationaltrustcollections.org.uk/object
|
Caption
James I was born at Edinburgh Castle on 19 June 1556, son of Mary Queen of Scots and Henry, Lord Darnley. He acceded to the throne of Scotland in 1567, and that of England in 1603. He was married by proxy in Kronborg on 20 August 1589 to Anne of Denmark (1574-1619), second daughter of Frederick II, King of Denmark and Norway. His early face pattern was supplanted in 1618 by this one by Paul van Somer. The key, full-length version, dated 1618, is in the Royal Collection.
Summary
Oil painting on panel, King James I (James VI of Scotland) (1566–1625), circle of Paul van Somer the elder (Antwerp 1576 – London 1621). Full face, wearing a brown and gold doublet with a ruff and the Garter ribbon.
Provenance
In the collection of the 3rd Earl of Egremont (1751-1837) by 1835 thence by descent; on loan from the Egremont Private Collection
Credit line
Petworth House, The Egremont Collection
Makers and roles
circle of Paulus van Somer the elder (Antwerp 1576 – London 1621), artist
View more details
|
||||||
8327
|
dbpedia
|
3
| 17 |
https://www.pinterest.co.uk/pin/358176976615982163/
|
en
|
[] |
[] |
[] |
[
""
] | null |
[] |
2019-12-09T01:28:14+00:00
|
Head and shoulders portrait of James VI & I (1566-1625), wearing a gold silk doublet with a lace-trimmed ruff and the blue riband of the Order of the Garter. This portrait is probably a contemporary reduction of one of the slightly later derivations from Van Somers original of 1618, which seem to take into account the changes in the Kings appearance.
|
en
|
Pinterest
|
https://www.pinterest.co.uk/pin/after-paul-van-somer-c-15761621-james-vi-i-15661625--572379433866343081/
| |||||||
8327
|
dbpedia
|
0
| 15 |
https://www.bonhams.com/auction/22644/lot/77/circle-of-paul-van-somer-antwerp-1576-1621-london-portrait-of-a-lady-bust-length-in-a-red-white-and-gold-embroidered-dress-with-a-lace-cap-and-red-feather/
|
en
|
length, in a red, white and gold embroidered dress, with a lace cap and red feather
|
https://images1.bonhams.com/image?src=Images%2Flive%2F2015-05%2F19%2F9172673-2-1.jpg&width=580
|
https://images1.bonhams.com/image?src=Images%2Flive%2F2015-05%2F19%2F9172673-2-1.jpg&width=580
|
[
"https://www.bonhams.com/_next/image.jpg?url=https%3A%2F%2Fimg1.bonhams.com%2Fimage%3Fsrc%3DImages%2Flive%2F2015-05%2F19%2F9172673-2-1.jpg%26height%3D430%26quality%3D90&w=576&q=75 576w, /_next/image.jpg?url=https%3A%2F%2Fimg1.bonhams.com%2Fimage%3Fsrc%3DImages%2Flive%2F2015-05%2F19%2F9172673-2-1.jpg%26height%3D430%26quality%3D90&w=768&q=75 768w, /_next/image.jpg?url=https%3A%2F%2Fimg1.bonhams.com%2Fimage%3Fsrc%3DImages%2Flive%2F2015-05%2F19%2F9172673-2-1.jpg%26height%3D430%26quality%3D90&w=1200&q=75 1200w, /_next/image.jpg?url=https%3A%2F%2Fimg1.bonhams.com%2Fimage%3Fsrc%3DImages%2Flive%2F2015-05%2F19%2F9172673-2-1.jpg%26height%3D430%26quality%3D90&w=2400&q=75 2400w",
"https://www.bonhams.com/_next/image.jpg?url=https%3A%2F%2Fimg1.bonhams.com%2Fimage%3Fsrc%3DImages%2Flive%2F2013-10%2F21%2FU-3563-0-1.jpg%26top%3D0.060000000000%26left%3D0.192468619246%26bottom%3D0.490000000000%26right%3D0.732217573221%26width%3D230&w=576&q=75 576w, /_next/image.jpg?url=https%3A%2F%2Fimg1.bonhams.com%2Fimage%3Fsrc%3DImages%2Flive%2F2013-10%2F21%2FU-3563-0-1.jpg%26top%3D0.060000000000%26left%3D0.192468619246%26bottom%3D0.490000000000%26right%3D0.732217573221%26width%3D230&w=768&q=75 768w, /_next/image.jpg?url=https%3A%2F%2Fimg1.bonhams.com%2Fimage%3Fsrc%3DImages%2Flive%2F2013-10%2F21%2FU-3563-0-1.jpg%26top%3D0.060000000000%26left%3D0.192468619246%26bottom%3D0.490000000000%26right%3D0.732217573221%26width%3D230&w=1200&q=75 1200w, /_next/image.jpg?url=https%3A%2F%2Fimg1.bonhams.com%2Fimage%3Fsrc%3DImages%2Flive%2F2013-10%2F21%2FU-3563-0-1.jpg%26top%3D0.060000000000%26left%3D0.192468619246%26bottom%3D0.490000000000%26right%3D0.732217573221%26width%3D230&w=2400&q=75 2400w"
] |
[] |
[] |
[
"art auction",
"antiquarian",
"antique",
"antiques",
"antiquities",
"valuation",
"arms",
"armour",
"armour",
"art",
"Art Deco",
"asian art",
"auction",
"auction house",
"auctions",
"auctioneers",
"autographics",
"automobilia",
"Bonhams",
"Bonhams & Butterfields",
"Bonhams & Goodmans",
"books",
"Brooks",
"buying art",
"Cartier",
"ceramics",
"classic",
"coins",
"collectable",
"collectibles",
"contemporary",
"crystal",
"cubism",
"drawing",
"drawings",
"engraving",
"etching",
"fine art",
"first editions",
"entertainment",
"fishing",
"frames",
"furniture",
"Gallé",
"glass",
"Glenginings",
"Goodmans",
"Impressionist",
"Islamic art",
"jewellery",
"jewellery",
"maps",
"manuscripts",
"medal",
"memorabilia",
"models",
"motorbike",
"motorcar",
"motorcycle",
"musical instruments",
"online auction",
"online auctions",
"Oriental carpets",
"Oriental rugs",
"painting",
"paintings",
"Persian carpets",
"Persian rugs",
"piano",
"photographs",
"pop",
"porcelain",
"portrait miniatures",
"prints",
"probate",
"rare",
"rare books",
"Rococo",
"scientific instrument",
"sculpture",
"silver",
"stamps",
"textiles",
"tribal art",
"topographic",
"toys",
"valuation",
"vase",
"Warhol",
"watch",
"watches",
"watercolours",
"works of art",
"London auction house",
"fine art",
"art and antique",
"art & antiques",
"fine",
"arts",
"America",
"USA",
"UK"
] | null |
[] | null |
Portrait of a lady, bust-length, in a red, white and gold embroidered dress, with a lace cap and red feather oil on canvas 62.9 x 50.5cm (24 3/4 x 19 7/8in).
|
en
|
/favicon.ico
|
https://www.bonhams.com/auction/22644/lot/77/circle-of-paul-van-somer-antwerp-1576-1621-london-portrait-of-a-lady-bust-length-in-a-red-white-and-gold-embroidered-dress-with-a-lace-cap-and-red-feather/
|
ALL BIDDERS MUST AGREE THAT THEY HAVE READ AND UNDERSTOOD BONHAMS' CONDITIONS OF SALE AND AGREE TO BE BOUND BY THEM, AND AGREE TO PAY THE BUYER'S PREMIUM AND ANY OTHER CHARGES MENTIONED IN THE NOTICE TO BIDDERS. THIS AFFECTS THE BIDDERS LEGAL RIGHTS.
If you have any complaints or questions about the Conditions of Sale, please contact your nearest client services team.
For all Sales categories, buyer's premium excluding Cars, Motorbikes, Wine, Whisky and Coin & Medal sales, will be as follows:
Buyer's Premium Rates
28% on the first £40,000 of the hammer price;
27% of the hammer price of amounts in excess of £40,000 up to and including £800,000;
21% of the hammer price of amounts in excess of £800,000 up to and including £4,500,000;
and 14.5% of the hammer price of any amounts in excess of £4,500,000.
A 3rd party bidding platform fee of 4% of the Hammer Price for Buyers using the following bidding platforms will be added to the invoices of successful Buyers for auctions starting on or after 6th July 2024 – Invaluable; Live Auctioneers; The Saleroom; Lot-tissimo.
VAT at the current rate of 20% will be added to the Buyer's Premium and charges excluding Artists Resale Right.
|
|||
8327
|
dbpedia
|
2
| 6 |
https://pl.khanacademy.org/humanities/renaissance-reformation/baroque-art1/baroque-england/a/the-banqueting-house-whitehall-palace-edit
|
en
|
The Banqueting House, Whitehall Palace (artykuł)
|
[
"https://cdn.kastatic.org/images/google_classroom_color.png"
] |
[] |
[] |
[
""
] | null |
[] | null |
Ucz się za darmo matematyki, sztuki, programowania, ekonomii, fizyki, chemii, biologii, medycyny, finansów, historii i wielu innych. Khan Academy jest organizacją non-profit z misją zapewnienia darmowej edukacji na światowym poziomie dla każdego i wszędzie.
|
pl
|
https://cdn.kastatic.org/images/favicon.ico?logo
|
Khan Academy
|
https://pl.khanacademy.org/humanities/renaissance-reformation/baroque-art1/baroque-england/a/the-banqueting-house-whitehall-palace-edit
|
On January 30th, 1649, king Charles I was beheaded on a scaffold in front of the Banqueting House of Whitehall Palace in London for raising taxes without due authority and waging wars against his own people. It was an ironic backdrop for his death, as the Banqueting House was created to glorify his reign and that of his father, King James I of England. Designed by the architect Inigo Jones and decorated with paintings by the Baroque painter Peter Paul Rubens, this building symbolized the newly vibrant, lavish, and European-influenced court culture that the two monarchs fostered.
James VI of Scotland assumed the English throne upon the death of Queen Elizabeth I in 1603, becoming James I and ushering in what is known as the Jacobean era. Upon his accession, the Britain of multiple kingdoms (England, Wales, Scotland, and Ireland), was born.
James I was widely criticized by his contemporaries, not only for his near-catastrophic financial mismanagement, but also for his publicly embarrassing over-indulgences. However, despite these shortcomings, James was a monarch with a great interest in the arts and a serious scholarly mind: his reign witnessed the production of some of William Shakespeare’s most brooding tales of kingship, such as Macbeth and King Lear, as well as the publication of the King James Bible. James himself also published many works, including treatises that set forth his views on kingship (encapsulated in the famous phrase “God’s lieutenant upon earth”—i.e. God’s direct representative). Jacobean Britain was a politically charged, intellectually stimulating age with a luxurious court culture. It was in this context that the classical architectural tradition was brought from continental Europe, under the direction of Britain’s first classical architect, Inigo Jones.
Inigo Jones was the foremost architect and theatre designer of the first half of the seventeenth century. Of humble origins and largely self-taught, Jones acquired his matchless understanding of classical architecture by studying the writings of Italian renaissance architects, including Sebastiano Serlio, Andrea Palladio, and an Italian translation of the work of the ancient Roman architect Vitruvius. He also had first-hand experience of these ideas from his travels to Italy and France and conversations with Palladio’s pupil Vincenzo Scammozzi.
On his return to England in 1615, Jones assumed the title of “Surveyor-General of the King’s Works,” under which he oversaw the maintenance of existing buildings and the construction of new ones. This signaled a fundamental change in the architectural landscape of London and its environs, initiated through the construction of one of Britain’s first truly classical buildings, the Banqueting House at Whitehall Palace.
In the Jacobean era, Whitehall Palace was the principal royal residence, and the Banqueting House was regarded as the “Presence Chamber,” where the king would receive visiting ambassadors and hold ceremonies such as masques (theatrical entertainments) and state banquets. When the first iteration of the hall burned down in 1619, “Surveyor” Inigo Jones swiftly began work on the new building. Based loosely on a palace in Vicenza, Italy, Jones’s building testifies to his understanding of classical architecture as it had been revived in Renaissance Italy.
Seven windows wide, with three central bays (sections distinguished by columns or pillars), the exterior is a virtuoso exercise in balance, proportion and restrained decoration. The largely rusticated front was originally a mix of Oxfordshire (honey-coloured), Northamptonshire (pinkish), and Portland (white-grey) stone, though the façade we see today was re-faced in the early nineteenth century.
The façade is made up of two different classical orders (Ionic, with scrolled capitals, and Composite, a combination of Ionic and Corinthian capitals) on successive storeys. The three central bays are defined by engaged columns (half-embedded in the structure), with double pilasters (rectangular columns) at the ends of each storey of the façade. The windows of the lower storey are capped by alternating triangular and segmental (curved top) pediments, while there are straight lintels (horizontal beams that span openings) on the windows of the upper storey.
The only decorative extravagance on the whole façade is a garland frieze of female masks and swags of fruit that runs across the upper storey and ties the capitals together, above which stands a balustrade (a row of decorated uprights supporting a rail).
Following principles set down by Palladio and Vitruvius, the interior of the Banqueting House is a single space—a double cube in volume, measuring 110 x 55 feet—and is the height of the two main storeys of the exterior façade. The interior walls parallel the exterior in their use of the classical orders, with superimposed Ionic half-columns below and Corinthian pilasters above.
Below this room is the basement or “Undercroft,” which once housed the “King’s Privy Cellar,” a rock- and shell-decorated grotto that was used as a drinking den by James and his favorites.
On the flat-beamed, compartmentalized ceiling are the canvases by the Flemish artist Sir Peter Paul Rubens, the only such cycle by Rubens to survive in situ (the other monumental cycle he executed being the life of Marie de’ Medici at the Palais du Luxembourg, now on display in the Louvre, Paris). James had asked Rubens to decorate the ceiling; however, it was not until the reign of James’s son, Charles I, that the commission came about. The nine canvases were produced in the artist’s Antwerp studio with the help of a team of assistants, and installed at a height of 50 feet (15.3 meters) in 1636, after which time—on the express orders of the king—no more court masques took place, in order to protect Rubens’s panels from smoke damage from lighted candles. Visitors today can view the paintings with the aid of mirrors and from the comfort of body-sized beanbags (see image above).
The canvases should be viewed as a propagandistic commemoration and celebration of the reign of Charles’s father, as well as a forceful representation of the political ideology of the divine right of kings and James’s notion of himself as “God’s lieutenant upon earth.”
The Union of the Crowns of Scotland and England at the north end portrays the union between the crowns of Scotland and England through the accession of James VI of Scotland to the throne of England as King James I. Wearing an imperial crown and attired in parliamentary robes, an enthroned James leans forward, his left hand resting on an orb, while in his right hand he points with his scepter, commanding the goddess Minerva to join the crowns of the two kingdoms held by the personifications of Scotland and England over the head of an infant, who may represent the Prince of Great Britain, the future King Charles I, or possibly Cupid.
The oval panels to either side depict the triumph of the Virtues over the Vices: on the left, Hercules (Heroic Virtue) slays Envy (or Rebellion) with a club, while on the right Minerva (or Wisdom) spears Ignorance.
The central oval panel of The Apotheosis of James I is a flurry-some swirl of figures in which an airborne James, scepter in his right hand, his left foot resting on an imperial globe, is heralded heavenwards as “King of Great Britain” on the wings of Jupiter’s great eagle, accompanied by the yellow-garbed figure of Justice. To the left are the female figures of Piety or Zeal and Religion, while above the triumphal crown is carried by the goddess Minerva and a figure representing Victory or Peace.
On either side are long rectangular panels that celebrate the peacefulness and bountifulness of the Jacobean reign: on the left (the west side), frolicking Genii or Putti load a cornucopia of fruit onto a chariot led by a lion and a bear; and on the right (the east side), a procession of Genii or Putti (cherubs) with a fruit-laden chariot driven by a ram and a wolf are depicted.
In The Peaceful Reign of James I at the south end, above the dais where the monarch would sit, James is depicted as a latter-day King Solomon (the king of Israel who is traditionally associated with virtue and wisdom) seated within a biblically-inspired architectural setting of two large Solomonic “barley sugar” columns. James is presented with the laurels of victory by two winged figures descending from the heavens. To the left, the personifications of Peace and Plenty embrace one another, while to the right, Minerva, wearing a helmet and holding a shield and the thunderbolts of Jupiter, puts down the red-caped figure of Mars. In the left foreground, Mercury holds out his caduceus around which two snakes entwine, symbolizing peace.
The oval canvas to the left of this painting portrays Reason (or Wise Government), who bridles Intemperance, while the canvas on the right depicts Abundance (or Royal Bounty), holding a cornucopia, who triumphs over Avarice (Greed).
|
||||
8327
|
dbpedia
|
2
| 50 |
https://www.ncbi.nlm.nih.gov/pmc/articles/PMC8340360/
|
en
|
Fresh Fish: Observation up Close in Late Seventeenth-Century England
|
[
"https://www.ncbi.nlm.nih.gov/coreutils/uswds/img/favicons/favicon-57.png",
"https://www.ncbi.nlm.nih.gov/coreutils/uswds/img/icon-dot-gov.svg",
"https://www.ncbi.nlm.nih.gov/coreutils/uswds/img/icon-https.svg",
"https://www.ncbi.nlm.nih.gov/coreutils/nwds/img/logos/AgencyLogo.svg",
"https://www.ncbi.nlm.nih.gov/corehtml/pmc/pmcgifs/logo-noterec.gif",
"https://www.ncbi.nlm.nih.gov/corehtml/pmc/pmcgifs/corrauth.gif",
"https://www.ncbi.nlm.nih.gov/corehtml/pmc/pmcgifs/corrauth.gif",
"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC8340360/bin/rsnr20190051f01.jpg",
"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC8340360/bin/rsnr20190051f02.jpg",
"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC8340360/bin/rsnr20190051f03.jpg"
] |
[] |
[] |
[
""
] | null |
[
"Didi van Trijp"
] |
2021-09-20T00:00:00
|
The traditional view of London's Royal Society as a closed circle has been subject to revision in the past decades. Historians have shown the considerable extent to which the Fellows of the Society drew on a broad range of men of practice for their respective ...
|
en
|
https://www.ncbi.nlm.nih.gov/coreutils/nwds/img/favicons/favicon.ico
|
PubMed Central (PMC)
|
https://www.ncbi.nlm.nih.gov/pmc/articles/PMC8340360/
|
Notes Rec R Soc Lond. September 20, 2021; 75(3): 311–332.
PMCID: PMC8340360
PMID: 34381284
Fresh Fish: Observation up Close in Late Seventeenth-Century England
Didi van Trijp
Leiden University Centre for the Arts in Society, Leiden University, Arsenaalstraat 1, 2311 CT, Leiden, The Netherlands
Find articles by Didi van Trijp
Leiden University Centre for the Arts in Society, Leiden University, Arsenaalstraat 1, 2311 CT, Leiden, The Netherlands
Corresponding author.
Copyright © 2021 The Authors.
Published by the Royal Society under the terms of the Creative Commons Attribution License http://creativecommons.org/licenses/by/4.0/, which permits unrestricted use, provided the original author and source are credited.
Abstract
The traditional view of London's Royal Society as a closed circle has been subject to revision in the past decades. Historians have shown the considerable extent to which the Fellows of the Society drew on a broad range of men of practice for their respective skill sets. This article offers an in-depth analysis of the contributions of fishermen and fishmongers to the creation of natural knowledge. It centres on the Historia piscium (Oxford, 1686), written by Francis Willughby and John Ray, and its surrounding sources. This natural history of fishes aspired to give a concise and precise overview of species, and to uncover the divine order in which they were created. While men of practice contributed to this project in multiple ways, their first-hand observations carried particular weight. Through their cumulative experience of working with fish they saw a great number of living species, rather than the dried exemplars that naturalists would usually consult in cabinets of curiosities, or the indirect evidence that images might present. This article examines what kind of exchanges took place between fishermen and fishmongers on the one hand and Fellows on the other, and where, how and why these were incorporated into the fish book. In so doing, it also aims to qualify the value attached to direct (natural historical) observation in the socio-cultural context of late seventeenth-century England.
Keywords: Royal Society, Historia piscium, natural history, practice, experience, observation
Introduction
Fish were part and parcel of daily life in early modern England. An annotated copy of Francis Willughby and John Ray's Historia piscium (Oxford, 1686) in the archives of the Royal Society accentuates this, as some of its marginalia specify where in London one might have chanced upon which species of fish.1 They reveal that lampreys could be seen shining in the water of the Thames before fishermen hauled them up in wicker nets, while London shops displayed a selection of dabs.2 A dolphin—at that time still considered a fish—taken ‘in our Channell; very smooth like polisht marble a long snout with 2 rows of teeth on each side, very little Eyes & c. about 4 feet long’ could be encountered ‘at the Ship Tavern at Butcher Row's end near Temple Bar’.3 The swim bladder of the cod counted as a ‘very luxurious’ dish in the city.4 Furthermore, any strange fishes caught in the Thames were brought to the Lord Mayor's home.5 Despite their ubiquitous presence, however, fish were also somewhat elusive: these ‘slippery denizens’ of the water were difficult to capture, and once caught they promptly began to falter and spoil.6 Where and how, then, could one establish solid knowledge about these rather unstable objects of inquiry?
Questions such as these occupied Fellows of the Royal Society during the preparation, production and publication of the Historia piscium. This book, based on the research of Willughby (1635–1672) and Ray (1627–1705), strove to offer accurate accounts of all fish hitherto known, and to do so in an orderly manner.7 The resulting work was a voluminous and rather expensive work in folio format encompassing hundreds of species descriptions and almost 200 sumptuous full-page copperplate engravings bound together in the appendix.8 The engraved title page ( ) made by the Dutch painter and printmaker Paul van Somer II (1644–1698) begs a close look.9 Set against the backdrop of an Arcadian fishing port, several people tend to the arrival of fresh fish, announced by a herald blowing a large conch shell.10 Fishermen in loincloths haul in their nets. Two men dressed in tunics examine the scene, one of whom gestures at the catch. Just below them, a female figure in a helmet, possibly a reference to Minerva, the Roman goddess of wisdom and the arts, draws the specimen that is set before her. A garland of fish lines the sides and top of the frontispiece; the pufferfish, turbot and hound shark are copied from the engraved plates of the book.11 These depictions are decidedly different from the dolphin, taken from classical iconography, that adorns the lower left corner of the engraving. The colossal fish in the foreground, containing the book's imprint in its gaping mouth, is rendered in a similarly stylized manner. To the right of this creature, a female figure reposes on a jug from which water is pouring, adding to the sense of flow and movement of the scene. All in all, the title page evokes a sense of exuberance and abundance. Considering that frontispieces of early modern works of natural history and philosophy often present a visual programme of a book's contents,12 this one brings together various sources for knowledge about fish: classical accounts, illustration and first-hand observation.
The materials drawn upon for the Historia piscium were rich indeed and encompassed earlier natural historical works, travel accounts, objects in cabinets of curiosities, drawings bound together in books, loose drawings and observations shared in letters, as well as observations made by the authors during their own field work.13 This article investigates one of the sources displayed on the title page: namely, those practically engaged with fish such as fishermen and fishmongers, whose contributions have yet to be thoroughly researched.14 The nature and extent of the contributions of these practical men can be inferred both from the Historia piscium itself, and from other source materials related to the book and its authors, such as natural historical manuscripts, minutes of Royal Society meetings and letters to and from the Fellows.15
The article consists of three parts. The first part explains how Historia piscium took shape as a collaborative project of the Royal Society in the socio-cultural context of knowledge production particular to late seventeenth-century England. The second part takes us to fishing ports and fish markets and discusses how fishermen and fishmongers provided fresh fish for natural historical study, and why this was so important. The third part addresses how these practical men contributed to the identification of, and distinction between, species and sometimes remarked on specific behaviour. The article concludes that the emphasis placed on direct observation as a requisite for establishing an accurate account of species left considerable space for the experience of people of practice in the production of natural knowledge.
A wider cast
The variety of sources displayed on the title page of the Historia piscium is also reflected in the text itself, such as in the discussion of the peculiar way in which the salmon every so often leaps out of the water:
The salmon constantly presses forward against the stream, and when it encounters in its ascent an enclosure or another obstacle of this kind, it seizes, after it has bent its body in a circle, its tail with its mouth, and, while it holds fast to this [i.e. its tail], it, releasing [its grip] again, with great force, leaps across it. Author of De natura rerum with Gesner. We have heard multiple times of many fishermen that this happens continually. That salmon are most agile in jumping we confirm willingly, and our daily experience confirms this: but what is told about the seizing of the tail seems to us less plausible.16
Several layers of observation come together in this passage. It begins with an ancient account, possibly taken from a poem by Lucretius, as cited in Conrad Gessner (1516–1565).17 While this is illustrative of the extent to which Willughby and Ray drew on the works of Renaissance authors,18 we also see that they did not take such accounts at face value. Willughby and Ray verified this account not once but in multiple instances, and not with one but with many fishermen—who, furthermore, confirmed that they saw this happening all the time. This in itself, however, still did not settle the matter of the salmon's strange behaviour. While Willughby and Ray's own, daily experiences confirmed the tenor of the report—namely that salmon are nimble jumpers—they remained sceptical about its specifics, particularly the manner in which the salmon gripped and released its tail, which they had not seen themselves. The Historia piscium contains many passages like this, which collate observations from both past and present sources before concluding with the authors' own verdict on the matter.
Because their history of fishes was a joint project, it can be difficult to attribute certain statements or ideas to either Willughby or Ray with certainty. Such attempts are further complicated by Willughby's early death, 14 years before the project came to completion, which left Ray to turn their notes into a book. Historians have long debated which of them contributed most to the work;19 while some claim that it was Willughby, who was of higher social standing and employed Ray, others take Ray's seniority in age as a mark of his authority.20 Aside from these differences, they had much in common, including being educated at the University of Cambridge. Willughby and Ray were also both elected to the Royal Society, in 1661 and 1667 respectively; the engraved title page of their fish book displays this affiliation. As Sachiko Kusukawa has shown, the Fellows of the Society helped to amass relevant material for the book and evaluated whether certain observations merited inclusion. Tancred Robinson and Martin Lister took active roles in bringing the Historia piscium to publication.21 They, as well as other Fellows and friends, passed their own observations to Willughby and Ray in letters written in English, parts of which were then translated into Latin and included.22 One result of this multitude of contributors is that it is often difficult to know exactly who contributed what to the Historia piscium and when. It is nonetheless clear that the Society played an important role in the production of the book and that, as Kusukawa has stated, ‘the Fellows’ collective engagement with it fundamentally shaped the way it was published'.23
We can also recognize the book as a product of the Royal Society in its insistence on knowledge derived from direct experience with the object of study.24 In the epilogue to the Historia piscium, Ray contended that it would ‘bring across exactly these things which were either observed by ourselves and our friends, or which had proper witnesses and authors, worthy of our trust’.25 While earlier authors counted as credible past witnesses, their written observations were, ideally, corroborated with those of contemporary ones. Indications of direct observation are present in the fish book in various ways. Willughby and Ray, for example, added ‘I have seen’ (vidi) or ‘we have seen’ (vidimus) to certain species descriptions. In other cases, they punctuated statements with appeals to ‘experience’ (experientia), as in the case of the salmon. The exact meaning of this term was far from fixed in the early modern period.26 While Peter Dear argued that, in the early years of the Royal Society, ‘experience’ was used for witnessing or participating in a particular, singular event tied to a specific moment, rather than for generalized statements on universal phenomena (in the Aristotelian sense of the term), the term is used in both senses within the Historia piscium.27
It is well known that emphasis on first-hand observation (for which the terms observatio and autopsia gained currency) rose steadily from the early sixteenth century onwards.28 While the Royal Society's adherence to the philosophical programme of Francis Bacon (1561–1626) may well have been somewhat overstated, the Society's foregrounding of direct experience as the foundation of natural knowledge does owe much to Bacon's work.29 Bacon had stated that experience of nature might be gained through hunting, husbandry, gardening, shepherding, animal breeding and travelling, among other things.30 ‘The materials for the intellect’, he wrote, ‘are so widely spread out that they ought to be sought out and gathered in (as if by agents and merchants) from all sides.’31 He also held that one would be ‘forever tossed and turned on the waves of experience’ when pursuing it without clear course.32 What was needed, then, were philosophers with literate, learned experience, examining nature step by step in an orderly manner.33 Deborah E. Harkness has contended, however, that Bacon's precepts for obtaining true and certain natural knowledge were not altogether different from the daily vernacular science practised in the streets of Elizabethan London.34
Fishermen and fishmongers, as attentive observers of nature, were consulted broadly throughout the early modern period. Renaissance naturalists such as Guillaume Rondelet and Pierre Belon, for example, conversed with fishermen on their observations of Mediterranean marine life in addition to perusing learned books, a practice that Florike Egmond has referred to as ‘fieldwork once removed’.35 Gessner, too, stated that he benefited from the knowledge of fishermen, and attributed a higher value to first-hand observation than he did to natural knowledge of the textual kind.36 Monica Azzolini has shown how, in Rome, naturalists like Johannes Faber (1574–1629) made ample use of a plurality of oral sources consisting of, among others, fishermen, merchants and servants, when investigating beached whales.37
These interactions take on a new meaning, in an English context at least, with the surge of scientific societies in the seventeenth century. Membership of such a group, which was usually restricted to those of the upper classes, considerably heightened one's credibility.38 When discussing Faber's report on the whale in the Historia piscium, for example, Ray noted that the Roman was a member of the Accademia dei Lincei.39 In the Royal Society, the existing convention of assigning reliability to those of higher social status remained in place when observing and interpreting natural phenomena.40 This did not mean, however, that status was the sole criterion of credibility.41 While those from a genteel background were generally seen as trustworthy, they were also considered prone to bending their observations to fit with preconceived ideas.42 Philippa Hellawell has argued that credibility was not the exclusive prerogative of one particular social group, but that it could be shared, albeit attributed in various degrees, among people of various backgrounds.43 Felicity Henderson has submitted that the Royal Society, as an institution, relied on ‘the activities and expertise of wider penumbra of individuals’ than those of the Fellows themselves.44 Certain individuals within the Society itself blurred social boundaries, such as Robert Hooke (1635–1703). Despite being employed as Curator of Experiments—regarded as a lesser position because of the paid labour involved—he was also elected Fellow and took part in natural philosophical debates.45
Experiments held a special place in the early Royal Society. Bacon had contended that they served to deliberately seek out a certain experience, as opposed to experience derived from ‘accident’—allotting an active role to the observer, rather than a passive one.46 While the Fellows seem to have had their own approaches to the meaning and use of experiments, it is clear that several of them took to performing these to understand nature's intriguing properties.47 About fish, they wondered: did they breathe? How did these creatures move in the water? How did they spawn, and how long could they go without food? Meeting minutes in the Journal Books of the early 1660s reveal that the Society's Operator, tasked with facilitating experiments and making inquiries, was ordered several times to collect and keep fish for experiments.48 He was also instructed to ask fishermen how long they could keep their fish alive without feeding them.49 Furthermore, the minutes indicate that ‘all those [present], that had the opportun[it]y, were desired to make several Experiments in several fish, concerning their growth’.50
Although the precise set-up of these experiments is not always disclosed in the minutes, the careful reports published in the Philosophical Transactions may give us an idea.51 Around 1670, Robert Boyle (1627–1691) had a gudgeon placed into a ‘Pneumatical Engin’, or air pump.52 The experiment, ‘far from being the first’ that had been done on a fish with this sort of instrument, was devised to show what happened to a fish when ‘it should be kept for some hours together from all supply of fresh Air’.53 Although after mostly all of the air was removed ‘there appeared a great store of Bubbles all about the Fish’, no definitive conclusions could be drawn.54 The Historia piscium lauds Boyle for his ‘most excellent experiments’ on the effects of water pressure upon bodies of air.55 It recounts an experiment to fill up a swim bladder with air and submerge it in a clear, deep vessel filled with water. The deeper the bladder was plunged, the more contracted it would become, and vice versa.56
Fellows did not only pursue their inquiries on fish within the confines of Gresham College, where their weekly meetings took place.57 Hooke recounts coming across a porpoise displayed at Ulbars (possibly a fishmonger) one day in November 1679.58 He bought the specimen and transported it to Garraway's coffee house, near the Royal Exchange.59 Here he performed a public dissection.60 Just like demonstrations of instruments, examinations of animal species in a tavern or coffee house could facilitate discourse on natural phenomena among individuals of various stripes.61 These might well be people possessing valuable experience, such as sailors. Hellawell has demonstrated, for example, how the Society considered seamen uniquely positioned to record and examine certain natural phenomena.62 While she proposes further case studies be conducted of the evaluation of the knowledge and skills of other occupational groups, she signals that this can be difficult, as such groups do not always fit ‘the conventional artisanal mold’.63 Like seamen, fishermen do not readily fall into those historiographical categories of workmen that have received sustained attention from historians of science over the past decades, notably invisible technicians and artisans. The work of fishermen and fishmongers was, after all, not technical in the sense that they handled (scientific) instruments—in contrast to, for example, those who assisted Boyle.64 They also do not quite resemble the self-aware artisans one might encounter in the works of Pamela Smith and Pamela Long, who created the texts and artefacts that have come down to us today, such as recipes, manuals, drawings, paintings, casts or ceramics.65
There is a lacuna of sources when it comes to fishermen and fishmongers. As the passage opening this section highlighted, the authors and compilers of the Historia piscium ultimately selected what was included in the book, and what was left out. Azzolini has argued that we ‘accord undue weight to the authority of writers’ when not taking the spoken word into account.66 Local and oral connections are indeed often overlooked as a result of the emphasis on texts when reconstructing early modern networks.67 The Royal Society archive contains one written trace of London fishmongers themselves: a petition they presented to Parliament, and which was read aloud at the Royal Society.68 They wished ‘that our Sea coste & rivers may swarme with the fry & brood of fish, & our Towns and Cittyes better provided for’ through stricter enforcement of the law prohibiting too many young fish from being taken.69 Besides offering a unique insight into these fishmongers' affairs, this document also reminds us that, while the relative inconspicuousness of fishermen and fishmongers may lead them to seem like a monolithic group, they had their own interests and backgrounds.70 It is nonetheless quite rare that fishermen and fishmongers are recognizable individuals, like the Strasbourg fisherman and burger Leonhard Baldner (1612–1694).71 His manuscript, Vogel-, Fisch- und Thierbuch (Book of birds, fish and animals), is cited throughout the Historia piscium and will be discussed in detail below. The remainder of this article sets out to reconstruct the nature, extent, diversity and significance of the contributions of practical men to the Historia piscium.
Knowledge at the fish market
Fishermen take centre stage in the engraved title page of the Historia piscium, even if they are depicted as rather more gentile individuals than they probably were. Fishermen and fishmongers provided (if not always wittingly) the raw material for natural historical and philosophical investigations. When Willughby and Ray travelled through the British Isles and continental Europe, they frequented markets to get their hands on new species of birds and fish.72 As the latter described, they ‘visited almost all the chief fishing ports of England, and the markets of Belgium, Germany, Italy and France; … bought all the species new to us and described them so that the reader can easily recognize them’.73 Their daily visits to the fish market in Rome produced rich results, as ‘scarce any fish to be found anywhere on the coast of Italy but some time or other it may be met withal heer’.74 Ray's travel companion Philip Skippon (1600–1660) listed no fewer than 89 species of fish that they had come across at Venice's market.75 Visiting (fish) markets to spot new specimens was in fact a widely utilized practice. When stationed in Jamaica in the service of the Duke of Albemarle, for example, the physician and collector Hans Sloane (1660–1753) relied on local markets to access rare species.76
The piscine wealth to be found at fish markets was further proof that the underwater world teemed with creatures meriting closer examination. In one of his physico-theological treatises, Ray marvelled—echoing Psalm 104:25— ‘The Sea, what infinite Variety of Fish doth it nourish!’77 While fish were indeed wonderfully varied, Ray also believed that God had created a fixed number of species of them.78 It was a well-established tradition, after all, to consider the underwater realm as a divinely designed structure that mirrored the rational organization of the heavens.79 From the outset, the expectations for the Historia piscium were high. Ray wrote to the Royal Society: ‘For this history of fish, I can warrant it to be as full and perfect as to the number of species, and their descriptions … as was the history of birds.’80 Willughby and Ray's idea of a perfect fish book differed from those extensive volumes full of anecdotes, fables and proverbs that certain Renaissance authors compiled. Rather, they confined their study of natural creatures to ‘what properly relates to natural history’, as the latter put it, thereby excluding what they considered to be fabulous or folkloristic accounts.81 Their main issue with earlier authors, however, was that they had not been diligent enough in distinguishing one fish from the other, and so had caused an unnecessary duplication of species.82 As a solution to this muddle they defined clear ‘characteristic marks’ (notae characteristicae) that demarcated one species from another.83 These marks might be the number and position of its fins, certain spots or colours, or other properties. A tope shark, for example, could be discerned from the similar-looking smooth hound shark by its larger size, its rows of sharp teeth and its eyes, the irises of which were of a brighter, silver colour.84
Willughby and Ray thus aimed to uncover the ‘true’ (viz. God-given) arrangement of species by both establishing an unambiguous differentiation between species and seeking to understand how these were related to one another.85 Their study of fish, and of nature more generally, was carried out in the context of larger philosophical reflections on the connections between knowledge and language, an interest they shared with their fellow Royal Society member Bishop John Wilkins (1614–1672). Like sundry others at the time, he believed that God had confused people's tongues as a punishment for the arrogance they had displayed in building the Tower of Babel.86 Wilkins therefore set out to compose a universal language, by creating word tables that showed the true relation between words and things. Willughby and Ray both contributed to Wilkins' project, which eventually appeared as An Essay Towards a Real Character, and a Philosophical Language (London, 1668).87 Ray, however, would later privately admit to be ‘ashamed and disgusted’ to have been so publicly associated with a project that he found, at its core, to be ludicrous.88 While he agreed with the idea that a sound connection could—and should—be established between a word and a thing, he denounced the imposition of a pre-contrived system onto nature's rich variations. Rather, he was convinced that true knowledge came from the senses.89
When deploying the senses to study a species of fish, having recourse to a (more or less) fresh sample was much to be desired. Sometimes fishermen delivered specimens to the naturalist's doorstep. In a letter to the Royal Society detailing his dissection of a porpoise, Ray relates how, during his visit to Wilkins in Westchester in late April 1669, he had had ‘the good fortune to meet with a young porpess of a convenient size for dissection, brought thither by some fishermen, who caught him upon the sands, where the tide had left him’.90 These men seemed well aware that the novelty value of certain fish washed ashore could be converted into actual coin. Their hustling was rewarded; the bishop purchased the fish (for an unknown sum) and handed it to Ray for description.91 Dissecting animals was in fact a key component of Willughby and Ray's research. When, during their travels in Europe, they acquired a fresh specimen of fish or fowl, they often dissected it—or had this done for them by servants—to facilitate detailed and close observation.92 A fair amount of the species descriptions in the Historia piscium include detailed descriptions of internal organs. A set of four drawings in Willughby's archive record stages in the dissection of a male flair that took place under the supervision of Skippon.93 It is an exemplary piece of the kind of close observation that Willughby, Ray and their contemporaries held up as an ideal.
When no fresh specimen was at hand, they made do with preserved ones. Certain dried exemplars could, as we have learned, be sighted in taverns. The Royal Society itself also possessed a repository of objects. As the catalogue made for the Society by the natural historian and Fellow Nehemiah Grew (1641–1712) shows, the collection encompassed ‘humane rarities’, animals, plants and minerals.94 The subsection entitled ‘fish’ was devoted entirely to aquatic fauna.95 Although the collection was impressive, its value for making proper species descriptions was limited, because, as Michael Hunter has noted, ‘preserved exhibits were decidedly inferior to live ones’.96 The difference in utility between that of a living specimen and a dead, prepared one was especially marked in fish because they disintegrated so easily. Each method of preservation had its merits and pitfalls: submerging specimens in spirits, for example, was rather costly and not altogether attractive for display, whereas dried specimens could become brittle so that only the sturdier parts of the fish endured.97 Regardless of the preservation strategy used, fish often lost much, if not all, of their original colour. Images could address this problem—to an extent.
The importance of illustrations for the Historia piscium was signalled on its engraved title page by the inclusion of the helmeted artist. It also stated that any ‘new’ figures—that is, those that were not copied from earlier authors—had been marked with a dagger.98 These new figures were usually based on drawings that Willughby, Ray or others in their circle had acquired, and which were either sent to them by correspondents or purchased during travel or trip.99 The Society's committee also commissioned illustrations from specimens in its collection for inclusion in the work.100 The images selected were those that best conveyed the morphology of the fish.101 If drawn well, the species depicted could be determined. Another source for illustrations was a manuscript inscribed ‘A Book of Fishes done at Hamburgh, with Mr Ray's Notes’, that has hitherto received little attention from historians.102 It contains dozens of coloured illustrations of aquatic fauna, executed in watercolour and what appears to be gouache, accompanied by cursory descriptions in a German hand. Ray's annotations give insight into how this book was used. He comments, for example, on the correct identification of a species (‘these are not separate species, but the front and back side of the same fish’) or on the quality of certain drawings (‘badly painted’).103 While the natural historical value of illustrations was dependent on their being made from a fresh specimen by a skilled artist, whether or not this was the case could be difficult to ascertain if one had not personally seen a suitably lively, or at least fresh, example of the species. The qualifying phrase ‘drawn from the life’, multivalent in its early modern usages, can be said to take on special meaning in the case of fish.104
Meticulous attention to detail was highly desirable if fish were to be properly distinguished from one another, but Willughby and Ray disagreed on the subject of precisely how much of it was needed. Willughby's painstaking descriptions of the plumage of birds were met with some suspicion by Ray, as this oft-cited passage makes clear:
I must confess that in describing the colours of each single feather he [Willughby] sometimes seems to me to be too scrupulous and particular, partly because Nature doth not in all Individuals, (perhaps not in any two) observe exactly the same spots or strokes, partly because it is very difficult so to word descriptions of this sort as to render them intelligible.105
Besides addressing the limitations of language when it came to describing certain facets of species, like colour, Ray here exposes the problem of ascertaining whether a certain specimen was a distinct species or merely a variation within a species. Willughby and Ray often discuss this in their history of birds, but it also resurfaces in their fish book.106 As we will see, this is where the experiences of fishermen and fishmongers came in handy: they saw a relatively large quantity of each species of fish, and live examples at that, as opposed to the few dried exemplars available in natural historical collections, and thus had a larger ‘sample size’ of specimens from which they might draw conclusions.
Before fish could be captured on paper, they first needed to be caught. One can easily forget this when looking at the engraved plates in the Historia piscium, which present the fish as if untouched by human hands, showing no sign of hooks or holes.107 An exception is the engraving of a species of flatfish that does convey obvious traces of capture: a thin black cord has been tied from its head to the peduncle of its tail.108 The engraving was based on one of the drawings ( ) in ‘A Book of Fishes done at Hamburgh, with Mr Ray's Notes’.109 This particular manner of tying up flatfish is depicted in various fish still lifes by seventeenth-century Netherlandish painters such as Abraham van Beijeren, Isaac van Duijnen and Jacob Foppens van Es. These still lifes often show fish specimens acted upon in one way or another: they are cut, sliced, smoked or tied. This way of binding a flatfish head to tail seems to have had very practical reasons, namely to facilitate its transport or delay the spoiling process.110 The illustration serves as a reminder that fish had to be caught, carried, stored and preserved before they could be subjected to scrutiny.
Detail and distinction
Fishermen not only supplied the goods for natural historical research, but were themselves sources of embodied knowledge. They shared their know-how of fishing methods; on a par with the broader interest of the Fellows in the history of trades, species descriptions in the Historia piscium unfold the intricacies of catching herring or trapping tuna.111 They were mostly asked, however, about their knowledge of the occurrence of species. When Ray toured through the British Isles in 1662 with Willughby, he compiled catalogues of English birds, fish, metals and minerals.112 He noted down several fish taken around Penzance and St Ives in Cornwall, presented to him by ‘one of the ancientest and most experienced fishermen’, who remains nameless.113 Ray here stressed his informant's decades' worth of experience; other Fellows used similar phrasing while appealing to the seniority of the seamen whom they had consulted.114 The first entry on Ray's fish list was a whale, which the old fisherman had spotted from the coast. Ray added that he could not tell them of what sort it was, remarking that ‘vulgus enim non distinguit’—‘the common people, after all, do not distinguish’.115 In the Historia piscium it is similarly declared that fishermen do not really discern the mackerel from any other fish that may look like it.116 This seeming lack of interest in the categorization or classification of fish ran very much contrary to the earlier mentioned impetus of Ray and Willughby to precisely distinguish between species.
Ray's remark was somewhat unjust. Not only did the diversity to be found in fish present a complex puzzle, as species often closely resembled each other and could only be differentiated through subtle variation, but Ray actually drew on fishermen's own distinctions in trying to solve such conundrums. Consider the following passage, in which Willughby and Ray deliberate on whether sprats formed a separate species or were nothing more than the offspring of herring:
A certain senior fisherman from Cornwall, whom we have consulted about this matter and other things, has told us that two kinds of Sprats are caught in the sea which flows near to Cornwall, one of Herring, another of Pilchards or the offspring of Celerini, which can in turn easily be distinguished from another. Pilchards frequent the shores of Cornwall and Devon, they very rarely progress further to the east in the British sea; from whence elsewhere around England only one type of Sprat is found.117
Here, yet again, a fisherman—possibly that same wise and experienced individual—imparts his knowledge. His answers did not make matters simpler, as he explained that there are, in fact, different kinds of sprats, which stem from at least two different species, and that these are, furthermore, not equally distributed along the British coasts. A looming problem in these interactions was that a fish might have a different name in Cornwall from the one it would have in London. The ‘Scad’ in Cornwall was known as a ‘horse Mackrell’ in London; conversely, the species of flatfish that Londoners dubbed a ‘Pearle’, the Cornish called ‘Lug-aleaf’.118 In keeping with Willughby and Ray's preoccupations with language, the Historia piscium and its related writings abound with attempts to establish which fish went by which name where, and according to whom.
The taxonomies of fishermen did not always overlap with those of the naturalist. This added a linguistic layer to the already intricate puzzle presented by the various species. Ray wrote to Lister:
Of the flat cartilaginous [fish] I have seen and described four or five sorts, but I am to seek what our fishermen mean by the Skate [Raia batis], and what by Flair [Fireflaire, the Sting Ray, Trygon pastinaca], and what by Maid—as Skate-maid, Homelyn-maid, Thornback-maid, &c. &c.119
Distinctions between (or even within) species by people of practice also appear to have been based on attributes with particular relevance to their commerce. In the species description of the herring, it is explained that the people who washed, salted and dried this fish, and who were called Towers, separated it ‘into six species or rather grades’.120 These encompassed the ‘fat herring’, which was large and fat, and the ‘meat herring’, which was equally large and rich in meat but less fat.121 ‘Pluck’ was the name used for herring damaged or torn from being stuck in the nets, while a ‘shotten herring’ had emptied itself of its roe.122 We thus find, subsumed in Willughby and Ray's natural historical taxonomy based on characteristic marks, a taxonomy drawn up from properties stemming from commercial practice.
Ray's erstwhile fellow Cambridge student and the vicar of Brignall, Ralph Johnson (1629–1695), wrote him to complain of how difficult it was to decide whether dissimilar-looking exemplars of salmon were truly different species, or rather one and the same species in different stages of growth.123 He said that in
the mouth of Eden in Cumberland the fishers have four distinctions of yearly growth (after the first summer, when they call them free, or frie, as we smowts, or smelts) before they come to be lackes; and this, they say, they have curiously observed, by fixing so many pins in the fins of yearlings, or two years old, and after taking them again; …124
This method, of fixing pins into individual specimens and tracing their growth over a period of time, entailed an experiment. Like the experiments conducted by the Fellows, it was designed to draw out certain observations. Fishermen's distinctions between salmon of different ages were deemed dependable enough to be included into the book:
And what is handed down by authors about the quick growth of small salmon in the sea does not find faith with us: for our fishermen distinguish salmon by each year of their age, as we have said above, and they say that they are not full-grown before the sixth year of their life.125
Willughby and Ray thus trusted the collective account of ‘their’ fishermen over the written knowledge transmitted by various (here unspecified) earlier authors.
How could one tell whether a specimen was exemplary for its species? Fishermen and fishmongers had a good sense of irregularities and averages. Willughby and Ray were told by a fishmonger that bigger specimens of salmon weighed around 6 pounds.126 They also drew, albeit indirectly, on the observations of the Cambridge fishmonger Mr Mayfield, who went down to the London market every Friday to procure species not readily available in his own town.127 The physician Peter Dent wrote to Ray that ‘Mr. Mayfeild [sic] could not procure any dried Mayds or Thornback at the mart. He helped me to a fresh Thornback, which he said was full grown: its weight was ten pounds.’128 Dent added that the fishmonger was ‘acquainted with the Tamworth carrier and will undertake to send you any of these [fishes] fresh into the country’ and thus could also do deliveries.129 He had furthermore told Dent that he once sold an exceptionally large specimen of flair to the cook of St John's College, Cambridge, and it ended up feeding all those attending lunch that day. Dent sought verification of the story from the cook in question and, having received it, he passed it along to Ray, who then inserted it into the Historia piscium.130 The reader could rest assured that the fishmonger Mayfield was of trustworthy character (fide dignus).131
Fishermen and fishmongers could furthermore tell whether a certain specimen was male or female, and how particular species procreated. The dependable Mayfield, for example, assured Dent that flairs were viviparous.132 While Dent doubted whether this was true, he resolved to observe weekly the alterations of the fish's eggs and give Ray a full account.133 Although Dent's ultimate findings cannot be found in Ray's correspondence, the letter underscores that the statements of fishmongers, like those of fishermen, merited further research and that their claims invited both validation and repudiation.
The Historia piscium frequently cites the manuscript of Leonhard Baldner. He is the first fisherman in the book whose name we know; rarer still, his portrait has come down to us.134 Born into an established Strasbourg fishing family, whose crest consisted of three crossed fish, Baldner received an education, and combined his work as fisherman with a seat on the city council.135 He produced several, largely similar, manuscripts describing the birds, fish and other animals of his home region, most of which were skilfully illustrated by the painter Johann Georg Walther (1634–1697).136 Willughby bought one of these quarto volumes during his Continental tour.137 In the preface to the Ornithology, Ray expressed his appreciation of the high quality of the illustrations, praising their great exactness and excellent hand.138 It struck him that Baldner had taken and described these fish himself, and had them drawn at his own charge and cost. Such curiosity, Ray thought, was ‘much to be admired and commended in a Person of his Condition and Education’.139 He also acknowledged that he had received ‘much light and information from the Work of this poor man’, which had enabled him to ‘clear many difficulties, and rectifie some mistakes in Gesner’.140 Ray furthermore wrote to Robinson:
though it is not supposed, that a man of his education should be able to describe animals well, yet so much might be gathered from the notes he gives, as might lead an understanding and attentive man into the knowledge of them, and with the figures (which are in all very exact) give him so much light as to enable him to determine the species.141
On the title page of his manuscript, Baldner proclaimed that both the species descriptions and the illustrations conformed to nature.142 Looking at a drawing that Willughby purchased from Baldner alongside the manuscript, a watercolour of a carp ( ), one can see why Ray was so enthused.143 The artist has drawn the fish from an ever so slight bottom perspective view, and diligently rendered the scales and fins; the latter, especially, show fine brushstrokes. By subtly applying a greyish, light blue paint to the edges of the gills and scales, a technique known as heightening, he has conveyed the glistening of a fish that has just been taken out of the water. The drawing was used for the Historia piscium.144 Baldner intended the descriptions and images in his manuscript to complement one another. He pointed out, for example, that, even though the species of ‘Rothaug’ closely resembled that of the ‘Rotel’, its colours were more beautiful, and its eyes and fins were more rubescent, as could be seen from the illustration.145 In their description of the ‘Rootaug’, Willughby and Ray used the same distinctive marks.146
The authors looked to Baldner's manuscript for a wider range of observations.147 They copied, for example, some of his statements on whether a certain species was rare or common in his area, how its appearance could vary with time or place, when and how it procreated, and when it was best to eat.148 To focus on only those parts of the manuscript included in the Historia piscium, however, is to miss out on many other fascinating observations. These include Baldner's account of having caught a sturgeon of ‘about the thickness of a man’, and subsequently finding its bowels to weigh 130 pounds.149 Thus, like Willughby, Ray and their peers, Baldner dissected fish and studied their internal anatomy; he even counted the thousands of eggs in the roe of pikes and turbots.150 He noticed that the species of wood trout took on the colours of their environment: they turned completely white when placed in a white tub, and black once put in a black tub.151 He disagreed with Gessner that carp were (sometimes) born from mud, and said that they all came from roe.152 All in all, Baldner's manuscript demonstrates that he aimed to distinguish species from one another, to examine their anatomies and to understand how they behaved and procreated, and that he held his own observations against those described by earlier authors—again, much like Willughby and Ray.
The introduction to Baldner's manuscript (dated 31 December 1653) gives us a sense of how he envisioned his work. It reveals that the author thought there to be no better place to contemplate God's omnipotence than on and near the water. Since God had at the beginning created the great whales, fish had received his first blessing; and he had also called upon the fishermen to follow him. God had, furthermore, made the rivers of the Rhineland with their endless benefits to those who lived around them. It was this delight in and admiration for the creation, Baldner submitted, that had inspired him to make this manuscript brimming with animals that swam, flew and crept in these waters. He wrote that all of the creatures described in it he had held in his own hands. Each of the species was drawn from life, called by its name and, after sustained study, described briefly from Baldner's own ‘experience’ (Erfahrung).153 He admitted that his attempts were necessarily ‘simple’ (einfältig) and ‘scant’ (gering), casting himself as a modest fisherman and hunter, and bade those considering themselves better suited to write such a work to keep that humble background in mind.154 At the same time, he emphasized his three decades' worth of experience with fish—although he used the words ‘learned’ (erlernt) and ‘studied’ (studiert).155 Quite apart from its complicating of certain assumptions about what constitutes ‘the’ fisherman, Baldner's manuscript also testifies to the fluid boundaries of theoretical and practical engagement with nature.
Conclusion
Let us return to the salmon, and its curious behaviours, one last time. A few lines after its peculiar matter of jumping is discussed, its mysterious eating habits are addressed: ‘What food salmons use, because I see that authors disagree [on the matter], has to be consulted by experience.’156 This matter had been discussed at a meeting of the Royal Society in 1678, where it was brought forth that fishmongers never found anything in the maws of salmon and that an (unnamed) lady, ‘very inquisitive in that kind’, had observed the same.157 The previous year, Johnson had written to Ray: ‘I wonder as much that Fishers have not certainly determined whether Salmons live upon anything save Water, and what?’158 He continued by noting that
I think only the Anglers have made the Observation of finding their Stomachs always empty; but I am persuaded that, if the Net-fishers would open any considerable Number, they would find in them Food indigested, which they seldom do, but sell them whole. Perhaps I may give farther Answer to this Quaere, and some others about Whitsontide; at which Time I purpose to go to our Coasts, and gather what I can.159
These discourses are indicative of the sorts of questions over which naturalists pondered, and where they expected to find answers.
In recent years, historians have widened their conceptions of the spatial range in which natural knowledge was created, and shown how this should be approached.160 For London, fertile sites for assembling knowledge about fish encompassed—besides the rooms of Gresham College—coffeehouses, taverns, ports, fishmongers and the banks of the Thames.161 Beyond the confines of the city, such locations included the coast of Cornwall and (fish) markets in continental Europe. Each of these places allowed the making of first-hand observations, but, even more pressingly, meeting those people whose observations of fish were informed by years of practice. This article has tried to reconstruct the conversations between fishmongers and fishermen and Fellows so as to better comprehend what they actually entailed, and to analyse how these contributed to a deepened understanding of fish. It has also emphasized how the extent and nature of these contributions might differ from person to person, relative to experience and skill. Taken together, the various examples discussed here demonstrate that exchanges with men of practice were not incidental, but rather central to Willughby and Ray's project.
This is not to say that interactions between practical men and Fellows could not also be rather complicated. As this article has shown, fishermen and Fellows sometimes talked at cross-purposes, reminding us of similar difficulties in communication that arose in the Society's history of trades project.162 Another issue was that, while the Fellows appropriated knowledge from people of practice for their discussions or publications, the practitioners themselves were often made to disappear from sight.163 This also held true for others, not discussed in this article, whose observations of fish were drawn upon for the Historia piscium and which merit further consideration. Anglers, too, knew their way around fish. Willughby and Ray consulted Leonard Mascall's well-known angling manual, A Booke of Fishing with Hooke & Line, and of All Other Instruments There-unto Belonging (London, 1590), when discussing the fact that, while the carp was a relatively recent introduction to the waterways of England, it was now plentiful in rivers and ponds.164 Anglers were also aware of whether a species was common or rare and, as Johnson implied, knew what was in a fish's stomach. Other specific knowledge of fish pertains to their consumption. As we saw, Historia piscium offers glimpses of fish salters and cooks; furthermore, the taste and preparation of fish species receives occasional attention in the book.165
The Historia piscium was an attempt to create a universal work on the natural history of fish based on clearly defined principles, so that the proper relations between species and their names could be re-established, and order restored in the wonderfully varied world of fish. The many sources on which Willughby, Ray and other Fellows of the Royal Society drew reflect some of this variety. The value of interacting with fishermen and fishmongers lay in their repeated engagement with a large quantity and wide variety of fresh fish in an either living or recently deceased state. They not only supplied raw material, but also offered information that was crucial for the central tenet of the Historia piscium: to distinguish one species from another and delineate their differences. Fishermen and fishmongers not only knew how to catch fish and how to tell them apart from another, but also commented on particular behaviours of certain species. The interactions between fishermen and fishmongers and the learned world with regard to classification and categorization, as discussed here, continued well into the nineteenth and twentieth centuries, and still pertain.166
Acknowledgements
I would like to acknowledge the anonymous referees, whose feedback was invaluable in improving this article. For their illuminating insights during various stages of this research, I want to thank Sachiko Kusukawa, Felicity Henderson, Sietske Fransen and Katie Reinhart of the ‘Making Visible’ project at the University of Cambridge. Pete Langman has kindly shared his expertise in Bacon's epistemology with me, and Hilke Hoogenboom has checked and corrected my Latin. My gratitude goes out to the staff of the British Library, the Royal Society Archives and the University of Nottingham Manuscripts and Special Collections. This article was written within the framework of the research project ‘A New History of Fishes’, financed by the Netherlands Organisation for Scientific Research (NWO). Funding for this research has come from the Butler–Eyles Fund of the British Society for the History of Science, and the Lisa Jardine Grant Scheme of the Royal Society.
Footnotes
1Francis Willughby and John Ray, Historia piscium libri quatuor (Sheldonian Theatre, Oxford, 1686) (henceforth Hist. pisc.), RCN 18574, Library and Archives of the Royal Society, London. The annotations are the remarks of Tancred Robinson (TB) penned down by Francis Aston; later annotations are Cromwell Mortimer's (CM).
2Ibid., pp. 96–97, 105 (TB).
3Ibid., p. 28 (CM).
4Ibid., p. 166 (CM).
5Thomas Birch, The History of the Royal Society for Improving of Natural Knowledge, 4 vols (A. Millar, London, 1756–1757), vol. 4, p. 42.
6This elusiveness is explored in Elspeth Graham, ‘Ways of being, ways of knowing: fish, fishing, and forms of identity in seventeenth-century English culture’, in Animals and early modern identity (ed. Pia F. Cuneo), pp. 351–373 (Ashgate, Farnham, 2014). The phrase ‘slippery denizens’ comes from Matthew C. Hunter, Wicked intelligence: visual art and the science of experiment in Restoration London (University of Chicago Press, Chicago, 2013), p. 69.
7Brian Ogilvie, The science of describing: natural history in Renaissance Europe (University of Chicago Press, Chicago, 2008), p. 259.
8The book was originally envisioned as two separate works; one work containing texts, and the other (to bear the name Icthyographia) illustrations. While the works were published together as one book, each retains its own title page. See Adrian Johns, The nature of the book: print and knowledge in the making (University of Chicago Press, Chicago, 2000), p. 489.
9A print proof of the frontispiece, without title and affiliation engraved in, can be found in Francis Willughby's archive in the Middleton Collection, Manuscripts and Special Collections, University of Nottingham (henceforth Middleton Collection). The illustration is part of his notebooks encompassing illustrations of, inter alia, birds, fishes, insects and flowers (shelfmark Mi LM 24/170).
10Anna Marie Roos has suggested that the ship on the title page is a visual nod to the one displayed on Bacon's Instauratio magna (John Bill, London, 1620). See Anna Marie Roos, Web of nature: Martin Lister (1639–1712), the first arachnologist (Brill, Leiden, 2011), p. 325.
11For a discussion of title pages of natural historical works on fish, see Paul J. Smith and Didi van Trijp, ‘Dynamiques européennes de l'humanisme érudit dans l'histoire naturelle: le cas de l'ichtyologie, de Belon, Rondelet et Gessner à Willughby et Ray’, in L'humanisme à l'épreuve de l'Europe (XVe–XVIe siècles) (ed. Denis Crouzet, Elisabeth Crouzet-Pavan, Philippe Desan and Clémence Revest), pp. 167–181 (Champ Vallon, Ceyzérieu, 2019).
12Volker R. Remmert, ‘“Docet parva picture, quod multae scripturae non dicunt”: frontispieces, their functions, and their audiences in seventeenth-century mathematical sciences’, in Transmitting knowledge: words, images, and instruments in early modern Europe (ed. Sachiko Kusukawa and Ian Maclean), pp. 239–270 (Oxford University Press, Oxford, 2006), at p. 240.
13For a detailed study of the sources for the book, see Sachiko Kusukawa, ‘Historia piscium (1686) and its sources’, in Virtuoso by nature: the scientific worlds of Francis Willughby (FRS) (ed. Tim R. Birkhead), pp. 305–334 (Brill, Leiden, 2016).
14Other studies of the Historia piscium can be found in Kusukawa, op. cit. (note 13); Sachiko Kusukawa, ‘The Historia piscium (1686)’, Notes Rec. R. Soc. Lond. 54, 179–197 (2000); and Charles E. Raven, John Ray, naturalist: his life and works (Cambridge University Press, 1942), esp. pp. 339–370.
15It was indeed often men; no fishwives figure in the sources examined here. In England, fishwives were not allowed to sell inside public marketplaces: see Alena Buis, Christi Spain-Savage and Myra E. Wright, ‘Attending to fishwives: views from seventeenth-century London and Amsterdam’, in Mapping gendered routes and spaces in the early modern world (ed. Merry E. Wiesner-Hanks), pp. 177–200 (Ashgate, Farnham, 2015), at p. 193.
16Original Latin: ‘Salmo adversus fluvios perpetuo nititur, cumque in ascensu sepem vel aliud hujusmodi obstaculum invenerit, in circulum flexo corpore caudam ore apprehendit, eamque mordicus tenens, iterumque dimittens magno impetu transilit. Author de natura rerum apud Gesner. Hoc à plurimis piscatoribus assidue fieri multoties audivimus. Quod Salmones ad saliendum agillimi sunt, libenter concedimus, & experientia quotidiana confirmat: verum quod de caudae apprehensione fertur minus verisimile nobis videtur.’ Hist. pisc., p. 192.
17Conrad Gessner, Historia animalium liber IV (Christopher Froschauer, Zurich, 1558), p. 974. This part is devoted to fish and other aquatic animals.
18For example, Pierre Belon, Hippolyto Salviani, Ulysse Aldrovandi and Guillaume Rondelet. On the last, see Gillian Lewis, ‘The debt of John Ray and Martin Lister to Guillaume Rondelet of Montpellier’, Notes Rec. R. Soc. Lond. 66, 323–339 (2012).
19This debate is addressed in Isabelle Charmantier, Dorothy Johnston and Paul J. Smith, ‘The legacies of Francis Willughby’ in Birkhead, op. cit. (note 13), pp. 360–385, at pp. 382–385.
20Dorothy Johnston, ‘The life and domestic context of Francis Willughby’, in Birkhead, op. cit. (note 13), pp. 1–43, at pp. 1–2.
21Kusukawa, op. cit. (note 14), p. 187; for Lister's contributions, see Roos, op. cit. (note 10), pp. 318–332.
22For example, the experiment for determining the centres of gravity for a pilchard and a herring by holding the specimens by the tip of their back-fin: Tancred Robinson, letter to John Ray, 8 September 1685, in Edwin Lankester (ed.), The correspondence of John Ray (The Ray Society, London, 1848), p. 174; see also Hist. pisc., p. 224.
23Kusukawa, op. cit. (note 14), pp. 179, 187.
24Not to the exclusion of engagement with texts: see Fabian Krämer, Ein Zentaur in London. Lektüre und Beobachtung in der frühneuzeitlichen Naturforschung (Didymos Verlag, Korb, 2014), p. 380.
25Original Latin: ‘duntaxat tradere quae vel nobismetipsis & amicis observata essent, vel idoneos & fide dignos testes & auctores haberent’. Hist. pisc., appendix, p. 30.
26See, for example, Alberto Vanzo (ed.), Experience in natural philosophy and medicine, special issue of Perspectives Sci. 24, 255–379 (2016); Ogilvie, op. cit. (7), pp. 17–23.
27Peter Dear, Discipline and experience: the mathematical way in the Scientific Revolution (University of Chicago Press, Chicago, 1995), p. 109. See also ‘experientia constat’, Hist. pisc. p. 7; ‘experientia didicimus’, ibid., pp. 9, 16; ‘id quod experientia mihi confirmavit’, ibid., p. 246.
28Gianna Pomata, ‘Observation rising: birth of an epistemic genre, ca. 1500–1650’, in Histories of scientific observation (ed. Lorraine Daston and Elizabeth Lunbeck), pp. 45–80 (University of Chicago Press, Chicago, 2011).
29While it is impossible to do justice to the intricacies of Bacon's epistemology or historiography here, I mention particularly on natural history Guido Giglioni, Dana Jalobeanu and Sorana Corneanu (eds), Francis Bacon and the reconfiguration of early modern natural history, special issue of Early Sci. Med. 17, 1–271 (2012).
30Guido Giglioni, ‘Learning to read nature: Francis Bacon's notion of experiential literacy (Experientia Literata)’, Early Sci. Med. 18, 405–434 (2013), at p. 409.
31Francis Bacon, The Instauratio magna part II: Novum organum and associated texts (ed. Graham Rees and Maria Wakely) (Oxford University Press, Oxford, 2004), p. 451.
32Ibid., pp. 16–17.
33Dana Jalobeanu, ‘Disciplining experience: Francis Bacon's experimental series and the art of experimenting’, Perspectives Sci. 24, 324–342 (2016), at p. 336.
34Deborah E. Harkness, The jewel house: Elizabethan London and the Scientific Revolution (Yale University Press, New Haven, 2007), p. 213.
35Florike Egmond, ‘On northern shores: sixteenth-century observations of fish and seabirds (North Sea and North Atlantic)’ in Naturalists in the field: collecting, recording and preserving the natural world from the fifteenth to the twenty-first century (ed. Arthur MacGregor), pp. 129–148 (Brill, Leiden, 2018), at p. 131.
36Anthony Grafton, ‘Philological and artisanal knowledge making in Renaissance natural history: a study in cultures of knowledge’, Hist. Humanities 3, 39–55 (2018), at pp. 43–45.
37Monica Azzolini, ‘Talking of animals: whales, ambergris, and the circulation of knowledge in seventeenth-century Rome’, Ren. Stud. 31, 285–318 (2017), at p. 318.
38Steven Shapin, A social history of truth: civility and science in seventeenth-century England (University of Chicago Press, Chicago, 1994), pp. 122–123.
39Kusukawa, op. cit. (note 13), p. 333.
40Steven Shapin and Simon Schaffer, Leviathan and the air-pump: Hobbes, Boyle and the experimental life (Princeton University Press, Princeton, 1985), p. 58.
41Barbara Shapiro, A culture of fact: England 1550–1720 (Cornell University Press, Ithaca, 2000), p. 140.
42Peter Dear, ‘Totius in verba: rhetoric and authority in the early Royal Society’, Isis 76, 144–161 (1985), at p. 156.
43Philippa Hellawell, ‘“The best and most practical philosophers”: seamen and the authority of experience in early modern science’, Hist. Sci. 58, 28–50 (2019), at p. 32.
44Felicity Henderson, ‘Robert Hooke and the visual world of the Royal Society’, Perspectives Sci. 27, 395–434 (2019), at p. 397.
45Steven Pumfrey, ‘Who did the work? Experimental philosophers and public demonstrators in Augustan England’, Brit. J. Hist. Sci. 28, 131–156 (1995), at p. 153.
46Bacon, op. cit. (note 31), p. 131. It is important to note that he did not apply the notions experientia, experimentum and observatio too strictly: see Lorraine Daston, ‘The empire of observation, 1600–1800’, in Daston and Lunbeck op. cit. (note 28) pp. 81–113, at p. 83.
47Peter Anstey, ‘Philosophy of experiment in early modern England: the case of Bacon, Boyle and Hooke’, Early Sci. Med. 19, 103–132 (2014); Michael Hunter, ‘Robert Boyle and the early Royal Society: a reciprocal exchange in the making of Baconian science’, Brit. J. Hist. Sci. 40, 1–23 (2007).
48For example, 25 June 1662, JBO/1/66; 15 April 1663, JBO/1/159; 30 December 1663, JBO/2/23; all in Library and Archives of the Royal Society, London. Richard Shortgrave (d. 1676) may have been the Operator: see Marie Boas Hall, Promoting experimental learning: experiment and the Royal Society, 1660–1727 (Cambridge University Press, Cambridge, 1991), p. 27.
49Entry of 18 June 1662, JBO/1/66, Library and Archives of the Royal Society, London.
50Entry of 24 June 1663, JBO/1/194, Library and Archives of the Royal Society, London.
51For a discussion of the early Philosophical Transactions, see Adrian Johns, ‘Miscellaneous methods: authors, societies and journals in early modern England’, Brit. J. Hist. Sci. 33, 159–186 (2000), at pp. 165–174.
52Robert Boyle, ‘New pneumatical experiments about respiration’, Phil. Trans. R. Soc. Lond. 5, 2011–2031 (1670), at p. 2011.
53Ibid., p. 2024.
54Ibid., p. 2025. The specimen lived for some 10 days more; Boyle's postscript that ‘divers Gudgeons since taken dy'd there in much fewer dayes’ (ibid., p. 2026) suggests that several trials were run.
55Hist. pisc., p. 8.
56Similar questions are asked in A. I. and Robert Boyle, ‘A conjecture concerning the bladders of air that are found in fishes, communicated by A.I.; and illustrated by an experiment suggested by the Honorable Robert Boyle’, Phil. Trans. R. Soc. Lond. 10, 310–311 (1675). The experiment entailed placing a specimen into a tall, long-necked vessel filled with water, and observing whether upward or downward motions of the fish caused changes in the water level.
57Michael Hunter, ‘A “college” for the Royal Society: the abortive plan of 1667–1668’, Notes Rec. R. Soc. Lond. 38, 159–186 (1984), at p. 159.
58Robert Hooke, The diary of Robert Hooke, 1672–1680 (ed. Henry W. Robinson and Walter Adams) (Taylor and Francis, London, 1935), pp. 430–431. See also Hunter, op. cit. (note 6), p. 118.
59Rob Iliffe, ‘Material doubts: Hooke, artisan culture and the exchange of information in 1670s London’, Brit. J. Hist. Sci. 28, 285–318 (1995), at p. 286.
60See Noah Moxham, ‘Edward Tyson's Phocaena: a case study in the institutional context of scientific publishing’, Notes Rec. R. Soc. Lond. 66, 235–252 (2012).
61Adrian Johns, ‘Coffeehouses and print shops’, in The Cambridge history of science (ed. Katherine Park and Lorraine Daston), pp. 320–340 (Cambridge University Press, Cambridge, 2006), at p. 336.
62The Fellows asked them to conduct experiments and make observations while at sea, for example recording species of birds and fish, and magnetic variations of the tides. Hellawell, op. cit. (note 43), pp. 36, 46.
63Ibid., pp. 33–34.
64Steven Shapin, ‘The invisible technician’, Am. Scientist 77, 544–563 (1989); Rob Iliffe (ed.), Technicians, special issue of Notes Rec. R. Soc. Lond. 62, 3–148 (2008).
65Pamela O. Long, Artisan/practitioners and the rise of the new sciences, 1400–1600 (Oregon State University Press, Corvallis, OR, 2011); Pamela Smith, The body of the artisan: art and experience in the Scientific Revolution (University of Chicago Press, Chicago, 2004).
66Azzolini, op. cit. (note 37), pp. 299–301.
67Ruth Ahnert, ‘Maps versus networks’, in News networks in early modern Europe (ed. Joad Raymond and Noah Moxham), pp. 130–157 (Brill, Leiden, 2016), at pp. 131, 140.
68Cl.P.15i/8, Classified Papers, Library and Archives of the Royal Society, London. It was read on 23 September 1663 and brought in by John Graunt (1620–1674).
69Ibid.
70An overview of the various types of fishing in different European regions can be found in A. R. Michell, ‘The European fisheries in early modern history’, in The Cambridge economic history of Europe (ed. E. E. Rich and C. H Wilson), pp. 133–184 (Cambridge University Press, Cambridge, 1977).
71An exception for the sixteenth century is Adriaen Coenen (1514–1587), author of the manuscript entitled Visboeck (Fish book). He is discussed in Egmond, op. cit. (note 35), pp. 132–139.
72These travels are chronicled in John Ray, Observations Topographical, Moral and Physiological, Made in a Journey through Part of the Low-Countries, Germany, Italy and France (John Martyn, London, 1673); and Philip Skippon, ‘An Account of a Journey Made Thro. Part of the Low Countries, Germany, Italy and France’, in A Collection of Voyages and Travels (ed. Awnsham Churchill and John Churchill), 6 vols, vol. 6, pp. 359–736 (Messrs Churchill, London, 1732). See also Mark Greengrass, Daisy Hildyard, Christopher D. Preston and Paul J. Smith, ‘Science on the move: Francis Willughby's expeditions’, in Birkhead, op. cit. (note 13), pp. 142–226.
73As quoted in Raven, op cit. (note 14), p. 365.
74Ray, op. cit. (note 72), p. 362.
75Skippon, op. cit. (note 72), p. 496; Kusukawa, op. cit. (note 13), p. 323.
76James Delbourgo, Collecting the world: the life and curiosity of Hans Sloane (Allen Lane, London, 2017), p. 91.
77John Ray, The Wisdom of God Manifested in the Works of the Creation (W. Innys, London, 1691), p. 78.
78Kusukawa, op. cit. (note 13), p. 313.
79James Delbourgo, ‘Divers things: collecting the world underwater’, Hist. Sci. 49, 149–185 (2011), at p. 155.
80John Ray, letter to Tancred Robinson, 13 March 1684, in Lankester, op. cit. (note 22), p. 164.
81Tim R. Birkhead, Paul J. Smith, Meghan Doherty and Isabelle Charmantier, ‘Willughby's ornithology’, in Birkhead op. cit. (note 13), pp. 268–304, at p. 268.
82Kusukawa, op. cit. (note 14), pp. 182–184.
83Kusukawa, op. cit. (note 13), p. 308.
84See the descriptions of ‘Mustelus laevis secundus’ and ‘Mustelus laevis primus’ in Hist. pisc., p. 51 and p. 60 respectively.
85Birkhead et al., op. cit. (note 81), p. 269.
86Kusukawa, op. cit. (note 14), p. 183.
87Ray worked on the plants, Willughby on the animals. John Wilkins, An Essay Towards a Real Character, and a Philosophical Language (S. Gellibrand and John Martyn, London, 1668).
88David Cram, ‘Francis Willughby and John Ray on words and things’, in Birkhead, op. cit. (note 13), pp. 244–267, at p. 255.
89Kusukawa, op. cit. (note 14), p. 184.
90John Ray, ‘An account of the dissection of a Porpess, promised numb. 74; made, and communicated in a letter of Sept. 12 1671, by the learned Mr. John Ray, having there in obser'd some things omitted by Rondeletius’, Phil. Trans. R. Soc. Lond. 76, 2274–2279 (1671), at p. 2274.
91Hist. pisc., p. 32.
92Kusukawa, op. cit. (note 13), p. 316.
93Middleton Collection, Mi LM/12–15; 14 and 15 are reproduced in Tim R. Birkhead, The wonderful Mr. Willughby: the first true ornithologist (Bloomsbury, London, 2018), p. 120.
94Nehemiah Grew, Musaeum Regalis Societatis, or, A catalogue & description of the natural and artificial rarities belonging to the Royal Society and preserved at Gresham Colledge (W. Rawlins, London, 1681).
95It included the ‘rib of a triton, or mareman’, whale bones, seals, the claw of a lobster and the heads of manatees and dolphins—attesting to the wide category that ‘fish’ could cover in this period. Grew, op. cit. (note 94), pp. 81–103.
96Michael Hunter, Establishing the new science: the experience of the early Royal Society (Boydell Press, Suffolk, 1989), p. 152.
97Peter Davis, ‘Collecting and preserving fish: a historical perspective’, in MacGregor, op. cit. (note 35), pp. 149–165; Marlise Rijks, ‘Scales, skins, and carapaces in Antwerp collections’, in The matter of mimesis: studies on mimesis and materials in nature, art and science (ed. M. Bol and E. Spary) (Brill, Leiden, forthcoming).
98Original Latin: ‘Figurae Novae, quae non paucae sunt, pugione notantur’; the daggers have not, however, been consistently applied: see Kusukawa, op. cit. (note 14), p. 186.
99Kusukawa, op. cit. (note 13), pp. 307, 318–332.
100Engravings of 12 collection specimens were incorporated into the Historia piscium, inscribed M.R.S. for Musaeum Regalis Societatis.
101Roos, op. cit. (note 10), p. 322.
102Anon., ‘A Book of Fishes done at Hamburgh, with Mr Ray's Notes’, Sloane manuscripts Add. MS 5308c, British Library, London; I thank Sachiko Kusukawa for drawing my attention to this source.
103Original Latin: ‘Non sunt distincta species, sed ejusdem piscis pars supina et prona’ (Anon., op. cit. (note 102), f. 2v); ‘male pingitur’ (ibid., f. 5v).
104See Sachiko Kusukawa, ‘Ad vivum images and knowledge of nature in early modern Europe’, in Ad vivum? Visual materials and the vocabulary of life-likeness in Europe before 1800 (ed. Thomas Balfe, Joanna Woodall and Claus Zittel), pp. 89–121 (Brill, Leiden, 2019).
105Birkhead et al., op. cit. (note 81), pp. 269–270.
106Ibid., p. 275.
107Compare the drawing of a spiky blowfish that Gessner had drawn, including a hook and tasselled string, with its printed counterpart in Gessner, op. cit. (note 17), p. 155, where these have not been represented, although a trace is still visible through a slight bump on the body. See Florike Egmond, Eye for detail: images of plants and animals in art and science 1500–1630 (Reaktion Books, London, 2017), pp. 160–163.
108Hist. pisc., table F1.
109Anon., op. cit. (note 102), f. 4v.
110Julie Berger Hochstrasser, ‘From the waters: fish still life’, in The magic of things: still-life painting, 1500–1800 (ed. Jochen Sander), pp. 185–211 (Hatje Cantz, Berlin, 2008), at p. 188; Anon., ‘Description of Isaac van Duynen's “Stilleven met vissen op een tafel”’, Hoogsteder J. 3, 21 (1997).
111Hist. pisc., pp. 220 and 178.
112John Ray, A Collection of English words, not generally used … in two alphabetical catalogues, … northern … [and] southern counties, with catalogues of English birds and fish, and an account of preparing … metals and minerals (Thomas Burrell, London, 1674).
113Ibid., p. 97.
114Hellawell, op. cit. (note 43), p. 44.
115Ray, op. cit. (note 112), p. 97.
116Hist. pisc., p. 182.
117Original Latin: ‘Piscator quidam senior Cornubiensis, quem super hac re aliisque consuluimus, nobis retulit duo Sprattorum genera in mari Cornubiam alluente capi, alterum Harengorum, alterum Pilcardorum, seu Celerinorum sobolem, quae à se invicem facile distingui possint. Pilcardi Cornubiae & Devoniae littora frequentant, ulterius in mari Britannico orientem versus raro progrediuntur; unde alibi circa Angliam unicum tantum Sprattorum genus invenitur.’ Hist. pisc., p. 221.
118Hist. pisc., pp. 95, 290; handwritten addition to species description in Willughby and Ray, op. cit. (note 1), table F1.
119John Ray, letter to Martin Lister, 19 December 1674, in Lankester, op. cit. (note 22), p. 113.
120Original Latin: ‘In sex autem species seu potius ordines …’; Hist. pisc., p. 220. I thank Hans Aili for sharing his translation of this passage.
121Ibid.
122Ibid.
123Johnson also shared observations on and specimens of birds and plants. Raven, op. cit. (note 14), pp. 249, 319. A biographical note can be found in Teesdale Record Society 15, 9–32 (1945).
124Ralph Johnson, letter to John Ray, 16 April 1677, in Lankester, op. cit. (note 22), p. 127.
125Original Latin: ‘Quae de celeri Salmunculorum in mari auctu ab Autoribus traduntur apud nos fidem non inveniunt: nostratis enim piscatores Salmones annuatim ab aetate distinguunt, ut superius diximus, neque ante sextum aetatis annum perfici aiunt.’ Hist pisc., p. 192.
126Hist. pisc., p. 196.
127Raven, op. cit. (note 14), p. 393.
128Peter Dent, letter to John Ray, 15 February 1674, in Lankester, op. cit. (note 22), pp. 15–17.
129Peter Dent, letter to John Ray, 15 February 1674, passage omitted in Lankester, but reproduced in Robert W. Theodore Gunther, The further correspondence of Ray (The Ray Society, London, 1928), p. 113.
130Where it was now claimed that the flair had fed all of the College's 120 alumni. Kusukawa, op. cit. (note 13), p. 331; and Hist. pisc., p. 69.
131Hist. pisc., p. 69.
132Peter Dent, letter to John Ray, undated, in Lankester, op. cit. (note 22), p. 120.
133Ibid.
134The portraits are at Nottingham University Library (Middleton Collection, Mi LM25/80) and Brown University. See Kusukawa, op. cit. (note 13), p. 320.
135Hans-R. Fluck and Albert Scharbach, ‘Leonhard Baldner: zu seinem Testament and Nachlassverzeichniss’, Rev. Alsace 142, 283–297 (2016), at p. 293. He also collected duties on the Rhine: see Armin Geus, ‘Leonhard Baldner, a Strasbourg fisherman’, Isis 55, 195–199 (1964), at p. 196.
136The copies are discussed in Birkhead, op. cit. (note 93), pp. 101–103.
137Leonhard Baldner, Vogel-, Fisch- und Thierbuch (Book of Birds, Fish and Animals), Add. MS 6485, British Library, London.
138Francis Willughby and John Ray, The Ornithology of Francis Willughby (John Martyn, London, 1678), p. vi.
139Ibid.
140Ibid. Ray did not read German, and used Frederick Slare's abridged translations of the species descriptions, Add. MS 6486, British Library, London, ff. 12r–23v. That Ray also engaged directly with Baldner's manuscript is demonstrated by the Latin names he added to some of its descriptions.
141Birch, op. cit. (note 5), vol. 4, p. 390.
142Original German: ‘Recht Naturliche Beschreibung Und abmahlung’ (Baldner, op. cit. (note 137), f. 1r); inserting the word ‘recht’, Baldner modestly says they are ‘almost’ natural.
143Middleton Collection, Mi LM 25/51.
144Hist. pisc., table Q1. Of the 40 drawings in Baldner, 25 were used. The other loose drawings are a perch (Middleton Collection, Mi LM 25/58) and a portrait (Middleton Collection, Mi LM 25/80). The former is represented in Kusukawa, op. cit. (note 13), pp. 320–321.
145Original German: ‘Die Rothaugen sehen den Rottlen nicht ohngleich, seind aber von farben hüpscher, und Rothere Augen, und Schwümfedern, wie von dem abgemahlten zu sehen’ (Baldner, op. cit. (note 137), f. 135v.
146Hist. pisc., p. 249. Some confusion around the identification of this species is related in Birch, op. cit. (note 5), vol. 4, p. 390.
147Hist. pisc., preface.
148Baldner's manuscript is referenced on the following pages: Hist. pisc., pp. 105–107, 118, 201, 125, 227–228, 236, 248, 249, 250, 252–254, 259, 260–262, 265, 266.
149Baldner, op. cit. (note 137), f. 119r.
150Hist. pisc., pp. 201 and 125, cf. Baldner, op. cit. (note 137), f. 121r and f. 134r.
151Baldner, op. cit. (note 137), f. 125r.
152Ibid., ff. 121v–122r. In his German history of fish, Gessner states that carp are sometimes born from chaos and dirt, and sometimes from seed and roe: see Conrad Gessner, Fischbuch (Christopher Froschauer, Zurich, 1563), pp. 164–165.
153Original German: ‘und ich alles selbst in meiner Hand gehabt, dieselbige nach dem leben abmahlen laszen, und wird ein jdes bey Seinem Nahmen genännet, und so viel ich bey einem jeden gelernt, in Seiner Natur, Kurtzlich ausz eigener erfahrung daszelbe beschrieben’. Baldner, op. cit. (note 137), f. 3v.
154Original German: ‘Und so mir Einer disze meine einfältige und geringe Arbeit, besser Verstehet, der wolle mirh, wo etwas gefehlt zu guth halten, Dann es von einem geringen Fischer und Weydman herkommet.’ Ibid., ff. 3v–4r.
155Original German: ‘So hab ich im Nahmen desz Herrn mein Netz und Fischerkarn ausz geworffen, und ein wenig von dem was ich erlernt, und in Dreysig Jahren dabey Studiert hab, ein wenig wollen anzeigen.’ Ibid., f. 4r.
156Original Latin: ‘Quo cibo utantur Salmones cum Autores diffentire videam, experientia consulenda est.’ Hist. pisc., p. 192.
157Birch, op. cit. (note 5), vol. 3, p. 425. See also Felicity Henderson, ‘Translation in the circle of Robert Hooke’, in Translating early modern science (ed. Sietske Fransen, Niall Hodson and Karl A. E. Enenkel), pp. 17–40 (Brill, Leiden, 2017), at p. 17.
158Ralph Johnson, letter to John Ray, 16 April 1677, in Lankester, op. cit. (note 22), p. 128.
159Ibid.
160This historiography has become too vast to list exhaustively, but see, for example, Jim Bennett and Rebekah Higgitt (eds), London 1600–1800: communities of natural knowledge and artificial practice, special issue of Brit. J. Hist. Sci. 52, 183–343 (2019); Harkness, op. cit. (note 34); Long, op. cit. (note 65); and Smith, op. cit. (note 65).
161On the port of London as a (continued) source for faraway species, see Arthur MacGregor, ‘Patrons and collectors: contributors of zoological subjects to the works of George Edwards (1694–1773)’, J. Hist. Coll. 25, 35–44 (2013), at p. 36.
162Kathleen H. Ochs, ‘The Royal Society of London's history of trades programme: an early episode in applied science’, Notes Rec. R. Soc. Lond. 39, 129–158 (1985), at p. 130.
163Jasmine Kilburn-Toppin, ‘“A place of great trust to be supplied by men of skill and integrity”: assayers and knowledge cultures in late sixteenth- and seventeenth-century London’, in Bennett and Higgitt, op. cit. (note 160), pp. 197–223, at p. 222.
164Hist. pisc., p. 246; Leonard Mascall, A Booke of Fishing with Hooke & Line, and of All Other Instruments There-unto Belonging (John Wolfe, London, 1590), p. 8.
165See, for example Hist. pisc., pp. 219, 320.
166D. Graham Burnett, Trying Leviathan: the nineteenth-century court case that put the whale on trial and challenged the order of nature (Princeton University Press, Princeton, 2007), pp. 95–145; Peter S. Alagona, ‘Species complex: classification and conservation in American environmental history’, Isis 107, 738–761 (2016), at p. 753.
|
||||
8327
|
dbpedia
|
2
| 46 |
https://www.theguardian.com/artanddesign/2009/feb/14/anthony-van-dyck-portrait-painting
|
en
|
Dressed to impress
|
[
"https://sb.scorecardresearch.com/p?c1=2&c2=6035250&cv=2.0&cj=1&cs_ucfr=0&comscorekw=Van+Dyck%2CArt%2CArt+and+design%2CCulture%2CPainting",
"https://i.guim.co.uk/img/static/sys-images/Arts/Arts_/Pictures/2009/2/13/1234543339415/Anthony-van-Dycks-portrai-002.jpg?width=465&dpr=1&s=none"
] |
[] |
[] |
[
""
] | null |
[
"Guardian staff",
"Keith Thomas"
] |
2009-02-14T00:00:00
|
<p>Van Dyck, unmatched for bravura, brought emotion and movement to British portrait painting, writes <strong>Keith Thomas</strong></p>
|
en
|
the Guardian
|
https://www.theguardian.com/artanddesign/2009/feb/14/anthony-van-dyck-portrait-painting
|
No painter has done more to define an era than Anthony van Dyck. His portraits of King Charles I, Queen Henrietta Maria and the courtiers who surrounded them are images of regal majesty, gilded youth and feminine beauty. They evoke an age of sumptuous costume and cultivated ease. The feelings they arouse are similar to those produced by yellowing snapshots of young men and women enjoying the long, hot summer of 1914. All this colour and languid elegance was shortly to be swept away in a bloody war, which would slaughter many of the men, widow the women, bring down the whole edifice of divine-right monarchy and culminate in the public execution of that same ruler whom Van Dyck had represented as a Christlike figure, a loving father and husband, and the epitome of dignity and melancholy sensitivity.
Nowadays, when we expect no more of royal painters than we do of poets laureate, it seems strange to think of the monarchy as the driving force behind the cultural avant garde. But the new exhibition at Tate Britain convincingly shows that Charles I's patronage of the Flemish painter created a revolution in British portrait painting whose reverberations continued to be felt well into the 20th century.
Van Dyck spent only seven and a half years of his short life (1599-1641) in England. He grew up in Antwerp, where his precocious talent was recognised by Peter Paul Rubens, the greatest painter of the age. He worked in Rubens's studio and imitated his style as a religious artist, painting biblical scenes redolent of the lush piety of the counter-reformation. But soon he was on the move. In 1620, he visited London for a few months, long enough to paint a history picture, The Continence of Scipio, for the royal favourite, George Villiers, Marquess of Buckingham, and a portrait of his other English patron, the great art collector Thomas Howard, 2nd Earl of Arundel.
He spent most of the next five years in Italy, chiefly in Genoa, making imposing portraits of the wealthy aristocracy of that city in their sombre palazzi. In Venice he indulged his passion for Titian, whose works he sketched, copied and, when possible, added to his own personal art collection. He returned to the Spanish Netherlands in 1627, becoming court artist to Archduchess Isabella, painting great religious and mythological canvases and producing some of his finest portraits. Restless as ever, he departed in 1631 to The Hague to paint the Dutch ruler Frederick Henry, Prince of Orange, before accepting Charles I's invitation in 1632 to come to England. By this time he was recognised as the leading court painter in Europe, with Velázquez at the court of Philip IV of Spain his only rival. He also excelled as a superbly observant painter of children and (even more appealing to the English nobility) dogs.
In London Van Dyck was knighted, paid an annual pension of £200 and installed in a house at Blackfriars, with a special jetty at which the royal barge might tie up when Charles I was visiting his studio. Yet he had no intention of settling there for good. His second English period was interrupted by a year-long visit to Antwerp and Brussels, where he did some of his best work; and he spent the last year of his life feverishly travelling to Flanders and Paris, which he had hoped would be his next destination.
Van Dyck was a small man, expensively dressed and with courtly manners. He lived in great style, keeping horses, carriages and a retinue of servants. Well accustomed to painting grandees, he was socially at ease with his royal and aristocratic patrons. He worked all day and his output was prodigious. He had a crowded appointment book and gave his sitters only an hour at a time, during which he made a preliminary sketch in crayon and painted the face. His assistants then filled in the outline on the canvas, and painted the clothes (provided by the sitter), while Van Dyck saw to the head and the hands, the latter taken from one of the models, male and female, whom he kept for that purpose. When his assistants had done their bit, the master would add the finishing touches. In this way he was able to work on several portraits at the same time and to complete them at the rate of roughly one a week.
There had been some good Netherlandish painters at the English court before him. But even the best royal portraits by Paul van Somer and Daniel Mytens appeared stiff and awkward by the side of Van Dyck's dashingly fluid and energetic work, with its delicate flesh tones, graceful postures and shimmering drapery. Van Dyck brought emotion, movement and psychological insight. For sheer bravura he was unmatched. Mytens, his predecessor as royal painter, was totally eclipsed and went back to Holland.
Van Dyck introduced new genres into English painting: groups of children without their parents; "friendship portraits" of pairs of men or women; Titianesque poses of the ruler on horseback, the hunter with his loyal dog or the statesman with his attentive secretary; allegorical pictures of aristocrats posing as figures in pagan or Christian mythology or clad in the costume of pastoral romance; portraits of men and women against a background of curtains, classical columns, bare rocks or wild landscape, each carrying a different symbolic meaning.
A haberdasher's son, Van Dyck was intensely interested in clothes. His English portraits of women often show a preference for informal dress: loose shifts, flowing drapery, open necks, bare bosoms and uncovered lower arms (so much quicker to paint than intricate lace collars and cuffs, and also more titillating - the bare arm, it has been said, was to the 1630s what the ankle was to the Victorians). This was what the poet Herrick meant by "a sweet disorder in the dress"; no one represented that liquefaction of the clothes better than Van Dyck. He loved exotic costumes, such as the "Persian" dress in which he painted Sir Robert and Lady Shirley, or the Indian pyjamas worn by the oriental traveller William Feilding, Earl of Denbigh. Many of his subjects wear fantasy costume, derived from the court masques of the 1630s. Van Dyck was the first "that e're put ladies' dress into a careless romance".
It is unlikely that Van Dyck did all this portrait painting by choice. In the accepted artistic hierarchy, portraits ranked far lower than scenes from history, mythology and the Bible. But there was no demand in Protestant England for altarpieces, though he did some religious pictures for the queen, and for his Catholic friend Sir Kenelm Digby. It was said that he produced some other historical paintings, but they have left no record. A grisaille, depicting the king and the garter knights in procession, recalls his never-completed plan for four large tapestries for the Banqueting House in Whitehall. His topographical drawings and landscape watercolours, of which a few survive, are remarkably impressive; and anticipate the great English tradition of Sandby, Girtin and Cotman. But the king's failure to commission from him any large figure paintings, other than the ravishing Cupid and Psyche, strikes modern connoisseurs as a major failure to appreciate where Van Dyck's greatest talents lay.
Charles I had amassed the best royal art collection in Europe, and his feeling for the visual arts was genuine. But, as the historian Kevin Sharpe makes clear in his chapter in the exhibition catalogue, his artistic patronage was more political in intention than aesthetic. Van Dyck depicted the little, stammering king as a superior being, whether confidently mounted on the great horse like a Roman emperor, sitting benignly among his young family or standing relaxed in the hunting field. His images of the royal family project the values of peace, harmony, marital love, paternal concern and dynastic fruitfulness. They imply that Charles's right to rule stemmed as much from his innate superiority as from his coronation and legitimate descent.
Similarly Van Dyck's portraits of the aristocracy are meant to prove that true nobility stemmed from virtue rather than birth. The younger men exude an aura of elegance and refinement, the older ones self-control and moral strength. As for the women, Charles liked their faces to be "as beautiful as may be"; and their figures "gracious and svelta". The theory of platonic love, much in vogue at the queen's court, gave beauty a moral value. It was the symbol of virtue, a ladder for the heavenly ascent of the soul. The queen's niece, who knew her aunt only from Van Dyck's portraits, was astonished to discover that Henrietta Maria was a very small woman, with crooked shoulders, long skinny arms and protruding teeth. The Countess of Sussex was one of very few of Van Dyck's sitters to complain that her own portrait had not done her justice: "the face is so big and so fat that it pleases me not at all".
The men who wielded real power in the 1630s were treated more realistically. Van Dyck painted Titianesque portraits of the intense, brooding figure of Sir Thomas Wentworth, the king's strongman in Ireland, and an unadorned image of Archbishop William Laud, that "little low red-faced man", with his piercing gaze and air of impatient authority. This was the picture that in October 1640 fell from Laud's study wall, the string having broken. "God grant this be no omen," he entered in his diary. Two months later he was impeached for treason.
Many of Van Dyck's subjects became leaders of the parliamentary side in the civil war, and in appearance are indistinguishable from their royalist opponents. They included the earls of Bedford, Warwick, Northumberland, for whom Van Dyck rather surprisingly painted an elaborate crucifixion, and Pembroke, whose family is the subject of the magnificent group painting at Wilton House. One of Van Dyck's most subtle portraits is widely believed to be of Sir Thomas Chaloner, who was a signatory to Charles I's death warrant. The English aristocracy were divided in the civil war, but these portraits suggest that previously they had shared a remarkably homogeneous culture.
The king spent more on clothes in a single year than he paid Van Dyck throughout his time in England. As a way of sustaining the royal image, paintings were remarkably cheap by comparison with the other accoutrements of regal magnificence, such as jewellery, gold plate and tapestries. The great royal portraits were hung to dramatic effect at the end of long vistas in the royal palaces at St James's, Whitehall and Hampton Court. Only courtiers, foreign ambassadors and distinguished visitors could see them there, but Van Dyck's studio was kept busy manufacturing replicas to be distributed as gifts to the king's friends and to foreign rulers. Copies of Van Dyck's work proliferated: there are more than 50 versions of his Archbishop Laud alone, and his images were multiplied many times over in miniature paintings, enamels, etchings and engravings.
The exhibition at Tate Britain has a double purpose: to explore Van Dyck's impact on the England of his own day; and to trace his influence on British painting in subsequent centuries. It would be unreasonable to expect definitive treatment of either of these large themes. Five of the 133 items listed in the exhibition will not be exhibited. Among them, alas, are the enchanting portraits of Nicholas Lanier, master of the king's music, and Philip, Lord Wharton, in an Arcadian setting. Of the remainder, only 57 are by the artist himself, significantly fewer than were displayed in the National Portrait Gallery's exhibition Van Dyck in England in 1982. Many of the artist's most spectacular English achievements are absent - notably, Charles I in the Hunting Field, the most imaginative of all the royal portraits. By way of compensation, there are some relatively unfamiliar exhibits. The portrait of Anne Kirke from the Huntington in California is particularly fine; and from the Prado come the double portrait of Van Dyck with his friend, the courtier and connoisseur Endymion Porter, and the picture of the artist's wife, Mary Ruthven, with her "inticing Italianed eyes, able to confound a saint".
In its publicity, the Tate claims, on the basis of very slender evidence, that Van Dyck was personally involved with Katherine, Lady Stanhope, whose portrait will also be shown. "Van Dyck's lover to go on display," proclaimed BBC News. It would have been better to focus the tabloids' attention on the artist's mistress, Margaret Lemon (was that really her name, one wonders: "lemon" was the old English term for "lover"). She was probably the model for the stunningly erotic nude in Cupid and Psyche, bearing out the remark of a contemporary writer on art that her face was the least beautiful part of a beautiful woman: "though she hath a fair face beyond nature, yet putting off her clothes [she] seemeth to have no face at all, in regard of the other excellencies that were concealed".
Van Dyck died just when the Long Parliament was beginning to dismantle Charles I's regime. His art failed to save the king and may even have been counterproductive. In Protestant eyes, this devout Catholic was an idolater who painted female Catholic converts wearing crosses in their bosoms. At a time when the queen's Catholic faction at court was coming into the open, it was easy to see him as part of a popish plot to return England to Rome. In the 1640s, his image of Archbishop Laud was put to satirical use by Puritan cartoonists, and the elegant costumes of his courtly sitters taken as proof of royalist decadence. After the king's defeat, his wonderful art collection was put up for sale and his Van Dycks dispersed all over Europe.
Yet though Van Dyck could not prevent Charles's fall, he contributed powerfully to the cult of Charles the Martyr. The Commonwealth regime dismally failed to establish an alternative artistic style. Cromwell's chief portrait painter, Robert Walker, shamelessly painted parliamentarian heads on top of Van Dyckian bodies and based his portrait of the protector on Van Dyck's Wentworth. The engraver Pierre Lombart even reworked the magnificent Charles I on Horseback with M de St Antoine by substituting Cromwell's head for that of the king.
For the next 300 years, Van Dyck was the major influence on English portraiture. In his portraits of the sultry beauties of the Restoration court, Charles II's court painter Peter Lely followed Van Dyck's practice of painting women in loose undress, though without Van Dyck's allegorical dimension. The Restoration etcher Richard Gaywood reworked a print of Van Dyck's Margaret Lemon into a supposed portrait of Nell Gwyn. William III's court painter Godfrey Kneller based his portrait of the monarch on Van Dyck's Charles I in Robes of State
The mid-18th century witnessed the vogue of so-called "Vandyke" dress: loose shifts worn over chemises for women, with ribbons and rosettes; plain satin suits for men, with lace collars and cuffs. When Horace Walpole went to a masquerade in 1742, he saw "quantities of Vandykes, and all kinds of old pictures walked out of their frame". The drapery painter Joseph van Aken specialised in adding Van Dyck costumes to heads drawn by provincial artists. When the Dean of York got married in 1749, he and his bride were painted by Joseph Highmore wearing Van Dyck dress.
Nearly all the great 18th-century portraitists, from Pompeo Batoni and Allan Ramsay to Thomas Gainsborough and Joshua Reynolds, copied Van Dyck's costumes, poses and compositions. Johan Zoffany's group portrait of George III and his family was such a melange of Vandyckian motifs that Walpole thought it "ridiculous". The most famous of these imitations, Gainsborough's Blue Boy, taken from Van Dyck's George Villiers, 2nd Duke of Buckingham and Lord Francis Villiers, will not be on display at the Tate, but there are to be many other examples of Van Dyck's continuing influence, particularly on "swagger" portraits, flaunting their subjects' wealth, glamour and social superiority. The line runs though George IV's court painter, Thomas Lawrence, to those two notorious recorders of the Edwardian establishment at its most plutocratic, the American John Singer Sargent and the Hungarian Philip de Laszló. The latter's Mrs George Sandys (1915) is blatantly indebted to Van Dyck's Countess of Carlisle (1637). Sargent's Earl of Dalhousie, painted in 1900, the year of the great Van Dyck exhibition at the Royal Academy, wears a tropical suit and necktie, but his intolerable hauteur instantly recalls that of Lord John and Lord Bernard Stuart, those two disdainful youths depicted by Van Dyck around 1638.
The Tate exhibition will not contain many surprises for the expert, but it should afford most of us enormous visual pleasure; and it is likely to confirm the feeling, so hard to eradicate, that even if the Cavaliers were wrong, they were undoubtedly romantic.
|
|||||
8327
|
dbpedia
|
1
| 13 |
https://www.royalacademy.org.uk/art-artists/name/paul-van-somer
|
en
|
Royal Academy of Arts
|
http://www.royalacademy.org.uk/assets/burlington_house-559ef2c373c4586519e7adeea4e3e1ef.jpg
|
http://www.royalacademy.org.uk/assets/burlington_house-559ef2c373c4586519e7adeea4e3e1ef.jpg
|
[
"https://d1inegp6v2yuxm.cloudfront.net/royal-academy/image/upload/c_limit,cs_tinysrgb,dn_72,dpr_auto,f_auto,fl_progressive.keep_iptc,w_350/hu2c6yollfcn2npoaq59.jpeg"
] |
[] |
[] |
[
""
] | null |
[] | null |
The Royal Academy of Arts, located in the heart of London, is a place where art is made, exhibited and debated.
|
/assets/favicon-e93a1c04c22b9ad78053ef5c2c957ed9.ico
|
https://www.royalacademy.org.uk/art-artists/name/paul-van-somer
|
When should this exhibition be published?
|
||||
8327
|
dbpedia
|
0
| 24 |
https://www.mediastorehouse.co.uk/greetings-cards/fine-art-finder/artists/anthony-van-after-dyck/portrait-paul-van-somer-flemish-artist-court-23733788.html
|
en
|
Greetings Card of Portrait of Paul van Somer, Flemish artist
|
[
"https://monitor.fraudblocker.com/fbt.gif?sid=cnYdtc-59XGDbdNoyi6Mq",
"https://www.mediastorehouse.co.uk/templates/printstore/2951/images/framed-prints-and-wall-art.png",
"https://www.mediastorehouse.co.uk/icons/reviews-io.png",
"https://www.mediastorehouse.co.uk/image/690/23733788/23733788_600_600_4767_0_fill_0_cd7752e580f237668e8b4830717dddda.jpg",
"https://www.mediastorehouse.co.uk/image/690/23733788/23733788_600_600_4767_0_fill_ads_cd7752e580f237668e8b4830717dddda.jpg",
"https://www.mediastorehouse.co.uk/image/690/23733788/23733788_600_600_4767_0_fill_back_cd7752e580f237668e8b4830717dddda.jpg",
"https://www.mediastorehouse.co.uk/p/690/portrait-paul-van-somer-flemish-artist-court-23733788.jpg",
"https://www.mediastorehouse.co.uk/images/s3/100024/39-1-600.jpg",
"https://www.mediastorehouse.co.uk/images/sizing/medium_290_210.jpg",
"https://www.mediastorehouse.co.uk/images/4_Card_color_horizontal.png",
"https://www.mediastorehouse.co.uk/templates/printstore/2998/images/logo_60x60.gif",
"https://www.mediastorehouse.co.uk/t/106/elizabeth-cecil-countess-berkshire-j920198-5145919.jpg",
"https://www.mediastorehouse.co.uk/t/164/selection-fish-1935835.jpg",
"https://www.mediastorehouse.co.uk/t/731/apostle-paul-1627-15040608.jpg",
"https://www.mediastorehouse.co.uk/t/573/boothferry-park-stadium-fine-art-hull-city-14645869.jpg",
"https://www.mediastorehouse.co.uk/t/106/elizabeth-cecil-countess-berkshire-j920198-5145919.jpg",
"https://www.mediastorehouse.co.uk/t/164/british-national-anthem-rule-britannia-11551990.jpg",
"https://www.mediastorehouse.co.uk/t/210/everton-1946-47-5758740.jpg",
"https://www.mediastorehouse.co.uk/t/690/charles-i-chromolitho-23504394.jpg",
"https://www.mediastorehouse.co.uk/t/164/life-boarding-house-eric-ravilious-14265424.jpg",
"https://www.mediastorehouse.co.uk/t/106/tower-bridge-a076902-1338331.jpg",
"https://www.mediastorehouse.co.uk/t/690/portrait-lady-elizabeth-seymour-22685210.jpg",
"https://www.mediastorehouse.co.uk/t/164/anna-karenina-portrait-622400.jpg",
"https://www.mediastorehouse.co.uk/t/164/robert-burns-creations-577267.jpg",
"https://www.mediastorehouse.co.uk/icons/icon_facebook.jpg",
"https://www.mediastorehouse.co.uk/icons/icon_pinterest.jpg",
"https://www.mediastorehouse.co.uk/icons/reviews-io.png",
"https://www.mediastorehouse.co.uk/icons/icon_card.png",
"https://www.mediastorehouse.co.uk/images/logo_black.png",
"https://www.mediastorehouse.co.uk/icons/icon_facebook.jpg",
"https://www.mediastorehouse.co.uk/icons/icon_pinterest.jpg",
"https://www.mediastorehouse.co.uk/icons/currency-USD.png",
"https://www.mediastorehouse.co.uk/icons/currency-GBP.png",
"https://www.mediastorehouse.co.uk/icons/currency-EUR.png",
"https://www.mediastorehouse.co.uk/icons/currency-AUD.png"
] |
[] |
[] |
[
"portrait paul van somer flemish artist court"
] | null |
[] | null |
Greetings Card of 6338898 Portrait of Paul van Somer, Flemish artist and court painter to King James I of England
|
en
|
Media Storehouse Photo Greetings Card
|
https://www.mediastorehouse.co.uk/greetings-cards/fine-art-finder/artists/anthony-van-after-dyck/portrait-paul-van-somer-flemish-artist-court-23733788.html
|
favorite
Cards From Fine Art Finder
Portrait of Paul van Somer, Flemish artist and court painter to King James I of England, circa 1577-1621
6338898 Portrait of Paul van Somer, Flemish artist and court painter to King James I of England, circa 1577-1621 by Thomson, J. (19th century); (add.info.: Portrait of Paul van Somer, Flemish artist and court painter to King James I of England, circa 1577-1621. Paul Vansomer. Steel engraving by J. Thomson from Edward Walmsleys Physiognomical Portraits, One Hundred Distinguished Characters, John Major, London, 1826.); © Florilegius; out of copyright
Media ID 23733788
© Florilegius / Bridgeman Images
Antwerp Collar Court Painter Edward Walmsley Goatee John Major King James I Of England One Hundred Distinguished Characters Physiognomical Portraits Royal Court Ruff Steel Engraving Thomson Flemish Artist Paul Van Somer Paulus Van Somer Regency
Greetings Card (A5)
Elevate your greeting card game with our exquisite selection from the Media Storehouse range. Featuring the captivating Portrait of Paul van Somer by Thomson, this card showcases the Flemish artist's masterful brushstrokes and intricate detailing. As court painter to King James I of England, van Somer's work embodies the grandeur and sophistication of the Tudor era. Add a touch of history and artistry to your correspondence with this stunning fine art greeting card from Media Storehouse.
Create your own greetings card. Size when folded is A5 (14.5x21cm or 5.7x8.3 inches)
Greetings Cards suitable for Birthdays, Weddings, Anniversaries, Graduations, Thank You and much more
Estimated Image Size (if not cropped) is 14.5cm x 21cm (5.7" x 8.3")
Estimated Product Size is 29cm x 21cm (11.4" x 8.3")
These are individually made so all sizes are approximate
Artwork printed orientated as per the preview above, with portrait (vertical) orientation to match the source image.
FEATURES IN THESE COLLECTIONS
> Fine Art Finder > Artists > Anthony van (after) Dyck
> Fine Art Finder > Artists > J. Thomson
> Animals > Birds > Charadriiformes > Sandpipers > Ruff
> Animals > Mammals > Muridae > Paulus
> Arts > Artists > Related Images
> Arts > Artists > S > Paul van Somer
> Arts > Artists > T > James Thomson
> Arts > Artists > T > John Thomson
> Arts > Portraits
> Arts > Street art graffiti > Portraits > Fine art
> Europe > United Kingdom > England > London > Art > Paintings
> Europe > United Kingdom > England > London > Politics > John Major
EDITORS COMMENTS
This portrait print showcases Paul van Somer, a renowned Flemish artist and court painter to King James I of England during the late 16th and early 17th centuries. The image, captured by J. Thomson in the 19th century, provides a glimpse into the life and work of this influential figure. Van Somer's artistic talent flourished under the patronage of King James I, who greatly valued his skills. This steel engraving from Edward Walmsley's "Physiognomical Portraits" highlights Van Somer's distinct features - his intense gaze, refined ruff collar adorned with delicate lace, and a goatee that adds an air of sophistication to his countenance. Born in Antwerp but finding fame in England, Van Somer played a pivotal role in shaping the art scene at the royal court. His paintings reflected both his Flemish roots and English influences, creating a unique blend that captivated audiences. This historical artwork not only captures Van Somer's likeness but also serves as a testament to his significant contributions to art history during this period. It stands as an enduring reminder of his talent and influence within both regency circles and beyond. Bridgeman Images proudly presents this remarkable piece from their collection on Fine Art Finder for all art enthusiasts to appreciate and delve into the rich tapestry of Paul van Somer's life and legacy.
Rate this comment thumb_up thumb_down
MADE IN THE UK
Safe Shipping with 30 Day Money Back Guarantee
FREE PERSONALISATION*
We are proud to offer a range of customisation features including Personalised Captions, Color Filters and Picture Zoom Tools
SECURE PAYMENTS
We happily accept a wide range of payment options so you can pay for the things you need in the way that is most convenient for you
* Options may vary by product and licensing agreement. Zoomed Pictures can be adjusted in the Basket.
Related Images
Collections
|
|||||
8327
|
dbpedia
|
1
| 87 |
https://www.askart.com/artist/Marcus_Gheeraerts_the_Younger/11157350/Marcus_Gheeraerts_the_Younger.aspx
|
en
|
Marcus Gheeraerts, the Younger
|
[
"https://www.askart.com/photos/2022/COL20220707_144212/LG_5_1.jpg",
"https://www.askart.com/photos2/2019/HMU20190627_118815/LG_550_1.jpg"
] |
[] |
[] |
[
"Marcus Gheeraerts the Younger price art artist auction records"
] | null |
[] | null |
12 askART artist summary of Marcus Gheeraerts the Younger. Marcus Gheeraerts, the Younger (1561/62 - 1636) was active/lived in Netherlands, England. Marcus Gheeraerts the Younger is known for Portrait painting of notable persons, engraving.
|
https://www.askart.com/artist/Marcus_Gheeraerts_the_Younger/11157350/Marcus_Gheeraerts_the_Younger.aspx
|
Please note: Artists not classified as American in our database may have limited biographical data compared to the extensive information about American artists.
Creating biographies or improving upon them is a work in progress, and we welcome information from our knowledgeable viewers.
If you feel you have worthwhile information you would like to contribute, the following means of submission is the most efficient. We welcome your involvement!
1. For Premier Dealers and museums already registered with askART your best approach is to log in, choose the artist (once he/she is in your list of artists), and submit your biography there. If you are a dealer or museum not currently registered, please click here to register, and then you may select your artist and submit a biography.
2. For all others who have useful information about this artist, please email the information to registrar@askart.com. Please note: All biographies will be fully viewable on Fridays, but the rest of the week biographies are available only to subscribers.
Biography Guidelines
When submitting biographical information, we appreciate your consideration of the following:
Please keep in mind that askART is not a promotional site, and accordingly biographical information should not be worded for purposes of 'advertising' an artist.
Our site is about PAINTERS, SCULPTORS, and ILLUSTRATORS. If you do not know a great deal about the artist, but have noteworthy information to share, we would welcome you to send it also to registrar@askart.com. It is rewarding for all of us to see artists' files grow, and others may be eager to supplement what you have provided.
Non-Dealers and Museums:
Please introduce your information as follows: "The following biographical information has been provided by Jane Doe, the niece of the artist."
Dealers and Museums will be automatically credited with a link to their sites.
Just the facts, please. Our editors are trained to delete any hype or advertising verbiage such as “most famous,” “internationally renowned,” “extraordinarily beautiful works.”
If you do not know a great deal about the artist, answer as many of the following questions as you can. Other persons, seeing your entry, often add to the data. This is how many of the biographies grow.
Please include in your biography answers to as many of the following questions as possible:
Dealer Note: Please enter books, periodicals and museum references in the space provided. Do not combine book information with biography.
There are many strong biographies that you may refer to on our website, such as Cecilia Beaux, Edward Hopper, and Paul Sample. Please do not submit biographies with minimal facts or excessively promotional writing such as the following (unusable) wording:
What NOT to send:
"The artist John Doe is the quintessential master of light, color, and scene. His brilliant canvases are full of feeling, where love can be felt through all the senses. Through his skillful brushwork, and drawing from his life experiences, he creates images where the viewer feels he has truly become one with the subject. Doe's paintings are sure to be sought by the discriminating collector. I/we have numerous spectacular works by Doe available for sale."
We appreciate your participation in askART. If you have any questions about submitting biographies, please send them to registrar@askart.com
|
|||||||
8327
|
dbpedia
|
3
| 4 |
https://research.rkd.nl/en/detail/https%253A%252F%252Fdata.rkd.nl%252Fartists%252F73860
|
en
|
RKD Research
|
https://research.rkd.nl/logo/favicon.ico
|
https://research.rkd.nl/logo/favicon.ico
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
Het RKD beheert, behoudt, onderzoekt en ontsluit kunsthistorische kennis en informatie voor musea, wetenschap en publiek.
|
en
|
/logo/favicon.ico
| null | ||||
8327
|
dbpedia
|
3
| 88 |
https://www.rct.uk/collection/people/james-i-king-of-great-britain-1566-1625-james-vi-of-scotland-and-i-of-england
|
en
|
1625) [James VI of Scotland and I of England]
|
[
"https://www.rct.uk/_next/static/media/logo.911c3366.svg",
"https://www.rct.uk/_next/static/media/down-arrow.49a9c909.svg",
"https://www.rct.uk/_next/static/media/down-arrow.49a9c909.svg",
"https://www.rct.uk/_next/static/media/down-arrow.49a9c909.svg",
"https://www.rct.uk/_next/static/media/down-arrow.49a9c909.svg",
"https://www.rct.uk/_next/static/media/trolley.0e02cdf1.svg",
"https://www.rct.uk/_next/static/media/mobile-menu-icon.dd74d765.svg",
"https://www.rct.uk/_next/static/media/loader.7fd276f2.svg",
"https://www.rct.uk/_next/static/media/facebook.03ff5e1b.svg",
"https://www.rct.uk/_next/static/media/instagram-gradient.51d150ed.svg",
"https://www.rct.uk/_next/static/media/yt_icon_rgb.f955afdc.svg",
"https://www.rct.uk/_next/static/media/x.c6568671.svg",
"https://www.rct.uk/_next/static/media/contact.6649d275.svg"
] |
[] |
[] |
[
""
] | null |
[] | null |
James I was the only child of Mary, Queen of Scots and Lord Darnley, both of whom were great-grandchildren of https://www.rct.uk/collection/people/henry-vii-king-of-england-1457-1509 target=_blank>Henry VII. On the death of https://www.rct.uk/collection/people/elizabeth-i-queen-of-england-1533-1... target=_blank>Elizabeth I in 1603, he moved south and became the first monarch of the Stuart dynasty in England.By the time James VI of Scotland came to take up the English throne, he was married to https://www....
|
en
| null |
Keep in touch
Sign up to e-mail updates for the latest news, exclusive events and 15% off in our online shop.
We will look after your data in accordance with our Privacy Notice.
|
||||||
8327
|
dbpedia
|
1
| 29 |
https://www.art-prints-on-demand.com/a/somer-paul-van/anne-of-denmark-1.html
|
en
|
Paul van Somer as art print or hand painted oil.
|
[
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/product-pics/content/Icons-Slider/08-kunstwerke-im-angebot.svg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/product-pics/content/Icons-Slider/16-unsere-top-kuenstler.svg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/product-pics/content/Icons-Slider/03-kollektion.svg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/product-pics/content/Icons-Slider/07-bestseller.svg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/product-pics/content/Icons-Slider/15-fotos-hochladen.svg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/product-pics/content/Icons-Slider/10-fotografie.svg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/product-pics/content/Icons-Slider/06-kunststile-und-epochen.svg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/product-pics/content/Icons-Slider/05-malerei.svg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/product-pics/content/Icons-Slider/09-kunstwerke-nach-farbe-suchen.svg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/product-pics/content/Icons-Slider/13-museumregister.svg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/product-pics/content/Icons-Slider/12-neuheiten.svg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/topnavi/logos/svg/art-prints-on-demand-com.svg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/topnavi/logos/mobile/art-prints-on-demand-com.svg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/template-pics/Startseite/25_engl_waagerecht.svg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/kunst/paul_van_somer/anne_denmark_bal72736_hi.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/shadow_u_small.png",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/shadow_rc.png",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/shadow_r_small.png",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/img/space.gif",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/template-pics/studiobackground/Sofa-10731_thm.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/Beton_H_thm.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/Badezimmer_H_thm.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/template-pics/studiobackground/Kommode_H_thm.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/template-pics/studiobackground/Fell_H_thm.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/template-pics/studiobackground/Landhaus_H_thm.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/template-pics/studiobackground/Wohnzimmer_Q_thm.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/template-pics/studiobackground/Flur_H_thm.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/template-pics/studiobackground/Buero_Q_thm.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/template-pics/studiobackground/Kommode_vor_blauer_Wand_100_170_thm.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/template-pics/studiobackground/Gruene_Kommode_190_250_thm.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/template-pics/studiobackground/Graue_Wand_mit_dem_Tisch_130_220_thm.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/template-pics/studiobackground/Kueche_220_280_thm.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/template-pics/studiobackground/Mauerwand_und_Pflanze_220_260_thm.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/template-pics/studiobackground/Rosa_Interieur_150_180_thm.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/template-pics/studiobackground/Schlafzimmer_170_210_thm.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/template-pics/studiobackground/Sessel_blaue_Wand_230_295_thm.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/template-pics/studiobackground/Weisse_Wand_130_160_thm.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/template-pics/studiobackground/Weisser_Stuhl_vor_weissen_Wand_130_210_thm.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/template-pics/studiobackground/Wohnraum_200_260_thm.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/template-pics/studiobackground/Keramikgefaesse_im_Regal_100_160_thm.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/template-pics/studiobackground/Arbeitsplatz_130_180-1_thm.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/template-pics/studiobackground/Sofa_vor_weisser_Mauer_80-1_thm.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/kunst/giovanni_segantini/thm_gsegantini_beschwoerung_der_mu.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/kunst/henri_de_toulouse_lautrec_736/thm_kartenspielendemaedch.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/kunst/josemaria_sertybadia/seventh_voyage_the_elephants_c_lo.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/kunst/noartist/v/thm_venedigilredentoreantependium_hi.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/kunst/mark_adlington/thm_de-siberie_adlington.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/kunst/adolph_friedrich_erdmann_von_m/thm_peintre_japonais_dans_iexposi_hi.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/kunst/noartist/the_camera_degli_elementi_hall_lo.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/kunst/nikola_bozidarovic/thm_annunciation_bal49321_hi.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/kunst/master_francke/thm_barbara_locked_tower_father_a_hi.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/kunst/martin_droelling/thm_Die-Tochter-des-Malers-eine-Zeichnung-kopierend.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/kunst/anne_robinson/thm_red_bowl_pastel_on_paper.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/kunst/paolo_uccello_456/thm_birth_virgin_detail_fresco_cy_hi.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/kunst/arnolfo_di_cambio/thm_interior_view_church_photo_hi.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/kunst/alfred_sisley_769/thm_Windy-Day-at-Veneux-Alfred-Sisley.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/kunst/sir_joshua_reynolds/thm_boy_black_hat_hi.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/kunst/fernand_loyen_du_puigaudeau/thm_village_normandy_hi.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/kunst/eigentl_dominikos_theotokopulo/thm_jakobusdae.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/kunst/james_clarke_hook/thm_rescue_brides_venice_hi.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/kunst/noartist/view_of_the_double_staircase_p_lo.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/kunst/anonymous/thm_exterior_rose_window_north_tr_hi.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/kunst/noartist/t/thm_tintorettovisiondeshlrochus_hi.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/kunst/french_school_19th_century/thm_men_in_combat_with_amazons_mou_hi.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/kunst/robert_campin/thm_mourning_trinity_throne_god_hi.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/kunst/john_anster_fitzgerald/thm_fairies_banquet_hi.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/product-pics/substrates/Keil_2cm_mlw.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/product-pics/substrates/Gruppe_Papiere.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/product-pics/substrates/Gruppe_Foto-Tableaux.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/product-pics/substrates/Keil_2cm_mlw.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/product-pics/substrates/keil_2cm_mlw_f.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/product-pics/substrates/Keil_4cm_mlw.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/product-pics/substrates/keil_4cm_mlw_f.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/product-pics/substrates/1-mlwd.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/product-pics/substrates/mlwd_mit_firnis.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/product-pics/substrates/oelgemaelde.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/product-pics/substrates/keil_2cm_oel.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/product-pics/substrates/dibond.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/product-pics/substrates/dibond.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/product-pics/substrates/Magnetwand_auswaehlen.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/product-pics/substrates/Magnetwand_auswaehlen.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/product-pics/substrates/acryl_3mm.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/product-pics/substrates/acryl_3mm.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/product-pics/substrates/acryl_8mm.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/product-pics/substrates/acryl_8mm.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/product-pics/substrates/acryl_8mm.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/product-pics/substrates/acryl_8mm.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/product-pics/substrates/gals_4mm.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/product-pics/substrates/gals_4mm.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/product-pics/substrates/Wood-Art-nature.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/product-pics/substrates/Wood-Art-white.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/product-pics/substrates/papier.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/product-pics/substrates/buette.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/product-pics/substrates/buette_handgrerissen.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/product-pics/substrates/german_etching.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/product-pics/substrates/german_etching_handgerissen.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/product-pics/substrates/aquarell.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/product-pics/substrates/aquarell_handgreissen.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/product-pics/substrates/torchon.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/product-pics/substrates/torchon_handgerissen.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/product-pics/substrates/freskovlies.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/product-pics/substrates/rocket-photo-paper-high-glossy.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/product-pics/substrates/rocket-photo-paper-satin.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/product-pics/substrates/baryt-photo-paper.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/product-pics/substrates/lustre-photo-paper.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/product-pics/substrates/poster_2.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/product-pics/substrates/papier.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/product-pics/substrates/german_etching.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/product-pics/substrates/german_etching_handgerissen.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/product-pics/substrates/aquarell.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/product-pics/substrates/aquarell_handgreissen.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/product-pics/substrates/torchon.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/product-pics/substrates/torchon_handgerissen.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/product-pics/substrates/rocket-photo-paper-high-glossy.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/product-pics/substrates/rocket-photo-paper-satin.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/product-pics/substrates/baryt-photo-paper.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/product-pics/substrates/lustre-photo-paper.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/product-pics/substrates/1-acryl.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/product-pics/substrates/Keil_2cm_mlw.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/product-pics/substrates/Keil_4cm_mlw.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/product-pics/substrates/keil_4cm_mlw_f.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/product-pics/substrates/1-mlwd.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/product-pics/substrates/dibond.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/product-pics/substrates/Magnetwand_auswaehlen.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/product-pics/substrates/acryl_3mm.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/product-pics/substrates/gals_4mm.jpg",
"https://www.art-prints-on-demand.com/a/somer-paul-van/images/trustpilot-logo-4.5stars-v2.png"
] |
[] |
[] |
[
"Anne",
"of",
"Denmark",
"Paul",
"van",
"Somer"
] | null |
[] | null |
Anne of Denmark - Paul van Somer
|
de
|
https://www.art-prints-on-demand.com/favicon.ico
|
https://www.art-prints-on-demand.com/a/somer-paul-van/anne-of-denmark-1.html
|
Sign up here for our free, weekly newsletter and do not miss an offer anymore. p>
✓ By credit card
✓ By bank transfer
✓ By PayPal
|
|||||
8327
|
dbpedia
|
2
| 1 |
https://research.rkd.nl/en/detail/https%253A%252F%252Fdata.rkd.nl%252Fartists%252F73860
|
en
|
RKD Research
|
https://research.rkd.nl/logo/favicon.ico
|
https://research.rkd.nl/logo/favicon.ico
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
Het RKD beheert, behoudt, onderzoekt en ontsluit kunsthistorische kennis en informatie voor musea, wetenschap en publiek.
|
en
|
/logo/favicon.ico
| null | ||||
8327
|
dbpedia
|
0
| 12 |
en
|
James I of England (James VI of Scotland)
|
[
"https://upload.wikimedia.org/wikipedia/commons/thumb/a/a9/Paul_van_Somer_-_James_I_of_England_%28James_VI_of_Scotland%29_-_Google_Art_Project.jpg/377px-Paul_van_Somer_-_James_I_of_England_%28James_VI_of_Scotland%29_-_Google_Art_Project.jpg?20121008205314",
"https://upload.wikimedia.org/wikipedia/commons/thumb/f/ff/Wikidata-logo.svg/20px-Wikidata-logo.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/b/ba/Wikidata-Reasonator_small_logo.svg/5px-Wikidata-Reasonator_small_logo.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/7/73/Blue_pencil.svg/15px-Blue_pencil.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/f/ff/Wikidata-logo.svg/20px-Wikidata-logo.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/f/ff/Wikidata-logo.svg/20px-Wikidata-logo.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/a/a9/Paul_van_Somer_-_James_I_of_England_%28James_VI_of_Scotland%29_-_Google_Art_Project.jpg/157px-Paul_van_Somer_-_James_I_of_England_%28James_VI_of_Scotland%29_-_Google_Art_Project.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/7/73/Blue_pencil.svg/15px-Blue_pencil.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/f/ff/Wikidata-logo.svg/20px-Wikidata-logo.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/4/44/Yale_Center_for_British_Art.jpg/187px-Yale_Center_for_British_Art.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/b/b0/Openstreetmap_logo.svg/20px-Openstreetmap_logo.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Google_Maps_icon_%282020%29.svg/14px-Google_Maps_icon_%282020%29.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/f/ff/Wikidata-logo.svg/20px-Wikidata-logo.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/PD-icon.svg/64px-PD-icon.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/a/a9/Paul_van_Somer_-_James_I_of_England_%28James_VI_of_Scotland%29_-_Google_Art_Project.jpg/75px-Paul_van_Somer_-_James_I_of_England_%28James_VI_of_Scotland%29_-_Google_Art_Project.jpg?20121008205314",
"https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1",
"https://commons.wikimedia.org/static/images/footer/wikimedia-button.svg",
"https://commons.wikimedia.org/static/images/footer/poweredby_mediawiki.svg"
] |
[] |
[] |
[
""
] | null |
[] | null |
en
|
/static/apple-touch/commons.png
|
The author died in 1621, so this work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or fewer.
This work is in the public domain in the United States because it was published (or registered with the U.S. Copyright Office) before January 1, 1929.
|
||||||||
8327
|
dbpedia
|
3
| 10 |
https://www.royprecious.co.uk/731082/portrait-of-tristram-stafford-1613-circle-of-paul-van-somer/
|
en
|
Portrait Of Tristram(?) Stafford, 1613; Circle Of Paul Van Somer.
|
[
"https://www.royprecious.co.uk/logos/LG_dealer_precious.png",
"https://www.royprecious.co.uk/logos/XS_dealer_precious.png",
"https://www.royprecious.co.uk/photosnew/dealer_precious/dealer_precious_highres_1601482616090-8231782687.jpg",
"https://www.royprecious.co.uk/photosnew/dealer_precious/dealer_precious_midder_1601482628520-7181421086.jpg",
"https://www.royprecious.co.uk/photosnew/dealer_precious/dealer_precious_midder_1601482638008-7152625549.jpg",
"https://www.royprecious.co.uk/photosnew/dealer_precious/dealer_precious_midder_1601482645820-6068148196.jpg",
"https://www.royprecious.co.uk/photosnew/dealer_precious/dealer_precious_midder_1601482656414-0072330239.jpg",
"https://www.royprecious.co.uk/photosnew/dealer_precious/dealer_precious_midder_1601482669969-8591787897.jpg",
"https://www.royprecious.co.uk/photosnew/dealer_precious/dealer_precious_midder_1601482676770-4279449428.jpg",
"https://www.royprecious.co.uk/photosnew/dealer_precious/dealer_precious_midder_1601482685625-7171673556.jpg",
"https://www.sellingantiques.co.uk/img/emailsent.png",
"https://www.royprecious.co.uk/photosnew/dealer_precious/dealer_precious_large_1406898047801-8673862229.jpg",
"https://www.royprecious.co.uk/photosnew/dealer_precious/dealer_precious_large_1503763990973-0574229586.jpg",
"https://www.royprecious.co.uk/photosnew/dealer_precious/dealer_precious_large_1447775827824-8119482038.jpg",
"https://www.royprecious.co.uk/photosnew/dealer_precious/dealer_precious_large_1597754557883-6026374045.jpg",
"https://www.royprecious.co.uk/photosnew/dealer_precious/dealer_precious_large_1414849228211-6290651218.jpg",
"https://www.royprecious.co.uk/photosnew/dealer_precious/dealer_precious_large_1427811066793-3944169839.jpg",
"https://www.royprecious.co.uk/photosnew/dealer_precious/dealer_precious_highres_1601482616090-8231782687.jpg",
"https://www.royprecious.co.uk/photosnew/dealer_precious/dealer_precious_highres_1601482628520-7181421086.jpg",
"https://www.royprecious.co.uk/photosnew/dealer_precious/dealer_precious_highres_1601482638008-7152625549.jpg",
"https://www.royprecious.co.uk/photosnew/dealer_precious/dealer_precious_highres_1601482645820-6068148196.jpg",
"https://www.royprecious.co.uk/photosnew/dealer_precious/dealer_precious_highres_1601482656414-0072330239.jpg",
"https://www.royprecious.co.uk/photosnew/dealer_precious/dealer_precious_highres_1601482669969-8591787897.jpg",
"https://www.royprecious.co.uk/photosnew/dealer_precious/dealer_precious_highres_1601482676770-4279449428.jpg",
"https://www.royprecious.co.uk/photosnew/dealer_precious/dealer_precious_highres_1601482685625-7171673556.jpg",
"https://www.royprecious.co.uk/img/loading.gif",
"https://www.royprecious.co.uk/img/loading.gif",
"https://www.royprecious.co.uk/img/loading.gif"
] |
[] |
[] |
[
""
] | null |
[] | null |
Declaration: Portrait Of Tristram(?) Stafford, 1613; Circle Of Paul Van Somer. has been declared an antique and was approved for sale on sellingantiques.co.uk.
|
en
|
favicon.ico
| null |
Cookies
The www.royprecious.co.uk site uses cookies. Cookies enable the www.royprecious.co.uk web visitors to store their favourite items without the need to create an account, help track how many people visit the site and also provide information about what pages are the most / least popular which help improve the overall website experience.
Copyright
© 2024 Roy Precious - Antiques & Fine Art
Photos or content cannot be reproduced without the written consent of Roy Precious - Antiques & Fine Art
|
|||||
8327
|
dbpedia
|
1
| 48 |
https://www.realclearhistory.com/2017/07/25/bermuda_born_of_a_shipwreck_2962.html
|
en
|
Bermuda: Born of a Shipwreck
|
[
"https://www.realclearhistory.com/asset/img/rchi-site-arrow.png",
"https://www.realclearhistory.com/asset/img/mobile-site-arrow.png",
"https://www.realclearhistory.com/asset/img/rchi-header-logo.png",
"https://www.realclearhistory.com/asset/img/rchi-home-logo.png",
"https://www.realclearhistory.com/asset/img/rchi-logo-footer.png"
] |
[] |
[] |
[
""
] | null |
[
"Keith Archibald Forbes"
] |
2017-07-25T00:00:00
|
Sir George Somers: A man and his Times. Book by Bermudian the late David Raine.
The portrait below right was painted by Paul van Somer (no relation) originally from the Netherlands, believed to be dur
|
en
|
/favicon.ico
|
RealClearHistory
|
https://www.realclearhistory.com/2017/07/25/bermuda_born_of_a_shipwreck_2962.html
|
Sir George Somers: A man and his Times. Book by Bermudian the late David Raine.
The portrait below right was painted by Paul van Somer (no relation) originally from the Netherlands, believed to be during the lifetime of the Admiral.
The original oil painting canvas -in much greater detail than shown above - measures 45 x 35 inches, in wood and gilded 54.5 by 43.25 inch frame.
It and its twin - of wife Lady Somers - were purchased in 1932 (some say 1937) by the Bermuda Historical Monuments Trust and Bermuda Historical Society (BHS) from Miss E. Winifred Bellamy, of Woodside Cottage, Plymouth, Devon, England, a descendant of Sir George. Both paintings had been handed down from generation to generation in England through a collateral branch of the Somers family.
Also in the Museum of the BHS at Par la Ville, 13 Queen Street, Hamilton is the wooden sea chest belonging to Sir George. It is of early 17th century Italian origin. The chest is thought to be Venetian and has a scene from Greek mythology showing Artemis, Goddess of the Hunt, surprised by Acteon, a hunter, while bathing. To punish him she turns him into a stag, whereupon his own dogs attack and kill him, no longer recognizing him as their master.
The Bellamy family, direct descendants of the Admiral, also sold Sir George's lode stone. This was used to magnetize his compass needles during his earlier seafaring voyages. The lode stone is thought to date back to 1600. Egg-shaped and banded by strips of iron, it is mounted on an oak plinth with a plaque which states 'Lodestone, Sir George Summer, obit 1610'. Also on display at the BHS Museum is a freehand sketch of the 1609 Somer's Map, a hand-painted reproduction of the original map of Bermuda charted by Sir George. The original map is in the Bermuda Archives.
The existence of these valuable artifacts was first made known to Bermudians by Major-General and two times Governor of Bermuda and historian Sir John Henry Lefroy. In the 1882 edition of the manuscript in the Sloane Collection, British Museum he edited, he added an original and unpublished portrait of Admiral Sir George Somers which Miss Bellamy inherited from her ancestor, Dr. Bellamy, MD, connected with the Somers family. Lefroy reproduced the painting on page 11 of his book "Historye of the Bermudaes or Summer Islands."
Lefroy was also the author of "Memorials Of the Discovery and Early Settlement of the Bermudas or Somers Islands." It was first published in MDCCCLXXXII by the Hakluyt Society in a limited edition. No. LXV is today in the collection of the Bermuda Historical Society. On pages 49 to 52, the lives of Sir George and Lady Somers are described by historian Preston Davie in the book Virginia Historical Portraiture, 556 pages. It was first published in 1929 in a Limited Edition of One Thousand Copies, of which the Bermuda Historical Society has Copy No. 369.
|
||||
8327
|
dbpedia
|
3
| 8 |
en
|
File:Paul van Somer (c. 1576
|
[
"https://upload.wikimedia.org/wikipedia/commons/thumb/d/dc/Paul_van_Somer_%28c._1576-1621%29_-_Anne_of_Denmark_%281574-1619%29_-_RCIN_405887_-_Royal_Collection.jpg/470px-Paul_van_Somer_%28c._1576-1621%29_-_Anne_of_Denmark_%281574-1619%29_-_RCIN_405887_-_Royal_Collection.jpg?20200711140910",
"https://upload.wikimedia.org/wikipedia/commons/thumb/f/ff/Wikidata-logo.svg/20px-Wikidata-logo.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/b/ba/Wikidata-Reasonator_small_logo.svg/5px-Wikidata-Reasonator_small_logo.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/7/73/Blue_pencil.svg/15px-Blue_pencil.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/f/ff/Wikidata-logo.svg/20px-Wikidata-logo.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/f/ff/Wikidata-logo.svg/20px-Wikidata-logo.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/d/dc/Paul_van_Somer_%28c._1576-1621%29_-_Anne_of_Denmark_%281574-1619%29_-_RCIN_405887_-_Royal_Collection.jpg/196px-Paul_van_Somer_%28c._1576-1621%29_-_Anne_of_Denmark_%281574-1619%29_-_RCIN_405887_-_Royal_Collection.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/7/73/Blue_pencil.svg/15px-Blue_pencil.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/f/ff/Wikidata-logo.svg/20px-Wikidata-logo.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/8/8f/Windsor_Castle_at_Sunset_-_Nov_2006.jpg/200px-Windsor_Castle_at_Sunset_-_Nov_2006.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/f/ff/Wikidata-logo.svg/20px-Wikidata-logo.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/7/73/Blue_pencil.svg/15px-Blue_pencil.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/f/ff/Wikidata-logo.svg/20px-Wikidata-logo.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/4/4f/Hampton_Court_Palace.jpg/187px-Hampton_Court_Palace.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/b/b0/Openstreetmap_logo.svg/20px-Openstreetmap_logo.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Google_Maps_icon_%282020%29.svg/14px-Google_Maps_icon_%282020%29.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/f/ff/Wikidata-logo.svg/20px-Wikidata-logo.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/6/65/Ana_de_Dinamarca%2C_reina_de_Inglaterra_%28Liria_Palace%29.jpg/91px-Ana_de_Dinamarca%2C_reina_de_Inglaterra_%28Liria_Palace%29.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/c/c7/Jan_van_Belcamp_%281610-53%29_-_Anne_of_Denmark_%281574-1619%29_%28after_Van_Somer%29_-_RCIN_403253_-_Royal_Collection.jpg/66px-Jan_van_Belcamp_%281610-53%29_-_Anne_of_Denmark_%281574-1619%29_%28after_Van_Somer%29_-_RCIN_403253_-_Royal_Collection.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/PD-icon.svg/64px-PD-icon.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/d/dc/Paul_van_Somer_%28c._1576-1621%29_-_Anne_of_Denmark_%281574-1619%29_-_RCIN_405887_-_Royal_Collection.jpg/94px-Paul_van_Somer_%28c._1576-1621%29_-_Anne_of_Denmark_%281574-1619%29_-_RCIN_405887_-_Royal_Collection.jpg?20200711140910",
"https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1",
"https://commons.wikimedia.org/static/images/footer/wikimedia-button.svg",
"https://commons.wikimedia.org/static/images/footer/poweredby_mediawiki.svg"
] |
[] |
[] |
[
""
] | null |
[] | null |
en
|
/static/apple-touch/commons.png
|
The author died in 1621, so this work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or fewer.
This work is in the public domain in the United States because it was published (or registered with the U.S. Copyright Office) before January 1, 1929.
|
||||||||
8327
|
dbpedia
|
2
| 31 |
https://www.flickr.com/photos/tedesco57/33187365533
|
en
|
Henry, Price of Wales b1594 d1612 Paul van Somer at Dunster Castle. Older brother of Charles I
|
[
"https://live.staticflickr.com/2886/33187365533_ccf4234c21.jpg",
"https://live.staticflickr.com/2886/33187365533_ccf4234c21.jpg"
] |
[] |
[] |
[
""
] | null |
[
"Flickr",
"tedesco57"
] |
2024-08-18T20:27:24.446000+00:00
|
Henry Frederick, Prince of Wales was the elder son of James VI and I, King of England and Scotland, and his wife, Anne of Denmark.
His name derives from his grandfathers: Henry Stuart, Lord Darnley, and Frederick II of Denmark. Wikipedia
Born: 19 February 1594, Stirling Castle, Stirling
Died: 6 November 1612, City of Westminster
Place of burial: Westminster Abbey, London
House: House of Stuart
Siblings: Charles I of England, Elizabeth Stuart, Queen of Bohemia, Robert Stuart, Duke of Kintyre and Lorne
Parents: James VI and I, Anne of Denmark
Henry was created Prince of Wales at Westminster in June 1610, the paragon of a prince: he was intelligent, well read, an excellent swordsman, an avid patron of the arts, and possessed of a strict sense of morality.
Henry was also a stout Protestant—when his father proposed a French marriage, he answered that he was 'resolved that two religions should not lie in his bed.'1 He was very approving of his sister Elizabeth's proposed match to the Protestant Frederick, Elector Palatine. Henry was the great hope of the Protestants, who saw in him a Protestant Henry V who would lead troops to the continent on a crusade against Catholic Spain. Others thought that a fertile time in the arts would take place at the court of the future King Harry.
These dreams were shattered in November 1612, when Henry suddenly took ill and died, probably of typhoid fever, though rumors circulated that the Prince was poisoned. Always most fond of his little sister Elizabeth, his last words on his deathbed are said to have been “where is my dear sister?” Henry's untimely death occasioned national mourning.
It is difficult to gauge the extent to which English and European history would have been different, had Henry lived. It is possible that the well-informed Protestant prince, once king, would have adopted policies agreeable to the Parliament, keeping it in voluntary submission to the Crown, thereby preventing entirely the English Civil War, in which Henry's younger brother, as King Charles I, lost his head.
<a href="http://www.luminarium.org/encyclopedia/princehenry.htm" rel="noreferrer nofollow">www.luminarium.org/encyclopedia/princehenry.htm</a>
|
en
|
https://combo.staticflickr.com/pw/favicon.ico
|
Flickr
|
https://www.flickr.com/photos/tedesco57/33187365533
|
Henry Frederick, Prince of Wales was the elder son of James VI and I, King of England and Scotland, and his wife, Anne of Denmark.
His name derives from his grandfathers: Henry Stuart, Lord Darnley, and Frederick II of Denmark. Wikipedia
Born: 19 February 1594, Stirling Castle, Stirling
Died: 6 November 1612, City of Westminster
Place of burial: Westminster Abbey, London
House: House of Stuart
Siblings: Charles I of England, Elizabeth Stuart, Queen of Bohemia, Robert Stuart, Duke of Kintyre and Lorne
Parents: James VI and I, Anne of Denmark
Henry was created Prince of Wales at Westminster in June 1610, the paragon of a prince: he was intelligent, well read, an excellent swordsman, an avid patron of the arts, and possessed of a strict sense of morality.
Henry was also a stout Protestant—when his father proposed a French marriage, he answered that he was 'resolved that two religions should not lie in his bed.'1 He was very approving of his sister Elizabeth's proposed match to the Protestant Frederick, Elector Palatine. Henry was the great hope of the Protestants, who saw in him a Protestant Henry V who would lead troops to the continent on a crusade against Catholic Spain. Others thought that a fertile time in the arts would take place at the court of the future King Harry.
These dreams were shattered in November 1612, when Henry suddenly took ill and died, probably of typhoid fever, though rumors circulated that the Prince was poisoned. Always most fond of his little sister Elizabeth, his last words on his deathbed are said to have been “where is my dear sister?” Henry's untimely death occasioned national mourning.
It is difficult to gauge the extent to which English and European history would have been different, had Henry lived. It is possible that the well-informed Protestant prince, once king, would have adopted policies agreeable to the Parliament, keeping it in voluntary submission to the Crown, thereby preventing entirely the English Civil War, in which Henry's younger brother, as King Charles I, lost his head.
www.luminarium.org/encyclopedia/princehenry.htm
|
||||
8327
|
dbpedia
|
3
| 84 |
http://www.colonialsense.com/Society-Lifestyle/Census/Person/Andres_Leyto/3928.php
|
en
|
Colonial Sense: Census: Andres Leyto
|
http://www.colonialsense.com/favicon.ico
|
http://www.colonialsense.com/favicon.ico
|
[
"http://www.colonialsense.com/Colonial/Pix/Logos/08CSHeader.jpg",
"http://www.colonialsense.com/Colonial/Pix/NavBarH.png"
] |
[] |
[] |
[
"Andres Leyto",
"Spain"
] | null |
[] | null |
Andres Leyto: Biography, Facts, Information, Timeline, Links, Images, Notes, Quotes, Dictionary Citations, Contemporaries
|
/favicon.ico
| null | |||||
8327
|
dbpedia
|
2
| 70 |
https://www.metmuseum.org/art/collection/search/437536
|
en
|
Wolf and Fox Hunt
|
https://collectionapi.metmuseum.org/api/collection/v1/iiif/437536/2182909/main-image
|
https://collectionapi.metmuseum.org/api/collection/v1/iiif/437536/2182909/main-image
|
[
"https://collectionapi.metmuseum.org/api/collection/v1/iiif/437536/2182909/main-image",
"https://images.metmuseum.org/CRDImages/ep/web-additional/DP-27136-001.jpg",
"https://www.metmuseum.org/Rodan/dist/img/1x1-d7dcde.gif",
"https://www.metmuseum.org/Rodan/dist/img/1x1-d7dcde.gif",
"https://www.metmuseum.org/Rodan/dist/img/1x1-d7dcde.gif",
"https://www.metmuseum.org/Rodan/dist/img/1x1-d7dcde.gif",
"https://www.metmuseum.org/Rodan/dist/svg/rolling-0.9s-30px.svg",
"https://www.metmuseum.org/Rodan/dist/svg/rolling-0.9s-30px.svg",
"https://www.metmuseum.org/Rodan/dist/svg/rolling-0.9s-30px.svg",
"https://www.metmuseum.org/Rodan/dist/svg/rolling-0.9s-30px.svg",
"https://www.metmuseum.org/Rodan/dist/svg/rolling-0.9s-30px.svg",
"https://cdn.sanity.io/images/cctd4ker/production/118b33d8cf43ac1e5ce17db021e0fd52c80c4cd2-250x193.jpg?w=250&fit=crop",
"https://cdn.sanity.io/images/cctd4ker/production/442cf499202750d8ab1823e4323f45da5265f417-250x331.jpg?w=250&fit=crop",
"https://cdn.sanity.io/images/cctd4ker/production/47cdb9af616b6b85464be8fedd7f88cf6c57ad7c-250x335.jpg?w=250&fit=crop",
"https://cdn.sanity.io/images/cctd4ker/production/dc8fd9ac5b6229dc57862abea88b52cd9e44cce2-250x299.jpg?w=250&fit=crop",
"https://cdn.sanity.io/images/cctd4ker/production/f34c62801deaf8134d99c3d4ae982e560e206909-250x312.jpg?w=250&fit=crop",
"https://www.metmuseum.org/Rodan/dist/svg/no-image-image-related.svg",
"https://collectionapi.metmuseum.org/api/collection/v1/iiif/398964/preview",
"https://collectionapi.metmuseum.org/api/collection/v1/iiif/357060/preview",
"https://www.metmuseum.org/Rodan/dist/svg/no-image-image-related.svg",
"https://www.metmuseum.org/Rodan/dist/svg/no-image-image-related.svg",
"https://www.metmuseum.org/-/media/images/about-the-met/collection-areas/european-paintings/zodiac-department-page/european_paintings_teaser.jpg"
] |
[] |
[] |
[
"Rubens",
"Peter Paul",
"Oil paint",
"Canvas",
"Paintings",
"Europe",
"Flanders"
] | null |
[] | null |
This very large hunting scene by Rubens and his workshop was painted in 1616, as the first of the great hunting pictures that the artist produced in this period. It was soon followed in about 1617 by a set of four large hunting scenes for the Duke of Bavaria
|
en
|
https://www.metmuseum.org/content/img/presentation/icons/favicons/favicon.ico?v=3
|
The Metropolitan Museum of Art
|
https://www.metmuseum.org/art/collection/search/437536
|
As part of the Met's Open Access policy, you can freely copy, modify and distribute this image, even for commercial purposes.
API
|
||
8327
|
dbpedia
|
2
| 71 |
https://manchester.universitypressscholarship.com/view/10.7765/9781526142504/upso-9781526142498-chapter-006
|
en
|
[] |
[] |
[] |
[
""
] | null |
[] | null | null | ||||||||||
8327
|
dbpedia
|
0
| 68 |
http://spenceralley.blogspot.com/2017/11/
|
en
|
Spencer Alley
|
http://spenceralley.blogspot.com/favicon.ico
|
http://spenceralley.blogspot.com/favicon.ico
|
[
"https://1.bp.blogspot.com/-flouxfcRfy4/WfMWgzWBy3I/AAAAAAABxOg/ig9R0wtmAo8mKyfcUGlgNgfy8rvxWsWsACLcBGAs/s640/Carlile-Joan-Portrait-of-an-unknown-lady-c1650-55-oil-on-canvas-Tate.jpg",
"https://2.bp.blogspot.com/-YbZCVDVaFm4/WfMWoJAfRTI/AAAAAAABxOk/UE68veiiExcDXEyeRFgmDPdkkSGpXNa8ACLcBGAs/s640/Hayls-John-Portrait-of-a-Lady-and-a-Boy-with-Pan-c1655-59-oil-on-canvas-Tate.jpg",
"https://3.bp.blogspot.com/-YqIICztMwbI/WfMW05s6c1I/AAAAAAABxOs/fmFbVqO79j4hMMYZpxuSN2hrc6QgI58lgCLcBGAs/s640/Soest-Gilbert-Portrait-of-a-gentleman-with-a-dog-probably-Sir-Thomas-Tipping-c1660-oil-on-canvas-Tate.jpg",
"https://1.bp.blogspot.com/-BTTY3sGNjc8/WfMW58Ws34I/AAAAAAABxOw/RFpJTs7q_swkIJ6LE2ZVtNFxuQhvmgY8wCLcBGAs/s640/Beale-Mary-Portrait-Sketch-of-the-artist%2527s-son-Bartholomew-Beale-c1660-oil-on-paper-Tate.jpg",
"https://4.bp.blogspot.com/-_h-946i-VOA/WfMW-AOt62I/AAAAAAABxO0/WoLftU8f170mswilmCuX00giCU572cIKQCLcBGAs/s640/Lely-Peter-Portrait-of-Two-Ladies-of-the-Lake-Family-c1660-oil-on-canvas-Tate.jpg",
"https://1.bp.blogspot.com/-Jwmpu31ag2Y/WfMXDOxygHI/AAAAAAABxO8/zcdC7p8M5wgF3epVRjEa9O-XVegni9WPwCLcBGAs/s640/Gennari-Benedetto-Portrait-of-Elizabeth-Panton-Later-Lady-Arundell-of-Wardour-as-Saint-Catherine-1669-oil-on-canvas-Tate.jpg",
"https://1.bp.blogspot.com/-fTFtb-SraiY/WfMXJRxBulI/AAAAAAABxPA/a20ZwL9-PLYHaeQU-Smls911pNChUgVOwCLcBGAs/s640/Lely-Peter-Portrait-of-an-Unknown-Woman-c1670-75-oil-on-canvas-Tate.jpg",
"https://3.bp.blogspot.com/-iTy54oy3CIg/WfMXM1KxboI/AAAAAAABxPE/yU3W65N-scQ1tVfngUltYtcLPTIztk8twCLcBGAs/s640/Lely-Peter-Portrait-of-Elilzabeth-Countess-of-Kildare-c1679-oil-on-canvas-Tate-Britain.jpg",
"https://2.bp.blogspot.com/-ZcCKoUyVLQU/WfMXTpb-trI/AAAAAAABxPI/eHuH9I-wy58mggty8_dGtMmtZuddHZVVwCLcBGAs/s640/Kneller-Godfrey-Portrait-of-John-Banckes-1676-oil-on-canvas-Tate.jpg",
"https://3.bp.blogspot.com/-rk_AkzNh5K8/WfMXX4wvGJI/AAAAAAABxPM/AG1vdj6LtIgYHyJyay7_P7yeYR-JkNFtgCLcBGAs/s640/Huysmans-Jacob-Portrait-of-a-Lady-as-Diana-c1674-oil-on-canvas-Tate.jpg",
"https://1.bp.blogspot.com/-V_0phnZwwgQ/WfMXcbG_I6I/AAAAAAABxPQ/aSrihykkX1kcfeUvRKSn-9ERgUJRitNbACLcBGAs/s640/Wright-John-Michael-Portrait-of-Sir-Neil-O%2527Neill-1680-oil-on-canvas-Tate.jpg",
"https://1.bp.blogspot.com/-4yxBwc82HX4/WfMXk-KpBOI/AAAAAAABxPc/cKxeN8m6z2sEpxdPpuMwBzf1cZF6lEcOACLcBGAs/s640/Du-Bois-Simon-Portrait-of-a-gentleman-probably-Arthur-Parsons-MD-1683-oil-on-canvas-Tate.jpg",
"https://1.bp.blogspot.com/-d7lB7kw5Lh0/WfMXn8EWGcI/AAAAAAABxPg/kYLKhEI_ycMaQTKSdoEUzX1p0akSnmuJwCLcBGAs/s640/Wissing-Willem-Portrait-of-Henriett-and-Mary-Hyde-%2528nieces-of-James-II%2529-c1683-85-oil-on-canvas-Tate.jpg",
"https://2.bp.blogspot.com/-Ie4ay_VgVOY/WfMXsYa2h2I/AAAAAAABxPk/csNFKRDarZQpzTZiNHXCqyJIe5Paut34QCLcBGAs/s640/Riley-John-Portrait-of-James-Sotheby-c1690-oil-on-canvas-Tate.jpg",
"https://2.bp.blogspot.com/-ifBI0kameAU/WfMULZyqK_I/AAAAAAABxNQ/dyi-bnESEi0h6LLBOs6wpXqGHEtb4FulACLcBGAs/s640/Anonymous-Portrait-of-a-Lady-called-Elizabeth-Lady-Tanfield-1615-oil-on-canvas-Tate.jpg",
"https://3.bp.blogspot.com/-6X82O3BwLio/WfMUPzbaMTI/AAAAAAABxNU/ycDymeXbIRImztSV7CDssS6lzI__5QmFQCLcBGAs/s640/Peake-Robert-Portrait-of-Lady-Anne-Pope-1615-oil-on-panel-Tate.jpg",
"https://1.bp.blogspot.com/-JqiiJsbkOkU/WfMUVI1-5VI/AAAAAAABxNY/QAvIjF4IGYMaeIQMJUeWI8Xx_laJf-vigCLcBGAs/s640/Van-Somer-Paul-Portrait-of-Lady-Elizabeth-Grey-Countess-of-Kent-%2528born-Talbot-favorite-of-Anne-of-Denmark%2529-c1619-oil-on-panel-Tate.jpg",
"https://3.bp.blogspot.com/-1hxTuzGMgLU/WfMUcK-BMkI/AAAAAAABxNc/0JHTTitOxEsUfhlzPIzYNEj_lJhbATwUQCLcBGAs/s640/Gheeraerts-Marcus-II-Portrait-of-a-woman-in-red-1620-oil-on-panel-Tate-Britain.jpg",
"https://4.bp.blogspot.com/-mzktvvtxR10/WfMUiuXZtVI/AAAAAAABxNg/u7zlg3RLFwMgAP6kh0UO-B4TqXahCO16ACLcBGAs/s640/Anonymous-portrait-Anne-Wortley-later-Lady-Morton-c1620-oil-on-canvas-Tate.jpg",
"https://2.bp.blogspot.com/-lfGhtu7EJpw/WfMUoYFfmGI/AAAAAAABxNk/qdYgbFz_4h4DUz8pwUmIP-lfuiKxj278wCLcBGAs/s640/Johnson-Cornelius-Portrait-of-an-unknown-lady-1629-oil-on-panel-Tate.jpg",
"https://2.bp.blogspot.com/-flNW9WcyTcM/WfMUrYfKJGI/AAAAAAABxNs/L2vVQU9JuqQzN2fMdtVhib8ZVlfE8y6zACLcBGAs/s640/Johnson-Cornelius-Portrait-of-an-unknown-gentleman-1629-oil-on-panel-Tate.jpg",
"https://3.bp.blogspot.com/-zAgBVGhEwhY/WfMUxz3rj5I/AAAAAAABxNw/Ui18bxazaPoTuhf-DedbHw_R88UkYzpfgCLcBGAs/s640/Van-Dyck-Anthony-Portrait-of-a-Lady-of-the-Spencer-family-c1633-38-oil-on-canvas-Tate.jpg",
"https://4.bp.blogspot.com/-x-Y7AtE9zF0/WfMU6PKS86I/AAAAAAABxN4/X3bxEs0ACgE7X364P_2nohCYvtmypZ-pQCLcBGAs/s640/Anonymous-portrait-William-Style-of-Langley-1636-oil-on-canvas-Tate-Britain.jpg",
"https://2.bp.blogspot.com/-rnBSI3R6y6o/WfMVCFpFD5I/AAAAAAABxN8/wRQzc8AXN3g8EduoTTxl_jn7h3XpBhIyQCLcBGAs/s640/Dobson-William-Portrait-of-the-Artist%2527s-Wife-c1635-40-oil-on-canvas-Tate.jpg",
"https://3.bp.blogspot.com/-Wk6jpVyH_38/WfMVH7af5ZI/AAAAAAABxOA/4lkS8U8eT8Q8_s-GJa4w8iShcNHuqzZ3ACLcBGAs/s640/Van-Dyck-Anthony-Portrait-of-Mary-Hill-Lady-Killigrew-1638-oil-on-canvas-Tate.jpg",
"https://2.bp.blogspot.com/-21zIPkCYmMA/WfMVPgm8kuI/AAAAAAABxOM/2YvjhO0C1QcEhLMIIWcofhOkoGZNqmRwwCLcBGAs/s640/Dobson-William-Portrait-of-an-Officer-c1645-oil-on-canvas-Tate.jpg",
"https://1.bp.blogspot.com/-i51d7K3U7e4/WfMVVhv3QsI/AAAAAAABxOQ/rYt1WOsvFNgWqiCqzhLxY4mrRCgV-iBdgCLcBGAs/s640/Bower-Edward-Portrait-of-Sir-John-Drake-1646-oil-on-canvas-Tate.jpg",
"https://1.bp.blogspot.com/-pWQGYDiIx0E/WfMVaCaU8yI/AAAAAAABxOU/2rLtxQjbcUMQupYuz4EWprmRbAWVaPC8QCLcBGAs/s640/Johnson-Cornelius-Portrait-of-an-unknown-lady-1646-oil-on-canvas-Tate.jpg",
"https://1.bp.blogspot.com/-Izr2rziTsyM/Wc76jIZKuDI/AAAAAAABv8s/5pschm1IoJom0U5QT_ZyUZv6roilP3DlgCLcBGAs/s640/Anonymous-drawing-Design-for-Sedan-Chair-c1775-80-watercolor-Cooper-Hewitt-Smithsonian-Design-Museum.jpg",
"https://1.bp.blogspot.com/-x8g9F7_SdSI/Wc76mXUUisI/AAAAAAABv8w/vhB9KH_FUSo6c0TQNMug4qZIomoGvhfVwCLcBGAs/s640/Anonymous-drawing-Design-for-Sedan-Chair-c1775-watercolor-Cooper-Hewitt-Smithsonian-Design-Museum.jpg",
"https://2.bp.blogspot.com/-tmHXeFG_trU/Wc76qg6HPEI/AAAAAAABv80/OH550neDbFMplvSVYw_4-NwonQfAiSEGwCLcBGAs/s640/della-Gatta-Severio-Midwife-with-Baby-on-the-way-to-church-in-sedan-chair-for-Christening-1827-watercolor-Cooper-Hewitt-Smithsonian-Design-Museum.jpg",
"https://1.bp.blogspot.com/-vkb7o_jLzPM/Wc76vq68lOI/AAAAAAABv84/dvC2XMOGqGMWDstgBCKmCD429cpo7OjaACLcBGAs/s640/della-Gatta-Severio-Journey-by-Sedan-Chair-with-Mt-Vesuvius-in-bakcground-1828-watercolor-Cooper-Hewitt-Smithsonian-Design-Museum.jpg",
"https://3.bp.blogspot.com/-n3e4UnJ-NmY/Wc95y1_oMQI/AAAAAAABv90/BbQQpMmq87E9VYMRzmPGh2LAlZQuSW5NQCLcBGAs/s640/Phiz-Hablot-K-Browne-Mr-Winkle%2527s-Situation-when-the-Door-Blew-to-1837-steel-engraving-Pickwick-Papers.jpg",
"https://4.bp.blogspot.com/-ipd3Ef1aKcU/Wc76yo9tPdI/AAAAAAABv88/4yufJOzWnYo3KuuxKP2XsGLIBd5-_wF2gCLcBGAs/s640/Bonato-Pietro-after-Giacomo-Beys-Pope-Pius-VI-carried-over-mountain-pass-in-sedan-chair-c1804-stipple-engraving-British-Museum.jpg",
"https://2.bp.blogspot.com/-jhqTTaL8FCA/Wc762c2wK8I/AAAAAAABv9A/9cUtSXhalE4Z4FHwbBJofYDOeesLAxoRQCLcBGAs/s640/Bowles-Carrington-Return-from-a-Masquerade-A-Morning-Scene-Sedan-chair-1784-hand-colored-mezzotint-Victoria-%2526-Albert-Museum-London.jpg",
"https://1.bp.blogspot.com/-DPGjnX4zmBs/Wc767OOq7MI/AAAAAAABv9E/KZZZooN6aXEbG8M9hBdlMTjcMC575oBiwCLcBGAs/s640/Cruikshank-Isaac-Robert-A-Cruise-to-Covent-Garden-Sedan-Chair-1806-hand-colored-etching-Victoria-%2526-Albert-Museum.jpg",
"https://1.bp.blogspot.com/-DwkQcpzCe7I/Wc7685e1VqI/AAAAAAABv9I/ko8Fj17Dz5A1hzoVnzfe6TKpbAkwVOI_QCLcBGAs/s640/Cruikshank-George-Pride-and-exaltation-in-a-sedan-chair-before-1878-engraving-Achenbach-Foundation-San-Francisco.jpg",
"https://1.bp.blogspot.com/-nmLv8ypafYg/Wc77B3tDFeI/AAAAAAABv9M/k7mxf2ypNAMo97CduNJeVH44UXrp9hRRQCLcBGAs/s640/Sandby-Paul-and-Thomas-The-Piazza-Covent-Garden-London-with-row-of-unoccupied-sedan-chairs-1770-drawing-British-Museum.jpg",
"https://3.bp.blogspot.com/-OvQKm6drRKQ/Wc77Hi4WwMI/AAAAAAABv9Q/kZ-Xxg3Ev001l-C3FfZTrJM1t-uZANHYQCLcBGAs/s640/Grant-Charles-James-satirical-print-politicians-carrying-Daniel-O%2527Connell-in-sedan-chair-before-1837-wood-engraving-letterpress-Victoria-%2526-Albert-Museum-London.jpg",
"https://1.bp.blogspot.com/-yzC7n7tXVsY/Wc77O1sxmiI/AAAAAAABv9U/maUZLJH-vt48ZY1pUPxcxktniV9YOBvNQCLcBGAs/s640/Italy-sedan-chair-c1750-60-carved-and-gilded-poplar-and-lindenwood-gilt-bronze-mounts-Metropolitan-Museum-of-Art-New-York.jpg",
"https://4.bp.blogspot.com/-MGfySUr32Nw/Wc77R3ZLx4I/AAAAAAABv9Y/v__pX3W0-nI7PmsiSm8NNceyQo_zJhDaACLcBGAs/s640/Italy-or-France-Sedan-Chair-c1750-gilt-wood-gilt-metal-California-Palace-of-the-Legion-of-Honor-San-Francisco.jpg",
"https://4.bp.blogspot.com/-3TeXwUZPK-I/Wc77fe_rhhI/AAAAAAABv9g/A5Y64XZK4joUDNDwJuuciW2wFt2RNxQcwCLcBGAs/s640/Italy-Sedan-Chair-c1750-gilt-wood-red-leather-gilt-bronze-Victoria-%2526-Albert-Museum-London.jpg",
"https://1.bp.blogspot.com/-dKtg-lo4Qdg/Wc77l1DFXqI/AAAAAAABv9k/eYxxWohe38ctqLwfGdMuARhfZqXzAlY-ACLcBGAs/s640/France-Paris-Sedan-Chair-c1745-75-Painted-wood-Victoria-%2526-Albert-Museum-B.jpg",
"https://1.bp.blogspot.com/-gEbY8d0mGxA/WfFCi4Bj5kI/AAAAAAABxME/MF9Hn_z5GqYxycAK16C6mM3HUYEJcrhDQCLcBGAs/s640/Beuys-Joseph-Whale-Trap-1961-oil-on-cardboard-Tate.jpg",
"https://4.bp.blogspot.com/-WGWj-If__hg/WfFClCVNdhI/AAAAAAABxMI/mVmp-ELLfVIqloh4miaGZLqi5W3JL5rXQCLcBGAs/s640/Beuys-Joseph-Angel-Whale-1953-drawing-Tate.jpg",
"https://3.bp.blogspot.com/-S-9KJTnR0yQ/WfFCnuRH_mI/AAAAAAABxMM/nx7QAw07k5gA-Qk13rWEyip9rbpzS4XuACLcBGAs/s640/Beuys-Joseph-Two-Red-Fish-1954-watercolor-Tate.jpg",
"https://3.bp.blogspot.com/-EkJr4HrGl8g/WfFC1jPdsSI/AAAAAAABxMQ/lIP28SxGZNs6AoxUkD_1beDCI2EfjGFKgCLcBGAs/s640/Beuys-Joseph-Pregnant-Woman-with-Swan-1959-watercolor-and-oil-on-paper-Tate.jpg",
"https://1.bp.blogspot.com/-MJfYr8l-s7M/WfFC7fVxjkI/AAAAAAABxMU/M7hB3Hz1o8YRv8VFS76MbhGzdsHQWi6JgCLcBGAs/s640/Beuys-Joseph-Night-in-the-Rafters-1974-oil-on-paper-Tate.jpg",
"https://2.bp.blogspot.com/--DjSKW60e1o/WfFC-9t_D3I/AAAAAAABxMY/DC_wgVeGirkjS7Z4HAZI4DDardHydy0FQCLcBGAs/s640/Beuys-Joseph-Clan-1958-oil-and-watercolor-on-paper-Tate.jpg",
"https://4.bp.blogspot.com/-XfeTeiuLqlY/WfFDD3SqfyI/AAAAAAABxMg/m17jicnbUsY3RSI5E1fs0CJq49fWa3nbQCLcBGAs/s640/Beuys-Joseph-Probe-in-the-Bloodstream-of-the-Oak-1958-collage-with-envelope-tempera-on-paper-Tate.jpg",
"https://2.bp.blogspot.com/-fXpVBWp4Qso/WfFDH8XlnrI/AAAAAAABxMk/YhRSGHDV0gw-J40u0drXVdJT7p12WfazgCLcBGAs/s640/Beuys-Joseph-Weird-Sister-1953-62-oil-on-acetate-Tate.jpg",
"https://3.bp.blogspot.com/-K7dfxAG1e_k/WfFDMDD1pfI/AAAAAAABxMo/XKFvprdxyjUF8KSGnTFva6wiySQMpnXHQCLcBGAs/s640/Beuys-Joseph-Felt-Action-1963-oil-and-felt-on-paper-Tate.jpg",
"https://2.bp.blogspot.com/-QgZ--GFdYCQ/WfFDOL-uqJI/AAAAAAABxMs/ljSaVtmDwlABQVCJTE6UoFuypxfc3o73QCLcBGAs/s640/Beuys-Joseph-For-Brown-Environment-Giant-Vessels-1964-oil-on-paper-Tate.jpg",
"https://1.bp.blogspot.com/-9B_k1o1a6J4/WfFDSDPCbnI/AAAAAAABxMw/5I82HuW0E08y9qT61vaDzuaDlrXwMs3qQCLcBGAs/s640/Beuys-Joseph-Brightly-Lit-Stag-Chair-1957-71-oil-on-paper-Tate.jpg",
"https://3.bp.blogspot.com/-VVVGDR7dhJU/WfFDW1iAxMI/AAAAAAABxM0/niGNcwqcKyki7EPk-A2ept1L2Lj3SazXwCLcBGAs/s640/Beuys-Joseph-The-Table-1952-watercolor-on-paper-Tate.jpg",
"https://4.bp.blogspot.com/-6NfAS1bt2x0/WfFDdH_vG-I/AAAAAAABxM4/Iyw4W6DCIuAXZHUWPDar3K7zC7ARzCjHACLcBGAs/s640/Beuys-Joseph-Girl-Pushing-against-Elastic-Sculpture-1961-oil-on-paper-Tate.jpg",
"https://2.bp.blogspot.com/-Nnptxj4cIjw/WfFDlKhbhrI/AAAAAAABxNA/kogxaD8Fk6AVPhqFA3DC3jrmh9g3B7vSACLcBGAs/s640/Beuys-Joseph-Dove-Food-Rainbow-1949-watercolor-on-card-Tate.jpg",
"https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_t-xX0pN9Dn60QnT5Mh7Aq1WxYiod4Uex17pTz_J5Zr-cschgbwUBndB6H0Ebbp_936JGmN-D-61716nCfYuMlN8SqqkdQaF3_a4TjyHZMq1A=s16-w16-h16"
] |
[] |
[] |
[
""
] | null |
[] | null |
en
|
http://spenceralley.blogspot.com/favicon.ico
|
http://spenceralley.blogspot.com/2017/11/
|
John Hayls
Portrait of a lady and a boy, with figure of Pan
ca. 1655-59
oil on canvas
Tate, London Gilbert Soest
Portrait of a gentleman with a dog, probably Sir Thomas Tipping
ca. 1660
oil on canvas
Tate, London Mary Beale
Portrait sketch in profile of the artist's son, Bartholomew Beale
ca. 1660
oil on paper
Tate, London Peter Lely
Portrait of two ladies of the Lake family
ca. 1660
oil on canvas
Tate, London Benedetto Gennari
Portrait of Elizabeth Panton, later Lady Arundell of Wardour, as Saint Catherine
1669
oil on canvas
Tate, London Jacob Huysmans
Portrait of a lady as Diana
ca. 1674
oil on canvas
Tate, London Simon Du Bois
Portrait of a gentleman, probably Arthur Parsons, MD
1683
oil on canvas
Tate, London Anonymous painter working in England
Portrait of a lady, called Elizabeth, Lady Tanfield
1615
oil on canvas
Tate, London Marcus Gheeraerts II
Portrait of a woman in red
1620
oil on panel
Tate, London Anonymous painter working in England
Portrait of Anne Wortley, later Lady Morton
ca. 1620
oil on canvas
Tate, London Anthony van Dyck
Portrait of a lady of the Spencer family
ca. 1633-38
oil on canvas
Tate, London Anonymous painter working in England
Portrait of William Style of Langley
1636
oil on canvas
Tate, London Severio della Gatta
Midwife with Baby transported to church in Sedan Chair for Christening
1827
watercolor
Cooper Hewitt, Smithsonian Design Museum Pietro Bonato after Giacomo Beys
Pope Pius VI carried over a mountain pass in a Sedan Chair
(as prisoner of Napoleon being transported to France, where he died in 1799)
ca. 1804
stipple engraving
British Museum Carrington Bowles
The Return from a Masquerade (in a Sedan Chair) - A Morning Scene
1784
hand-colored mezzotint
Victoria & Albert Museum, London Isaac Robert Cruikshank
A Cruise to Covent Garden (in a Sedan Chair)
1806
hand-colored etching
Victoria & Albert Museum, London Joseph Beuys
Night in the Rafters
1974
oil on paper
Tate Gallery
|
||||
8327
|
dbpedia
|
1
| 24 |
https://jhna.org/articles/a-mirror-for-the-prince-anne-of-denmark-in-hunting-costume-with-her-dogs-1617-by-paul-van-somer/
|
en
|
A Mirror for the Prince? Anne of Denmark in Hunting Costume with Her Dogs (1617) by Paul van Somer
|
[
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig01-1206x1536FI-720x540.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig01-707x900.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig02-scaled-112x84.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig03-scaled-112x84.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig04-scaled-112x84.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig05-112x84.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig06-scaled-112x84.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig07-scaled-112x84.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig08-scaled-112x84.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig09-scaled-112x84.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig10-840x900.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig11-706x900.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig12-900x467.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig13-900x762.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig01-112x84.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig02-112x84.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig03-112x84.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig04-112x84.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig05-112x84.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig06-112x84.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig07-112x84.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig08-112x84.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig09-112x84.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig10-112x84.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig11-112x84.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig12-112x84.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig13-112x84.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig01-112x84.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig02-112x84.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig03-112x84.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig04-112x84.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig05-112x84.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig06-112x84.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig07-112x84.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig08-112x84.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig09-112x84.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig10-112x84.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig11-112x84.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig12-112x84.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig13-112x84.jpg",
"https://i.creativecommons.org/l/by-nc/4.0/88x31.png"
] |
[] |
[] |
[
""
] | null |
[
"Sara Ayres"
] |
2020-05-22T17:11:07+00:00
|
This essay re-examines the emblematic portrait Anne of Denmark in Hunting Costume with her Dogs by Paul van Somer (fig. 1). The portrait of the queen
|
en
|
https://jhna.org/wp-content/themes/jhna-theme/images/favicon.ico
|
Journal of Historians of Netherlandish Art
|
https://jhna.org/articles/a-mirror-for-the-prince-anne-of-denmark-in-hunting-costume-with-her-dogs-1617-by-paul-van-somer/
|
This essay re-examines the emblematic portrait Anne of Denmark in Hunting Costume with her Dogs by Paul van Somer (fig. 1). The portrait of the queen consort of James VI and I, King of Great Britain and Ireland, was painted in the sitter’s early forties, when she was the mother of seven children, two of whom had survived into adulthood. Only one of those children remained in England: her son, Charles, then Prince of Wales, the future Charles I of England.
The portrait was paid for, and presumably commissioned, by Anna herself. During her lifetime, the portrait was displayed at Oatlands Palace, one of her residences. The portrait’s display within the context of Oatlands Palace has been the subject of recent articles by Jemma Field and Wendy Hitchmough. Both discuss not only the portrait’s iconography in relation to wider court politics but also its choreography at Oatlands in relation to other works of art in the palace’s evolving collections. A few days after Anna’s death, the work was sent to Prince Charles’s court at St. James Palace. Whether this move honored the wishes of the dying Queen or those of her son remains unknown. This essay considers the significance of the portrait’s posthumous presence at St. James Palace; the nature of its specific, intra-dynastic address to the new Prince of Wales; and his response to its stimulus within a semiprivate familial context of cultural transfer and dynastic succession.
In what follows, I will demonstrate that the portrait exemplifies early modern elite self-fashioning as an act of creative originality, drawing on the same methods and principles as a highly trained artist creating a new work of art. Within the portrait, the stuff of Anna’s venerable genealogy is shaped and molded by the agency of her individuality. Anna’s portrait wittily presents her as an artwork of her own creation whose sitter has used her innate, God-given qualities—infused from on high, as her motto reminds us—to fashion the material inherited from her dynastic forebears. Practices of self-fashioning, based on erudition and creativity, allied to a virtuous genealogy, shadow the construction of this exemplary royal portrait, which, I will argue, quite literally impressed a future King. Anna’s aware complicity in this directed “impression” is signaled by her appropriation of the masculine pose of hand on hip and the commanding position she assumes on the hunting field.
Gender and Genealogy
The body of the consort as staged in her portraits—from betrothal portraits proclaiming her as a potential ornament to her marital court, to the effigies enacting royal funeral rites—always answered political imperatives. The image of the consort, shining with brilliants and garlanded with offspring, personified a pledge of prosperous continuity to the greater political body whose head was the wise ruler. While the primary duty of a royal consort was the reproduction in flesh and blood of the dual royal dynasties to which she belonged, the reiterative force of picturing these children in other media multiplied the visible might and majesty of her marital court. Portraits of consorts and the heirs, spares, and princesses they brought forth served important domestic and diplomatic purposes. As Catriona Murray has shown, royal children, when they arrived and even when they died, were replicated in portraits painted, printed, and cast. Anna’s portrait innovates from within this practice, functioning both as a screen for the external projection of the aura of dynastic majesty emitted by the reign of James VI and I and, more narrowly, as a mirror for her son, the future Charles I.
As such, Anne of Denmark both conforms to and departs from the conventions of the female consort portrait. It departs from these, first, in terms of its subject’s depiction while engaged in the courtly hunt. Anna wears green hunting garb, her physical stature raised by her high hat, embellished with a red feather trim. She is accompanied by a horse and a black groomsman wearing the Oldenburg family colors of red and gold. Her left hand grips the leash of a brace of two black-and-white greyhounds, while three wait unleashed at her feet. Her right hand is turned back and rests upon her hip, her elbow forming a jutting point. Anna is presented in the hunting landscape of Oatlands Palace. Its park wall features a gateway designed by the architect Inigo Jones, completed early in 1617. The specific, recognizable setting, unique among Anna’s portraits, shimmers under a sky dramatically split between darkness and daylight, as if to highlight the analogical relationship between the microcosm and the macrocosm, the earthly and the divine, so central to the period’s habits of thought.
An owl, the bird of Minerva, who, as goddess of wisdom and war, governed princely pedagogy, lurks flatly in the tree at the left. The groom, wearing the colors of the House of Oldenburg, creates a self-contained, satellite presence within the portrait; he looks at the Queen, modeling the serious regard expected of us as viewers. The bridled horse, richly caparisoned in red and gold, delicately raises one hoof and engages the spectator’s gaze. A deer runs alongside the palace wall. The dogs seem ready to set off into the bracken, and they wear collars emblazoned with Anna’s cipher. Anna’s motto, “La Mia Grandezza Dal Eccelso” (my greatness comes from on high) unfurls over the scene.
Anne of Denmark is often described as a splendid costume portrait. Yet this fails to recognize the painting’s singularity. The Queen does more than merely model her hunting garb. Her firm grasp of the dogs’ leash asserts her right to deploy the weapons of the field herself. Her jutting elbow signifies a status that is masculine and martial, and this forms the second departure from the normative conventions of consort imagery. If the female elbow akimbo is a signifier of a woman exceeding the limits of her gender, if she is figuratively elbowing those limits aside, then this is amplified in Anna’s portrait by her participation in the hunt, an activity performative of aristocratic masculinity via its use as training for war.
It should be stated that there is ample evidence that women of the period, including members of the dynastic and political networks surrounding Anna, participated in the hunt. Anna’s brother, Christian IV, King of Denmark, wrote in his diary for September 13, 1607, that the cloak of his wife, Anna of Brandenburg, had been shot through while she was out hunting. In a 1605 missive to the Earl of Salisbury, the Earl of Shrewsbury gleefully reported: “My wife has sent you four pies of red deer . . . being of a stag that had the mishap to be killed by her own hand.” While hunting deer in July 1613, Anna of Denmark mistakenly shot James’s favourite hound, Jewel. As John Chamberlain related: “After he knew who did it, he was soon pacified, and with much kindness wished her not to be troubled with it, for he should love her never the worse; and the next day sent her a diamond worth £2000 as a legacy from his dead dog.” It is certainly the case that Anna kept greyhounds during 1617. In two letters dated March and April of that year, Thomas Watson wrote that two greyhounds he had seized for catching a hare had proven to be the Queen’s. His fears that he might be punished for this were unfounded, for the Queen sent to say if he found any more he should simply return them to her.
It may be that arguments suggesting that women spectated, but did not (usually) participate actively in the hunt are overdetermined by surviving images of the hunt, most of which show male hunters. Yet intriguing portraits of royal female hunters also survive, as a recent exhibition at Schloss Ambras has demonstrated in relation to Maria of Portugal and Maria of Hungary. We might also include the possible portrayal of Elisabeth of Lorraine hunting in the monumental Months of the Year tapestry series (especially April, July, and November), woven by Hans van der Biest to designs by Peter Candid just a few years before Anna’s portrait was painted by van Somer (figs. 2, 3, 4). Further, Elizabeth I is represented as a huntress in woodcuts illustrating The Noble Arte of Venerie of 1575. This shows George Gascoigne, the translator of the work, presenting Queen Elizabeth with a knife to commence the undoing of the quarry, her privilege as the most senior figure attending a par force (“by strength of dogs”) hunt. Following the succession, Elizabeth’s image was replaced with one of James VI and I. No official portrait depicts Elizabeth in the act of hunting, although her iconography draws on that of Diana, the virgin Roman goddess of the hunt, and she is reported to have enjoyed the sport. The Devonshire Hunt tapestries, originating two centuries before Anna’s portrait, would have been known within the architectonic context of their contemporary display at Hardwicke Hall and consequently in relation to the identity of the Countess of Shrewsbury, “Bess of Hardwicke.” Her granddaughter, Arbella Stuart, was cousin to James VI and I and a close friend of Anna’s, performing in her masques. Peter Paul Rubens’s Wolf and Fox Hunt (ca. 1616)—a picture that the English ambassador to the Hague, Sir Dudley Carleton, attempted yet failed to buy in 1616–17—includes a composed female huntress, albeit at the periphery of the battle (fig. 5). Equipped female bodies actively participating in hunting appear frequently in representations of myths, such as in the Histories of Diana tapestry series, designed by Karel van Mander and woven by Francois Spiering in Delft, elements of which survive in English collections (figs. 6 and 7).
Notwithstanding such a rich array of precedents, the hunting theme of van Somer’s portrait has been explained as a means of visually binding the image to existing portraits by Robert Peake the Elder of Anna’s deceased son and only surviving daughter: Henry Frederick (1594–1612), Prince of Wales, with Sir John Harington (1592–1614), in the Hunting Field of 1603 and Princess Elizabeth (1596–1662), aged Seven, also 1603 (figs. 8 and 9). The assumption that Anna’s portrait would have been received primarily in association with her children’s portraits conforms to the traditional historiographical expectations of consort imagery. Such expectations render the hunting landscape setting specific to these precedents and foreground Anna’s successful motherhood. The narrative continuity embedded in their hunting landscape settings (which, in the case of Peake’s pendants, is also an aesthetic-topographical continuity, connecting the portraits of brother and sister) may indeed speak to an intent to link Anna’s portrait with those of her issue, situating her identity within a chain of family resemblances. The continuity of English green complements the genealogical colors ordinarily constituted by the coat of arms, bodied forth in Anna’s portrait by the groom and her horse.
The children’s portraits appear to be set in the hunting park of the Harington family seat of Coombe Abbey, in Warwickshire. Sir John and Prince Henry were friends, and Elizabeth lived under the guardianship of Lord John Harington until her marriage to Frederick V, Elector Palatine, in 1613, shortly after Henry’s death (probably from typhoid), after which she departed to Heidelberg. Henry and Elizabeth perform idealized aspects of gendered participation in the courtly hunt. He is the martial nobleman, a leader among his peers, while her destiny is marital, as indicated by the couple seated in the bower in the background. Henry is shown sword in hand, at a critical moment in the process of the courtly hunt—the commencement of the ritual undoing, or flaying of the quarry; again, the privilege of the hunt’s most senior member. His commanding pose situates him as a worthy heir to the throne, ready to assume the leadership of his armies and the governance of his kingdom.
But Anna’s martial pose in Anne of Denmark cannot be straightforwardly situated within this binary gender patterning; her masculine excess points to the complexity of the portrait’s address. Anna’s pose is anticipated by those of her father and brother within their portraits woven into the series of genealogical tapestries known as the “king tapestries,” elements of which survive in the Danish National Museum, Kronborg Palace, and Stockholm’s Nationalmuseum. These were commissioned by Anna’s father, Frederik II, in late 1581 from the Flemish emigré Hans Knieper, whose workshop had recently been established in Copenhagen. When hung in the Great Hall of the Danish castle of Kronborg, they covered the entire wall surface, measuring 560 square meters. The completed series illustrated a one-thousand-year-old genealogical line, portraying one hundred Danish rulers—one of whom, Margaret I, was female—on forty tapestries, supplemented by three hunting scenes. Completed in 1585, the series concluded with the one hundredth ruler, the reigning King Frederik II, who was portrayed on the last tapestry with his son, the Crown Prince Christian, later Christian IV, brother to Anna of Denmark (fig. 10). Frederik’s great architectural projects—the castles of Kronborg, Frederiksborg, and Rosenborg—are arranged along the horizon, in defiance of their real topography, and court astronomer Tycho Brahe stands conversing in the background. The King wears armor, and his favorite hunting dog, Wilpret, waits by his feet. His reign represents martial success, scientific achievement, and cultural prowess.
Each tapestry includes a small panel containing a moralizing verse that describes the ruler and his or her reign, along with its successes and failures, comprising an encyclopedia of wise, foolish, and at times even tyrannical rulership. The rhyming verses are mnemonic devices, enabling viewers to remember their lessons, suggesting that the tapestries were intended to deliver a sustained impact upon viewers.
A little later, Frederik added a throne baldachin canopy and backcloth to the commission for himself and his queen. Taken as war booty, it now forms part of the collection of the Nationalmuseum of Sweden in Stockholm. Elizabeth Cleland has noted, “This was an inspirational moment of proto-Baroque theatre on the part of Frederick and his advisers: in a room encircled by . . . rulers represented in tapestry, the centrepiece would be the actual ruler himself, living, breathing, and framed against a tapestry surround.” This perceptive analysis highlights the way that this tapestry room functioned on multiple levels as historia, portraiture, and architecture, producing a heterotopic space presenting the reigning monarch as the culmination of the dynasty: genealogy perfected by ingenium (a person’s extraordinary, innate talent, often thought to be gifted to them by heaven). Frederik embodies the triumph of the individual will and intelligence over destiny—or perhaps, in this case, dynasty. His royal portrait is one of the first to present a king as a fully developed individual of his own creation, rather than a mere link in a dynastic sequence. Yet the king remains aware of his historicity within the chain of succession, as indicated by his inclusion of his young son and heir within his individual tapestry.
The king tapestries were famous throughout Europe, and no less so in England during Anna’s tenure as consort. Their expository, instructive tone, coupled with the themes of dynasty and the chain of succession, also inflects her portrait by van Somer. Emulating her father, Anna (as indicated by her motto) deploys her own self-fashioning—defined as the art of (re)creating oneself in the image of one’s best exemplars, using one’s God-given reason—to augment her venerable genealogy. Aesthetically too, her portrait and the tapestry series exhibit commonalities. Like her children, and like the standing figures in the Danish genealogy tapestries, Anna is shown inhabiting an identifiable, exterior topographical space: the hunting park of Oatlands Palace. Anna is standing upright, with the palace visible in the distance, a composition recalling those of the individual tapestries. Anna’s portrait refers to her Danish genealogy while anchoring it in a British context, while the Stuart succession is extended back through the Danish line.
Anna’s portrait also anticipates Anthony van Dyck’s portrait of Charles I of about 1635, now in the Louvre (fig. 11). This astonishing portrait shows the king, like Anna, standing beside his horse, accompanied by his groomsman. Charles rests his fist upon his hip, his elbow jutting toward the viewer, his turned stance mirroring that of his mother. Despite his assertive pose, the overall mood is rather contemplative. Charles presents himself, perhaps contrary to our expectations, somewhat more as a thinker than a martial leader. Walter Liedtke notes that it is surprising that van Somer’s Anne of Denmark and van Dyck’s Charles I have never been considered to be pendants, as their dimensions are almost exactly the same. In what follows, I will argue that these similarities are not accidental. These two works are kin in terms of both blood and art, and they actively articulate their subjects as mother and son, teacher and pupil, the model and its perfection.
Christopher Foley has observed that the development of the “dismounted equestrian portrait,” as materialized successively in the hunting portraits of Henry, Anne, and Charles, narrates the transference of increasingly sophisticated Netherlandish skills to a Stuart visual context, established by the English painter Peake at the commencement of the dynasty’s English reign. This is a seductive but ultimately flawed teleological narrative of aesthetic development, which passes over the purposeful agency of the political image in its early modern context. Anna’s portrait’s address to her son, and Charles’s portrait’s response to it, position them within a dialogic, intergenerational cultural transfer, transacting ideas of inheritance, individuality, historicity, artistic originality, and elite self-fashioning. Her pose highlights her indispensable role in preserving the body politic for the Stuart succession; her elbow anticipates the authority of her son as King. As indicated by the presence of Minerva’s bird, a symbol of wisdom, Anna may seek here to provide her son with a teachable model of masculine majesty to emulate. Charles’s active reception and digestion of this lesson, his use of it as an inspiration for his own self-fashioning as king, is made manifest in his own portrait by van Dyck. The courtly hunt provides the arena, both real and represented, in which these transactions were made. As in art, so in life: the courtly hunt was a practice long developed across Asia and Europe for the preparation of princes for their future roles as kings.
The Courtly Hunt as Princely Pedagogy
Hunting, especially par force hunting, was a privilege restricted to the nobility. The exclusion of other ranks was legitimated by framing hunting as military training. The courtly hunt’s ceremonial battles with the animal world were inherently representational: staged rehearsals for the military campaigns that noblemen were expected to lead as the warrior elite. To this extent, hunts were performances whose actors showed their readiness to defend their subjects. Hunts were also performative in that they constituted and perfected noble masculinity.
The courtly hunt played an important role in the education of princes, a role articulated within the interlocking framework of cynegetic and conduct literatures. The circulation of cynegetic manuals in manuscript, and later in print, which describe in detail the processes by which various animals should be hunted, was essential to the trans-aulic development of the ritualistic hunt across Western Europe. Late sixteenth- and early seventeenth-century translations of key works into English, and modernized editions of older English works, often feature passages comparing the nuances of British practice with that of its medieval forebears, European neighbors, or antique exemplars.
Cynegetic and conduct literatures describe the ideal behavior and attitude of the young nobleman toward his hunting practice and the nature of the courtly hunt’s performative effects on noble masculinity. This tradition begins with Xenophon’s ancient Cyropaedia. This Greek work originated the literary genre of princely pedagogy that became known as the “Mirror of Princes,” of which perhaps Niccolò Machiavelli’s The Prince (1532) and Baldassare Castiglione’s The Book of the Courtier (1528) are the best-known examples. Within the Nordic region, the thirteenth-century Norwegian manuscript of the Konungs Skuggsjá, or King’s Mirror, forms the earliest example of this genre. Within this tradition, Anna’s dynastic portrait acts decisively as an exemplary mirror for her son.
This tradition continued in England with those writing under the reign of James VI and I; his extended address to his son Henry, Basilikon Doron (1599), constituted an exemplary pedagogical text that few seeking patronage could afford to ignore. However, I will focus here on Henry Peacham’s The Compleat Gentleman (1622) and James Cleland’s Hērō-paideia, or Institution of a Noble Young Man (1607), both of which draw on, cite, and respond to James’s text. Peacham’s career as a poet, emblem designer, and author is well documented; the lesser-known Cleland appears to have been a Scot, working as tutor to Sir John Harington, Prince Henry’s companion.
James deals briefly with the courtly hunt in the third book of the Basilikon Doron, within a longer section on physical exercise. He advises his son that hunting with running hounds is the “moste honorable and noblest sorte” of hunting. Cleland and Peacham deal with the sport and its effects more fully. Both writers concur that hunting trains the mind as well as the body. As Cleland here describes it:
there is noe exercise so proper unto you as Hunting, with running hounds, wherby your bodie is disposed to endure patiently, heat, raine, wind, cold, hunger, and thirst; your minde made voide of al idle and naughtie cogitations, as it appeareth by the chast Diana. Hunting formeth the Judgment, and furnisheth a thousand inventions unto the Imagination: it maketh a man couragious and valiant, in his enterprises. . . . How am I able to reckon, the surprises, the strategems used for the obtaining of victorie, according to the beastes you doe hunt, which are all requisite & imploied without difference at the warrs, the hunting of men.
The hunt prepares a man for far-reaching military leadership. Its physical rigors increase his tolerance of discomfort and strengthen his self-control; they demand concentration, judgment; and imagination. Hunting is not solely a trial of physical strength but of a man’s personal qualities. Henry Peacham writes:
Hunting, especially, which Xenophon commendeth to his Cyrus, calling it a gift of the Gods, bestowed first upon Chiron for his vprightnesse in doing Iustice, and by him taught vnto the old Heroes and Princes; by whose vertue and prowesse (as enabled by this exercise) their Countries were defended, their subjects and innocents preserved, Iustice maintained.
Hunting prepares leaders for the public responsibilities of the defense of the realm from external enemies and maintaining the rule of law within it; such training includes a moral dimension. The pleasure afforded by the hunt is such that it requires great fortitude to pursue it with moderation. Cleland writes, “Morouer hunting is so pleasant, that if reason were not obaied, manie could not returne frõ such an exercise more then Mithridates who remained seauen yeares in the forrest.” Cleland warns against the nobleman’s surrender to the pleasures of hunting in the severest terms: “For if you neglect your necessarie affaies, you deserve to be punished with Lycaon, and Acteon, who were both hunted and killed by their owne dogges.”
The specter of excess, of reason abandoned to passion, haunts hunting’s status as the act most performative of exemplary, elite masculinity. Submission to passion undermines the ethical edifice that noble masculine privilege constructed for itself within the hunt’s circumscribed processes. The strength to resist the hunt’s private pleasures form a pillar of its purpose as a training ground to public duty. Temperance and moderation are the ethical imperatives that legitimize the political asymmetry inherent in early modern monarchy; self-control is the hallmark of the just governance of others. Peacham writes: “And albeit it is true as Galen saith, we are commonly beholden for the disposition of our minds, to the Temperature of our bodies, yet much lyeth in our power to keep that fount from empoisoning, by taking heed to ourselves; . . . to correct the malignitie of our Starres with a second birth.” These views were common across the Protestant northwestern periphery of Europe, dovetailing even with the responsibilities of Tycho Brahe as astronomer to Anna’s father, Frederik II of Denmark, which included the casting of natal horoscopes. As John Robert Christianson has shown, Brahe’s understanding of celestial influence did not rule out an orthodox Lutheran view on free will: “Men have something higher in themselves, which overcomes the heavenly and elemental influences,” Brahe writes in the Astrologia of 1591. “And the human being conveyed by his reason and manifold thoughts, and alignments, is not so easily transformed and moved, as the unreasonable beasts. But a few men more or less so than the others.”
Such discourses privilege the cool head, the seat of reason, over the labile body natural, subject to the ebbs and flows of its passions. “Mind over matter” is a distinction of rank within the body analogous to the control of the sovereign over the state. As Jonathan Gil Harris has written: “The members of bodies natural and politic share a pathological predispensation to imbalance, discord and unruliness, the corrective to which is the beneficent, yet decidedly authoritarian, intervention of the soul and/or ruler.” The hunt, therefore, offered a means of profoundly fleshly self-fashioning, constituting, to coin Peacham’s phrase, a “second birth.”
The pedagogical theme extends to Anna’s spirited little hunting dogs (see detail, fig. 12). Claude Anthenais, drawing on the French name for the greyhound—lévrier, or hare-courser—suggests in his analysis of the portrait that the Queen is hunting hares (as appears to have been her custom, as we have already seen). Following this, I suggest that Anna’s dogs are young greyhounds that she is training in the field. Greyhounds began their training by hunting hares, as the hares’ ingenuity (their doublings and crossings) taught young dogs perseverance. Although not specifically identified as Italian greyhounds in these sources, black-and-white hunting dogs appear in both French and English cynegetic literatures. George Gascoigne writes: “Now in our latter experience in this kingdome [England], we find the white Dog, and the white dog spotted with blacke, to bee ever the best hunters, especially at the Hare.” Jacques Espée de Selincourt, in Le Parfait Chasseur, writes: “Of the three main kinds of dogs the English have, the largest and most beautiful are said to be of the royal race, and are white marked with black.” For those viewers familiar with these literatures, the portrayed scene could function as a witty allegory. Just as Anna teaches the young dogs of the English royal race to navigate the hunting field, so too she performs exemplary majesty for the young Charles, then in training to be the future king of the larger field of Great Britain.
Within this scenario, the privileging of reason over strength as the foundation of rulership persists. As the wiliest of all prey animals, the hare was especially a test of a hunter’s and her dogs’ intelligence and strategy. In the sole textual reference to women’s (and indeed scholars’) hunting practice that I am aware of, in the Boke of the Governor (1537), Thomas Elyot writes: “Huntyng of the hare with grehoundes is a right good solace for men that be studiouse, or them to whom nature hath not given personage or courage apt for the warres. And also for gentilwomen which fear neither sonne nor wynde for appairing their beauty.” Hares also possessed other cultural valencies. In his edition of Juliana Berger’s The Book of St. Albans, Gervase Markham writes: “The Hare is the King of al the beasts of Venerie, and in hunting maketh best sport, breedeth the most delight of any other, and is a beast most strange by nature, for he often changeth his kinde, and is both male and female.”
This theory of the hare’s hermaphroditism was thoroughly debunked by Edward Topsell in his 1607 translation of Conrad Gesner’s magisterial zoological tract Historiæ Animalium; nevertheless, the myths of the bestiaries retained their cultural currency well into the seventeenth century. Animals’ special qualities were preserved in vernacular oral culture, and their stories were used to inspire young scholars to read their books, as Cleland recommends. John Robert Christianson has shown that Anna hunted hares with her sister Elizabeth; her father, Frederik II; and her mother, Sophia, as a young woman in Denmark. Hares may have had some special significance at the Danish court; Hans Knieper’s Kronborg workshop produced a series of tapestries portraying them, which are now lost. Within the Danish context, the hare may have been identified with Loki, who as the clever, shape-shifting, gender-fluid trickster of Norse mythology was perhaps the ultimate master of self-fashioning.
Genealogy and Ingenium
Hans Belting has argued that a shift in the concept of the portrait by the humanist artists of the Northern Renaissance during the sixteenth century revisioned the “Self” so that it was no longer understood as something fully contiguous with the body, but separate from it. Within the portrait, the physiognomic view of the body was gradually superseded by a new visual-textual rhetoric of the Self. While this new rhetoric served intellectual humanists and other members of the non-noble classes by articulating their claims to social status—and to representation—it was also co-opted by those with venerable dynastic genealogies, such as Frederick the Wise, as Belting shows. Within the courtly class, genealogy became paired with ingenium. A body’s fleshly, inherited nobility was crowned with the personal distinction conferred by the innate qualities of the individual: their God-given reasoning and creative powers. So James Cleland writes of James VI and I: “I maie affirme there is one like a Quintessence, above the foure elements, which containeth such wits, as appeare not to bee taught or informed by men, but infused by God; they are able in the twinkling of an eie, at the first motion to conceive, invent and retaine al things most accurately. Of such wits I have never seene, read or heard of one comparable to the King’s Majesty.”
Of course, venerable genealogy retained its importance for the self-imaging of elites, since the association between noble blood and superior virtue only served to further legitimize their privilege. As James writes in Basilicon Doron, referencing the theology of traductionism (the theory that original sin is transmitted from parents to children): “For though, anima non venit extraduce [the soul does not come by traduction], but is immediately created by God, and infused from above: yet it is most certaine that virtue or vice will oftentimes with the heritage bee transferred from the parentes to the posteritie and run on a blood (as the Proverbe is). &c.” While a virtuous genealogy retained its importance to royal identity within hereditary monarchy, this inheritance was balanced and enhanced by the ruler’s individual, even divine attributes.
Similarly, for artists of all disciplines, ingenium was conceived as a God-given talent for originality, equipping an individual to create something brand new from the models available to him or her, rather than merely repeating them. The proper assimilation and phenomenological digestion of a rich array of precedents stored in the memory nourished the inborn genius, enabling it to surpass and perfect its models. The intertwining theories of imitation and innutrition taught that the assimilating and digesting of many precedent perfections, like the honeybee visiting many flowers, would assist student practitioners of painting, poetry, rhetoric, or indeed, rulership, to construct their own new and original styles. Peacham couches his advice to young nobles on developing their style by speaking in just these terms, while drawing on a series of examples of artisanal expertise:
For as the young Virgin to make her fairest Garlands, gathereth not altogether one kinde of Flower; and the cunning Painter, to make a delicate beautie, is forced to mixe his Complexion, and compound it of many colours; the Arras-worker, to please the eyes of Princes, to be acquainted with many Hiftories: so are you to gather this Honey of eloquence, A gift of heaven, out of many fields; making it your owne by diligence in collection, care in expreffion, and skill in digeftion.
In the wake of Anna’s death, her portrait offered her son an image to instruct and nurture him. Selecting a diet within the humoral regimes that structured the early modern body was an act of self-fashioning in its most literal sense, affecting the quality and comfort of body and mind. So, too, selecting a diet of images was informed by the potential effects on the physical and mental interiority of the viewer. Consumption of food, drink, and art were all part of a “highly complex network of influences on character and health,” and all required the discipline of temperance. As Denis Ribouillault has noted, a taste for painting was not necessarily an untrammeled virtue. Indiscriminate “binging” on images without carefully selecting and properly digesting them could lead to dubious encounters with the early modern medical profession. This is demonstrated in a print in which patients of Dr. Panurgus are purged of a surfeit of images by variously scatological means (fig. 13). A well-to-do courtier’s head is steamed in an oven to evaporate the frivolous images that have congested in his brain. A rather less well-to-do client is purged of his poorly digested images on a close stool, or commode. The accompanying text states that “millions” have resorted to this grave doctor, suggesting that the fashionable consumption of high art could lead as often to widespread dangerous delusions as to virtuous erudition. This may seem rather prescient in light of Charles’s later career as perhaps the most discerning collector and commissioner of art the British succession has ever produced, and also as leader of the defeated Royalist armies.
Such graphic pastiches are dependent on the reception theory of the period, which argues for the transformative agency of the exemplary portrait. Richard Haydocke’s translation of Gian Paolo Lomazzo’s Trattato dell’arte della Pittura, Scoltura et Architettura (1584) maintained that painting had the power to move the beholder literally, and he conceptualized the body as a medium for the imprinting and storing of images, as Hans Belting has more recently argued. Haydocke writes: “So a picture artificially expressing the true naturall motions, will (surely) procure laughter when it laugheth, pensiuenesse when it is grieued &c.” He goes on to explain that a beholder will feel his appetite moved when he sees delicacies being eaten or will experience fury at a heated battle scene. A beholder before a portrait of exemplary majesty would, theoretically, experience his reception of an image physically and feel the literal impression being made upon him by the scene before his eyes. As Thijs Weststeijn has written, “Taken to the extreme, this means the beholder is supposed to ‘become’ the work, as ultimately he takes on the work’s qualities.” The image fashions the viewer.
Ingenium was thus linked dialogically with genealogy in all kinds of creative practice. As Aileen A. Feng notes in relation to poetry, “the relationship between the source texts and the new one should be modeled on that between a father and his son: a subtle resemblance, but not an exact replica.” A well-stocked visual memory is of central importance to both making and experiencing art, since much of its pleasure is in the recognition of the visual allusions that a work makes to its precedents. As Elizabeth Cropper has shown in relation to the Caracci family of painters:
Artists in the humanist tradition of painting . . . were just as concerned with inventing, disposing and ornamenting themes through allusive cross-references as they were with the representation of natural effects or the invention of new subject matter altogether. . . . Works of art relied as much, if not more, upon familial relationships with other works of art as they did on comparisons with living nature.
Within this allusive culture, Anna’s portrait exceeds its place as a link in an aesthetic genealogical chain. According to this reading, Anna is no longer the passive subject of a portrait whose story narrates a prologue in an artistic succession, from Peake to van Somer to van Dyck, to which she is only somewhat incidental. Anna, by means of her portrait, intervenes and demonstrates her contributive agency within the historical process of the princely succession. As sitter, mother and queen, Anna’s portrait anticipates, even interpellates, the portrait of her son.
Concluding Thoughts
By reading into Anna’s pictorial genealogy, the rich and complex early modern cultures of the hunt, and contemporary theories of art making and reception, we are able to recognize a reciprocal dialogic engagement between van Somer’s Anne of Denmark and van Dyck’s Charles I. Van Dyck’s Charles may now be regarded as a material reception of van Somer’s Anne and as evidence of how Charles’s kingly self-fashioning was constructed in light of her example. This is not to minimize the contribution of either van Somer or van Dyck in taking forward the theme of the dismounted equestrian ruler portrait in new and innovative directions. Both artists’ authorship is clearly legible in the portraits they painted for their royal sitters. It would be unwise to assume that these artists, having trained in the richly creative and innovative tradition of the Low Countries, had no input into the composition of the works of art they painted. The intent of this article, rather, has been to reintegrate the queen and her son, the king, as thinking agents acting within this process and upon its artistic outcomes. Genealogy and ingenium have often been mapped against the royal sitter and the commissioned artist, respectively. This essay argues that both the possession of heritage and the powerful ability to fashion and create are qualities brought to bear by artist and patron in the production of these original portraits.
The queen, whose body has physically regenerated the dynasty and whose portrait provides the next generation with its perfect exemplar, is doubly figured as the ultimate reproductive medium. Her portrait is much more than a mere screen for the projection of monarchical and dynastic aura. The portrait’s witty composition should remind us that both the sitters and viewers of Renaissance court portraits were often more adept and erudite than historians have recognized, and that their splendid portraits contain greater political agency and self-awareness than is sometimes assumed.
|
||||
8327
|
dbpedia
|
2
| 26 |
http://archives.yalealumnimagazine.com/issues/94_12/bac.html
|
en
|
Yale Alumni Magazine: The BAC Reaches Out (Dec 1994)
|
[
"http://archives.yalealumnimagazine.com/images/logo_2008.jpg",
"http://archives.yalealumnimagazine.com/images/departments/feature.gif",
"http://archives.yalealumnimagazine.com/images/spacer.gif",
"http://archives.yalealumnimagazine.com/images/spacer.gif",
"http://archives.yalealumnimagazine.com/images/spacer.gif",
"http://archives.yalealumnimagazine.com/images/rule.gif",
"http://archives.yalealumnimagazine.com/images/nav_bar/nav_home.jpg",
"http://archives.yalealumnimagazine.com/images/nav_bar/nav_about.jpg",
"http://archives.yalealumnimagazine.com/images/nav_bar/nav_advertise.jpg",
"http://archives.yalealumnimagazine.com/images/nav_bar/nav_archives.jpg",
"http://archives.yalealumnimagazine.com/images/nav_bar/nav_blog.jpg",
"http://archives.yalealumnimagazine.com/images/nav_bar/nav_classifieds.jpg",
"http://archives.yalealumnimagazine.com/images/nav_bar/nav_contact.jpg",
"http://archives.yalealumnimagazine.com/images/nav_bar/nav_contribute.jpg",
"http://archives.yalealumnimagazine.com/images/rule.gif",
"http://archives.yalealumnimagazine.com/images/spacer.gif",
"http://archives.yalealumnimagazine.com/images/endslug.gif",
"http://archives.yalealumnimagazine.com/images/rule.gif",
"http://archives.yalealumnimagazine.com/images/spacer.gif"
] |
[] |
[] |
[
""
] | null |
[
"Yale Alumni Publications"
] | null | null |
Comment on this article
The BAC Reaches Out
To many, the Yale Center for British Art is a rarified preserve accessible only to scholars. In fact—as legions of New Haven school children will attest—the institution is one of the leaders in Yale’s efforts to make its resources available to the wider community.
There is a temptation to remove one’s hat upon entering the skylit Library Court of the Yale Center for British Art. Massive, gilt-framed, full-length portraits spanning generations of British gentry circumscribe the otherwise serenely simple, oak-paneled space. Here, the 17th-century subject of Paul Van Somer’s James I stares regally out into posterity, while just across the hall Elizabeth Gunning, Duchess of Hamilton and Argyll (the studio of Joshua Reynolds, 18th century), her soft, white shoulders draped in scarlet and ermine, placidly gazes at a rose bush while banks of gray, roiling clouds gather above her head. Sporting portraits of “unknown” English gentlemen, with their spaniels, muskets, and breeches hang side-by-side with the studious Benjamin Moreland, High Master of St. Paul’s School, 1724 (by John Smibert) and George Romney’s supremely civilized John Flaxman Modelling the Bust of William Hayley. In arresting equipoise, a pair of Stubbs’ most famous animal paintings—A Lion Attacking a Horse and A Lion Attacking a Stag—dominate the back wall. The atmosphere is scholarly, the physical setting sublime.
But on a day or two each week, the aristocratic calm is shattered by the chatter of third-graders as they crawl about on all fours across the Oriental rugs, imitating the ravenous Stubbsian lions. On another occasion, members of a local high-school class fan out through the gallery in search of paintings of famous characters and settings from Shakespeare, Hardy, Woolf, and Dickens to amplify their reading assignments. On still another day, a dozen curious middle-schoolers are scrutinizing an exhibit on James Smetham—a fairly obscure Victorian-era British artist, poet, and critic. Without very much prompting, one of the youthful visitors—Nilema Sevier, 11, of Madison—raises her hand to ask, “If he wasn’t well-known, then why are we supposed to care about him?”
Such questions lie at the heart of what mature scholars do for a living, but addressing them in ways accessible to young people can do much to create an appetite for later learning. That, and sharing the answers with as wide an audience as possible, are objectives that figure prominently on the agenda of the Yale Center for British Art, or BAC, as it is better known. While the gallery’s primary mission remains, of course, to serve the needs of higher education, the BAC is increasingly concerned about its ability to make art literally come alive for the 3,600 younger patrons who visit the museum each year. “When those children are crawling about on the floor, imitating the lion, they’re doing more than just looking at the painting,” says Duncan Robinson, the British-born director of the museum and an adjunct professor of art history at Yale. “They’re translating the artist’s intent and relating to the animal’s emotions. I find that most exciting.”
Robinson’s enthusiasm is shared by the curatorial staff as well as by the museum’s 25 docents, or volunteer tour guides, part of whose job it is to introduce groups of school-age visitors to the gallery’s vast holdings. They include the most extensive collection of British art in the United States, and the largest such collection in the world under a single roof (the collection at London’s British Museum is larger, but is divided among several separate buildings). Among the 70,000 items in the collection—which embraces paintings, prints, drawings, watercolors, and rare books—are masterpieces by all the leading artists who worked in Britain from the 16th century onwards, including Hogarth, Gainsborough, Reynolds, Stubbs, Turner, Constable, and Blake.
Among researchers, the BAC is revered for its reference library, rivaled (outside Britain) only by the Henry E. Huntington Library and Art Gallery in San Marino, California. Hundreds of scholars from all over the world visit the BAC’s library each year to peruse its stacks of 20,000 books and its expansive photo archive, which contains more than 200,000 images, 55,000 of which are accessible via a new computer database. Others come to study such treasures as original Turner and Constable watercolors in the print room, or perhaps dip into the diaries and sketchbooks of Sir Joshua Reynolds in the rare book collection. The BAC also hosts visiting fellows and holds regular symposia, lectures, and interdisciplinary programs on various periods and aspects of British art.
Founded in 1977, the BAC and the bulk of its holdings (the collection has since been added to) were the gift of Paul Mellon ’29, one of Yale’s major benefactors. Mellon’s taste for all things British dates to childhood summers spent abroad in the English countryside, where, as he recalled, his impressions were summed up in a vision of “herds of friendly deer, flotillas of white swans” and “dappled tan cows” arrayed peacefully “against a background of huge golden summer clouds” with “the grey mass of Windsor Castle towering in the distance.”
After Yale, Mellon went on to study at Cambridge Uni-versity, where, during the 1930s, he began collecting English paintings of sporting scenes. Returning to the United States after World War II, he continued to buy British art until his collection was so vast that it forced him and his family out of their brick Virginia mansion and into a nearby farmhouse.
By the mid-1960s, Mellon was searching for a permanent home for the collection, and eventually settled on Yale. The new museum, which was the last and, many feel, one of the finest buildings designed by Louis I. Kahn, opened on April 15, 1977. (It creates a unique architectural companion piece to the Yale University Art Gallery, just across Chapel Street, which was Kahn’s first major commission.) “My objective in giving these collections to Yale was largely to give young men and women an opportunity to enjoy them at a period in their lives before age and familiarity dulled the immediacy of their visual impact,” Mellon recalled in his memoir, Reflections in a Silver Spoon. “I would have been saddened if the only purpose the pictures were going to serve was to replace lecture slides.”
Translating these words into action has, from its opening day, been a primary focus for the BAC, which offers a variety of outreach programs (gallery talks, art workshops, films, concerts, etc.) for both children and adults. And these programs, as well as the reference library and gallery itself, have always been free and open to the public. “We’ve never thought our collections should be exclusive to the Yale community,” says Robinson in response to those who might question why such a specialized institution takes such pains to keep its doors open to all. “Like the University, we recognize that we have a wider civic responsibility and opportunity to share what we have with others.” Adds Constance Clement, assistant director of the BAC’s Department of Education and Information: “Making the community aware of our presence is an integral part of what we are about.”
Sometimes blurred by the public’s perception of art museums as stuffy and elitist institutions, that message has been getting through with increasing force in recent years, especially in public and private high schools across the state. According to Clement, the number of high school tours last year increased 30 percent over the previous academic year as a result of a “concerted effort to reach out to this particular audience.”
Why the focus on teenagers? As Robinson sees the issue, “Education is becoming increasingly visual, what with computers and graphics in the classroom, and so we sat down and asked ourselves what age group could benefit from access to the collection and integrate that visual element into curricula of history and literature.” To this end, the museum in 1990 invited a dozen teachers of English, history, and art from high schools across the state—all of whom regularly brought classes to the BAC—to form an advisory committee.
This group, with the support of the museum staff and a grant from the Connecticut Humanities Council, staged two highly successful colloquia in 1992—“Face to Face: Art, History, and Literature in British Figure Painting” and “City vs. Country in Victorian Britain”—which brought teachers from public and private high schools together with museum staff and Yale faculty members to explore ways of including the BAC’s collections in their teaching. The sessions immersed the teachers in the works of various artists, as well as related literary selections: Shakespeare’s Richard II in connection with a discussion on portraiture in the Tudor and Stuart courts, for example, or Hardy’s Return of the Native in preparation for a look at paintings of 19th-century industrialized, urban settings. “The colloquia have helped us to build a number of bridges between the museum and the classroom,” says Clement. A third colloquium is scheduled for the spring, and will examine the art, literature, music, and ideas of the Romantic movement from the 1790s to the mid-19th century.
Aside from planning such major events, the museum staff, the docents, and the committee itself periodically meet with teachers to explore new ways to link various curricula to the collections. “We discuss with the teacher what the students are studying prior to the visit so that we can tailor our tours to whatever it is they are dealing with,” says Susan Skolnik, the BAC’s head docent. Readers of the great 18th-century satirists Pope and Swift, for instance, might embellish their understanding of the British class structure of the times as well as the writers’ various targets by examining William Hogarth’s riotous depiction of The Beggar’s Opera or his chaotic The Midnight Modern Conversation. Students of the Romantic period can study watercolors of Wordsworth’s Tinturn Abbey or become lost in Constable and Turner landscapes, which seem right out of Brontë’s Wuthering Heights. Lovers of Woolf might linger over portraits of members of the Bloomsbury Group, while those studying Blake can have the rare pleasure of coming face-to-face with his original illustrations for Songs of Innocence in the BAC’s print room.
“There’s something magical about viewing a scene which someone from the period once saw,” says Gary Fountain, an English teacher at Miss Porter’s School in Farmington, and a member of the advisory committee. “It’s a way of looking at an artifact from the age itself, like holding a first edition.” The exercise, he adds, also helps students visualize the book “as one element in a larger, cultural dialogue,” while writing about the paintings improves their composition skills by pushing them to be more descriptive.
The success of the effort can sometimes be tracked with great precision. “Visiting the museum enhanced my writing a lot; it made me focus more on detail and make more comparisons,” says Joan Thompson ’97, a former student of Fountain’s at Miss Porter’s. She recalls being surprised when Fountain informed her class that a trip to the BAC would be part of their study of English literature. “You don’t think of incorporating a trip to the museum in an English class,” Thompson says. “I used to think that an art museum was a place where older people went on weekends.”
Not so during annual sessions of one of the gallery’s most popular and earliest educational outreach programs, “Picture This!,” a series of Saturday-morning workshops designed for children in grades four through six. The sessions include a discussion of a particular artist or genre and a walk through the gallery, followed by a hands-on art project. This past fall, a dozen or so children from New Haven and its suburbs spent three consecutive Saturdays interpreting Stubbs’ animal paintings, studying, drawing, and building miniature models of landscapes from twigs, grass, and broccoli (as Gainsborough himself did), and exploring the eccentric and eclectic works of James Smetham.
“How did he do that? Is that a watercolor? What does it say?” pipe several of the children as they lean over a display case of Smetham’s unique journal entries, which he called “squarings.” The objects of the childrens’ curiosity are painfully small, boxed sketches of daily life surrounded by Smetham’s commentary written in a tiny script. In a neighboring room, docent Alyson Kluth helps the children connect with Smetham’s landscapes by describing them as “pictures he made while on vacation, just as you might take photographs when you’re away with your family.”
Back in the docent room, Kluth hands out paper, colored pencils, and square pieces of cardboard, and then asks the children to try to create their own “squarings” by summoning up details of their lives. Eleven-year-old Daniel Stambovsky of New Haven sketches a mini-seascape, while 8-year-old Nancy Mu of Hamden draws a detailed portrait of her guinea pig.
Many of the teachers and museum staff members find that for some elementary school students—especially those from low-income neighborhoods—a trip to the BAC is an eye-opening experience. “Some of these kids have never ridden in an elevator or eaten in a restaurant, let alone been inside an art museum,” observes Toni Morrotti, a third-grade teacher at New Haven’s Quinnipiac School. Thanks to the BAC’s participation in the New Haven public school system’s 15-year-old “Third Grade Museum Program,” every third-grader in the city now has that opportunity. As part of the program, all third-grade classes take field trips to both the BAC and the Yale University Art Gallery.
After making it clear to the children that in a museum you “feel with your eyes, not with your hands,” the docents (many of them retired teachers themselves) engage them in question-and-answer sessions on the paintings, sometimes asking them to imitate faces or search for familiar objects such as a ball or characters from stories. “We always start by telling them where England is and explain that this is an art devoted to and reflective of a culture that is different,” says head docent Skolnik. “We try to make it interesting, and show them pictures of horses or other little children at play, which they might relate to.”
Another helpful tool has been a children’s gallery guide, The Great British Art Search, which contains visual clues, factual information, and a map to help young patrons locate nine specific works of art in the museum.
The museum staff has found that such proactive approaches to art appreciation—soliciting responses from the students, involving them in hands-on projects, asking them to step into the artists’ shoes—are much more effective than the standard slide lecture. And the experts support the findings. Becoming actively involved in viewing art enhances creativity and leads to a richer understanding of the subject, according to Yale’s Robert Sternberg, the IBM Professor of Psychology and Education and a specialist in the study of creativity and learning styles. “From an educational standpoint this kind of thing is great in that it gets children to do creative work in a setting that really encourages creativity. It’s a better way to learn than simply by viewing, and a much better use of museums.”
The BAC’s young visitors seem to confirm that analysis. “Knowing more about the paintings, how they portrayed life in the times in which the authors were writing, helped me to come to a clearer understanding of the authors’ message, and made the writing more valuable,” says 16-year-old Matt Landa, a junior at Daniel Hand High School, whose class visited the museum last year.
Robinson finds it ironic that, despite such endorsements, the BAC still has some trouble getting the word out about what it has to offer beyond the realm of high scholarship. In fact, he notes, most people—especially young ones—connect more easily with the naturalistic images of landscapes, people, and animals that constitute the bulk of the BAC’s holdings than with abstract art or art from unfamiliar cultures. But he is optimistic about eroding the lingering perception that with a name like the “Yale Center for British Art,” his institution simply must be snooty and unapproachable.
The optimism is shared by New Haven Arts Council executive director Frances Clark, who considers the BAC “one of most accessible and forthcoming” arts organizations in the community. She says the museum shares the same challenge as every other arts entity in New Haven, from the New Haven Symphony, to the Long Wharf Theater and the city’s other galleries: “How do you stimulate and develop audiences among the people in the community? How do you get them in your doors on a Sunday afternoon and keep them coming back?”
Paraphrasing a current television commercial for an investment banking firm, the BAC might well reply: “One child at a time.”
|
||||||||
8327
|
dbpedia
|
1
| 73 |
http://archives.yalealumnimagazine.com/issues/94_12/bac.html
|
en
|
Yale Alumni Magazine: The BAC Reaches Out (Dec 1994)
|
[
"http://archives.yalealumnimagazine.com/images/logo_2008.jpg",
"http://archives.yalealumnimagazine.com/images/departments/feature.gif",
"http://archives.yalealumnimagazine.com/images/spacer.gif",
"http://archives.yalealumnimagazine.com/images/spacer.gif",
"http://archives.yalealumnimagazine.com/images/spacer.gif",
"http://archives.yalealumnimagazine.com/images/rule.gif",
"http://archives.yalealumnimagazine.com/images/nav_bar/nav_home.jpg",
"http://archives.yalealumnimagazine.com/images/nav_bar/nav_about.jpg",
"http://archives.yalealumnimagazine.com/images/nav_bar/nav_advertise.jpg",
"http://archives.yalealumnimagazine.com/images/nav_bar/nav_archives.jpg",
"http://archives.yalealumnimagazine.com/images/nav_bar/nav_blog.jpg",
"http://archives.yalealumnimagazine.com/images/nav_bar/nav_classifieds.jpg",
"http://archives.yalealumnimagazine.com/images/nav_bar/nav_contact.jpg",
"http://archives.yalealumnimagazine.com/images/nav_bar/nav_contribute.jpg",
"http://archives.yalealumnimagazine.com/images/rule.gif",
"http://archives.yalealumnimagazine.com/images/spacer.gif",
"http://archives.yalealumnimagazine.com/images/endslug.gif",
"http://archives.yalealumnimagazine.com/images/rule.gif",
"http://archives.yalealumnimagazine.com/images/spacer.gif"
] |
[] |
[] |
[
""
] | null |
[
"Yale Alumni Publications"
] | null | null |
Comment on this article
The BAC Reaches Out
To many, the Yale Center for British Art is a rarified preserve accessible only to scholars. In fact—as legions of New Haven school children will attest—the institution is one of the leaders in Yale’s efforts to make its resources available to the wider community.
There is a temptation to remove one’s hat upon entering the skylit Library Court of the Yale Center for British Art. Massive, gilt-framed, full-length portraits spanning generations of British gentry circumscribe the otherwise serenely simple, oak-paneled space. Here, the 17th-century subject of Paul Van Somer’s James I stares regally out into posterity, while just across the hall Elizabeth Gunning, Duchess of Hamilton and Argyll (the studio of Joshua Reynolds, 18th century), her soft, white shoulders draped in scarlet and ermine, placidly gazes at a rose bush while banks of gray, roiling clouds gather above her head. Sporting portraits of “unknown” English gentlemen, with their spaniels, muskets, and breeches hang side-by-side with the studious Benjamin Moreland, High Master of St. Paul’s School, 1724 (by John Smibert) and George Romney’s supremely civilized John Flaxman Modelling the Bust of William Hayley. In arresting equipoise, a pair of Stubbs’ most famous animal paintings—A Lion Attacking a Horse and A Lion Attacking a Stag—dominate the back wall. The atmosphere is scholarly, the physical setting sublime.
But on a day or two each week, the aristocratic calm is shattered by the chatter of third-graders as they crawl about on all fours across the Oriental rugs, imitating the ravenous Stubbsian lions. On another occasion, members of a local high-school class fan out through the gallery in search of paintings of famous characters and settings from Shakespeare, Hardy, Woolf, and Dickens to amplify their reading assignments. On still another day, a dozen curious middle-schoolers are scrutinizing an exhibit on James Smetham—a fairly obscure Victorian-era British artist, poet, and critic. Without very much prompting, one of the youthful visitors—Nilema Sevier, 11, of Madison—raises her hand to ask, “If he wasn’t well-known, then why are we supposed to care about him?”
Such questions lie at the heart of what mature scholars do for a living, but addressing them in ways accessible to young people can do much to create an appetite for later learning. That, and sharing the answers with as wide an audience as possible, are objectives that figure prominently on the agenda of the Yale Center for British Art, or BAC, as it is better known. While the gallery’s primary mission remains, of course, to serve the needs of higher education, the BAC is increasingly concerned about its ability to make art literally come alive for the 3,600 younger patrons who visit the museum each year. “When those children are crawling about on the floor, imitating the lion, they’re doing more than just looking at the painting,” says Duncan Robinson, the British-born director of the museum and an adjunct professor of art history at Yale. “They’re translating the artist’s intent and relating to the animal’s emotions. I find that most exciting.”
Robinson’s enthusiasm is shared by the curatorial staff as well as by the museum’s 25 docents, or volunteer tour guides, part of whose job it is to introduce groups of school-age visitors to the gallery’s vast holdings. They include the most extensive collection of British art in the United States, and the largest such collection in the world under a single roof (the collection at London’s British Museum is larger, but is divided among several separate buildings). Among the 70,000 items in the collection—which embraces paintings, prints, drawings, watercolors, and rare books—are masterpieces by all the leading artists who worked in Britain from the 16th century onwards, including Hogarth, Gainsborough, Reynolds, Stubbs, Turner, Constable, and Blake.
Among researchers, the BAC is revered for its reference library, rivaled (outside Britain) only by the Henry E. Huntington Library and Art Gallery in San Marino, California. Hundreds of scholars from all over the world visit the BAC’s library each year to peruse its stacks of 20,000 books and its expansive photo archive, which contains more than 200,000 images, 55,000 of which are accessible via a new computer database. Others come to study such treasures as original Turner and Constable watercolors in the print room, or perhaps dip into the diaries and sketchbooks of Sir Joshua Reynolds in the rare book collection. The BAC also hosts visiting fellows and holds regular symposia, lectures, and interdisciplinary programs on various periods and aspects of British art.
Founded in 1977, the BAC and the bulk of its holdings (the collection has since been added to) were the gift of Paul Mellon ’29, one of Yale’s major benefactors. Mellon’s taste for all things British dates to childhood summers spent abroad in the English countryside, where, as he recalled, his impressions were summed up in a vision of “herds of friendly deer, flotillas of white swans” and “dappled tan cows” arrayed peacefully “against a background of huge golden summer clouds” with “the grey mass of Windsor Castle towering in the distance.”
After Yale, Mellon went on to study at Cambridge Uni-versity, where, during the 1930s, he began collecting English paintings of sporting scenes. Returning to the United States after World War II, he continued to buy British art until his collection was so vast that it forced him and his family out of their brick Virginia mansion and into a nearby farmhouse.
By the mid-1960s, Mellon was searching for a permanent home for the collection, and eventually settled on Yale. The new museum, which was the last and, many feel, one of the finest buildings designed by Louis I. Kahn, opened on April 15, 1977. (It creates a unique architectural companion piece to the Yale University Art Gallery, just across Chapel Street, which was Kahn’s first major commission.) “My objective in giving these collections to Yale was largely to give young men and women an opportunity to enjoy them at a period in their lives before age and familiarity dulled the immediacy of their visual impact,” Mellon recalled in his memoir, Reflections in a Silver Spoon. “I would have been saddened if the only purpose the pictures were going to serve was to replace lecture slides.”
Translating these words into action has, from its opening day, been a primary focus for the BAC, which offers a variety of outreach programs (gallery talks, art workshops, films, concerts, etc.) for both children and adults. And these programs, as well as the reference library and gallery itself, have always been free and open to the public. “We’ve never thought our collections should be exclusive to the Yale community,” says Robinson in response to those who might question why such a specialized institution takes such pains to keep its doors open to all. “Like the University, we recognize that we have a wider civic responsibility and opportunity to share what we have with others.” Adds Constance Clement, assistant director of the BAC’s Department of Education and Information: “Making the community aware of our presence is an integral part of what we are about.”
Sometimes blurred by the public’s perception of art museums as stuffy and elitist institutions, that message has been getting through with increasing force in recent years, especially in public and private high schools across the state. According to Clement, the number of high school tours last year increased 30 percent over the previous academic year as a result of a “concerted effort to reach out to this particular audience.”
Why the focus on teenagers? As Robinson sees the issue, “Education is becoming increasingly visual, what with computers and graphics in the classroom, and so we sat down and asked ourselves what age group could benefit from access to the collection and integrate that visual element into curricula of history and literature.” To this end, the museum in 1990 invited a dozen teachers of English, history, and art from high schools across the state—all of whom regularly brought classes to the BAC—to form an advisory committee.
This group, with the support of the museum staff and a grant from the Connecticut Humanities Council, staged two highly successful colloquia in 1992—“Face to Face: Art, History, and Literature in British Figure Painting” and “City vs. Country in Victorian Britain”—which brought teachers from public and private high schools together with museum staff and Yale faculty members to explore ways of including the BAC’s collections in their teaching. The sessions immersed the teachers in the works of various artists, as well as related literary selections: Shakespeare’s Richard II in connection with a discussion on portraiture in the Tudor and Stuart courts, for example, or Hardy’s Return of the Native in preparation for a look at paintings of 19th-century industrialized, urban settings. “The colloquia have helped us to build a number of bridges between the museum and the classroom,” says Clement. A third colloquium is scheduled for the spring, and will examine the art, literature, music, and ideas of the Romantic movement from the 1790s to the mid-19th century.
Aside from planning such major events, the museum staff, the docents, and the committee itself periodically meet with teachers to explore new ways to link various curricula to the collections. “We discuss with the teacher what the students are studying prior to the visit so that we can tailor our tours to whatever it is they are dealing with,” says Susan Skolnik, the BAC’s head docent. Readers of the great 18th-century satirists Pope and Swift, for instance, might embellish their understanding of the British class structure of the times as well as the writers’ various targets by examining William Hogarth’s riotous depiction of The Beggar’s Opera or his chaotic The Midnight Modern Conversation. Students of the Romantic period can study watercolors of Wordsworth’s Tinturn Abbey or become lost in Constable and Turner landscapes, which seem right out of Brontë’s Wuthering Heights. Lovers of Woolf might linger over portraits of members of the Bloomsbury Group, while those studying Blake can have the rare pleasure of coming face-to-face with his original illustrations for Songs of Innocence in the BAC’s print room.
“There’s something magical about viewing a scene which someone from the period once saw,” says Gary Fountain, an English teacher at Miss Porter’s School in Farmington, and a member of the advisory committee. “It’s a way of looking at an artifact from the age itself, like holding a first edition.” The exercise, he adds, also helps students visualize the book “as one element in a larger, cultural dialogue,” while writing about the paintings improves their composition skills by pushing them to be more descriptive.
The success of the effort can sometimes be tracked with great precision. “Visiting the museum enhanced my writing a lot; it made me focus more on detail and make more comparisons,” says Joan Thompson ’97, a former student of Fountain’s at Miss Porter’s. She recalls being surprised when Fountain informed her class that a trip to the BAC would be part of their study of English literature. “You don’t think of incorporating a trip to the museum in an English class,” Thompson says. “I used to think that an art museum was a place where older people went on weekends.”
Not so during annual sessions of one of the gallery’s most popular and earliest educational outreach programs, “Picture This!,” a series of Saturday-morning workshops designed for children in grades four through six. The sessions include a discussion of a particular artist or genre and a walk through the gallery, followed by a hands-on art project. This past fall, a dozen or so children from New Haven and its suburbs spent three consecutive Saturdays interpreting Stubbs’ animal paintings, studying, drawing, and building miniature models of landscapes from twigs, grass, and broccoli (as Gainsborough himself did), and exploring the eccentric and eclectic works of James Smetham.
“How did he do that? Is that a watercolor? What does it say?” pipe several of the children as they lean over a display case of Smetham’s unique journal entries, which he called “squarings.” The objects of the childrens’ curiosity are painfully small, boxed sketches of daily life surrounded by Smetham’s commentary written in a tiny script. In a neighboring room, docent Alyson Kluth helps the children connect with Smetham’s landscapes by describing them as “pictures he made while on vacation, just as you might take photographs when you’re away with your family.”
Back in the docent room, Kluth hands out paper, colored pencils, and square pieces of cardboard, and then asks the children to try to create their own “squarings” by summoning up details of their lives. Eleven-year-old Daniel Stambovsky of New Haven sketches a mini-seascape, while 8-year-old Nancy Mu of Hamden draws a detailed portrait of her guinea pig.
Many of the teachers and museum staff members find that for some elementary school students—especially those from low-income neighborhoods—a trip to the BAC is an eye-opening experience. “Some of these kids have never ridden in an elevator or eaten in a restaurant, let alone been inside an art museum,” observes Toni Morrotti, a third-grade teacher at New Haven’s Quinnipiac School. Thanks to the BAC’s participation in the New Haven public school system’s 15-year-old “Third Grade Museum Program,” every third-grader in the city now has that opportunity. As part of the program, all third-grade classes take field trips to both the BAC and the Yale University Art Gallery.
After making it clear to the children that in a museum you “feel with your eyes, not with your hands,” the docents (many of them retired teachers themselves) engage them in question-and-answer sessions on the paintings, sometimes asking them to imitate faces or search for familiar objects such as a ball or characters from stories. “We always start by telling them where England is and explain that this is an art devoted to and reflective of a culture that is different,” says head docent Skolnik. “We try to make it interesting, and show them pictures of horses or other little children at play, which they might relate to.”
Another helpful tool has been a children’s gallery guide, The Great British Art Search, which contains visual clues, factual information, and a map to help young patrons locate nine specific works of art in the museum.
The museum staff has found that such proactive approaches to art appreciation—soliciting responses from the students, involving them in hands-on projects, asking them to step into the artists’ shoes—are much more effective than the standard slide lecture. And the experts support the findings. Becoming actively involved in viewing art enhances creativity and leads to a richer understanding of the subject, according to Yale’s Robert Sternberg, the IBM Professor of Psychology and Education and a specialist in the study of creativity and learning styles. “From an educational standpoint this kind of thing is great in that it gets children to do creative work in a setting that really encourages creativity. It’s a better way to learn than simply by viewing, and a much better use of museums.”
The BAC’s young visitors seem to confirm that analysis. “Knowing more about the paintings, how they portrayed life in the times in which the authors were writing, helped me to come to a clearer understanding of the authors’ message, and made the writing more valuable,” says 16-year-old Matt Landa, a junior at Daniel Hand High School, whose class visited the museum last year.
Robinson finds it ironic that, despite such endorsements, the BAC still has some trouble getting the word out about what it has to offer beyond the realm of high scholarship. In fact, he notes, most people—especially young ones—connect more easily with the naturalistic images of landscapes, people, and animals that constitute the bulk of the BAC’s holdings than with abstract art or art from unfamiliar cultures. But he is optimistic about eroding the lingering perception that with a name like the “Yale Center for British Art,” his institution simply must be snooty and unapproachable.
The optimism is shared by New Haven Arts Council executive director Frances Clark, who considers the BAC “one of most accessible and forthcoming” arts organizations in the community. She says the museum shares the same challenge as every other arts entity in New Haven, from the New Haven Symphony, to the Long Wharf Theater and the city’s other galleries: “How do you stimulate and develop audiences among the people in the community? How do you get them in your doors on a Sunday afternoon and keep them coming back?”
Paraphrasing a current television commercial for an investment banking firm, the BAC might well reply: “One child at a time.”
|
||||||||
8327
|
dbpedia
|
3
| 85 |
https://www.askart.com/artist/artist/V7.aspx
|
en
|
askART artist V7 Listing
|
[
"https://www.askart.com/assets/2024/6326_301420_450_1.jpg",
"https://www.askart.com/assets/member/172/172092/24083_104708_TheRapids_1.JPG",
"https://www.askart.com/assets/2017/11198567_241470_450_1.jpg",
"https://www.askart.com/assets/member/468/4684/11154424_118625_VillageScene_1.jpg",
"https://www.askart.com/assets/2023/5867_291873_450_1.jpg"
] |
[] |
[] |
[
"art artist directory list"
] | null |
[] | null |
askART: Art auction results + records, artwork prices, appraisers, signatures and artist biographies.
|
https://www.askart.com/artist/artist/V7.aspx
| ||||||||
8327
|
dbpedia
|
3
| 9 |
https://philamuseum.org/collection/object/23336
|
en
|
Putti Gathered by a Canopy
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
Paul van Somer II (English (born Netherlands), c. 1649–1714)
|
en
|
data:image/x-icon;base64,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
|
https://philamuseum.org/collection/object/23336
|
We are always open to learning more about our collections and updating the website. Does this record contain inaccurate information or language that you feel we should improve or change? Contact us here.
Please note that this particular artwork might not be on view when you visit. Don’t worry—we have plenty of exhibitions for you to explore.
|
|||||
8327
|
dbpedia
|
3
| 93 |
https://www.encyclopedia.com/history/encyclopedias-almanacs-transcripts-and-maps/britain-art
|
en
|
Encyclopedia.com
|
[
"https://www.encyclopedia.com/themes/custom/trustme/images/header-logo.jpg"
] |
[] |
[] |
[
"BRITAIN",
"ART IN\nBRITAIN",
"ART IN. In the period between the sixteenth and eighteenth centuries",
"the visual arts in Britain underwent a significant change in status",
"closely connected to Britain's rising mercantile power and prosperity."
] | null |
[] | null |
BRITAIN, ART IN
BRITAIN, ART IN. In the period between the sixteenth and eighteenth centuries, the visual arts in Britain underwent a significant change in status, closely connected to Britain's rising mercantile power and prosperity. Source for information on Britain, Art in: Europe, 1450 to 1789: Encyclopedia of the Early Modern World dictionary.
|
en
|
/sites/default/files/favicon.ico
|
https://www.encyclopedia.com/history/encyclopedias-almanacs-transcripts-and-maps/britain-art
|
BRITAIN, ART IN
BRITAIN, ART IN. In the period between the sixteenth and eighteenth centuries, the visual arts in Britain underwent a significant change in status, closely connected to Britain's rising mercantile power and prosperity. Although the focus of patronage shifted from the court of the Tudor and Stuart dynasties to the bourgeois market of the eighteenth century, painters in Britain continued to find their main source of income in the field of portraiture. With the first public exhibitions of art in 1760 at the Society of Artists and the founding of the Royal Academy in 1768, artists in Britain achieved the professional organization necessary to foster the training of native-born talent.
Throughout this period, Britain was host to numerous foreign-born painters and craftsmen, many of whom had immigrated there to escape the religious and political turmoil of the Continent and to take advantage of the increasing wealth of Britons. The German Hans Holbein the Younger (1497?–1543) is the artist most closely associated with the reign of Henry VIII (1509–1547). After an initial visit from 1526 to 1528, during which he painted the portraits of Sir Thomas More (Frick Collection, New York) and his family, Holbein returned to London in 1532. Henry's break with the Catholic Church in Rome in 1533 necessitated the creation of a new royal imagery, and Holbein's life-size portrayal of the king in 1536 emphasized his role as head of both church and state.
Another consequence of the founding of the Church of England was the necessary move away from religious imagery in sculpture. Inventories show that before the break with Rome, households owned more sculptural objects than paintings; however, these were mostly religious in function. From the 1530s onward, the staple of sculptural production was funerary monuments, which were protected by a 1560 proclamation of Elizabeth I.
With the accession of Queen Elizabeth in 1558, following the five-year reign of her Catholic half-sister Mary I, royal portraiture took on a new function: to bolster visually her decision to remain unmarried. Portraits of Elizabeth, dating from the 1570s, employ symbols tying her virtue to her country. For example, in William Seger's portrait (c. 1597; Hatfield House, Hertfordshire) she appears with an ermine, a symbol of chastity, and in the famous "Ditchley" portrait (c. 1592; National Portrait Gallery, London), Elizabeth stands on a map of England.
Although the Ditchley portrait is full-length and life-size, the most significant contribution to the visual arts in Britain at this time was the miniature painting of Nicholas Hilliard (1547–1619). Called limning, miniature painting was related to manuscript illumination and often painted on vellum. The practice had been brought to England by the Flemish artist Lucas Hornebolte (c. 1490/95–1544), who had taught the method to Holbein. Hilliard praised Holbein and advanced his theories in a treatise entitled A Treatise Concerning the Art of Limning, advocating that miniature painting be limited to gentlemen and that the technique be kept secret. With images such as Young Man among Roses, probably Robert Devereux, second earl of Essex (c. 1587; Victoria and Albert Museum, London), Hilliard painted the visual equivalent of Elizabethan sonnets. Hilliard trained his son, Laurence, as well as his most successful follower, Isaac Oliver.
The succession in 1603 of James I, and with him the Stuart dynasty, saw a move away from the emblematic emphasis of Elizabethan royal portraiture. However, foreign artists such as Paul van Somer of Flanders continued to dominate. Among the artists who came to England from the Netherlands was Daniel Mytens the Elder (c. 1590–1647), who was granted an annual life pension of £50 by James I and appointed by Charles I to the position of "picture-drawer."
The sculpture-lined hallways in Mytens's portraits of Thomas Howard, earl of Arundel, and his wife (c. 1616; Arundel Castle) point to an important aspect of the arts during the reign of James I: the establishment of significant collections by courtiers such as Howard and George Villiers, the first and second dukes of Buckingham. Charles I's decision to accumulate a great collection of Old Masters was formed on his 1623 trip to the court of Philip IV of Spain, where he was impressed by the prestige with which the great works of Titian (born Tiziano Vecelli), Veronese (born Guarino da Verona), and other Italian masters endowed the Spanish monarch. Charles's most significant purchase was part of the collection of the Gonzaga family of Mantua, whereby he acquired some of the master works of Andrea Mantegna, Titian, Caravaggio (born Michelangelo Merisi), and Raphael (born Raffaello Sanzio), among others.
A second aspect of Charles's accumulation of art was his patronage of contemporary artists. On Peter Paul Rubens's diplomatic trip to England between June 1629 and March 1630, Charles commissioned the Flemish painter to decorate the ceiling of Inigo Jones's Italianate Banqueting Hall, Whitehall. The resulting Apotheosis of James I (1630–1634), a visual depiction of the Stuarts' allegiance to the notion of the divine right of kings, is considered the one full-fledged example of baroque painted decoration in England.
Rubens's star pupil, Anthony Van Dyck (1599–1641), made a brief trip to London in the winter of 1620–1621, probably on the recommendation of Arundel, who introduced him to James I. Van Dyck returned there permanently in 1632 and through his portraits gave Charles I and his court an image of natural authority. Charles anticipated the visual impact Van Dyck would have on the image of his reign; upon Van Dyck's return, the king knighted him, appointing him "principalle paynter in ordinary to their Majesties."
In such full-length works as Charles I on Horseback (c. 1637; National Gallery, London) and William Feilding, 1st Earl of Denbigh (1633–1634; National Gallery, London), Van Dyck takes his subjects out of the confines of the rigid costume pieces that conveyed static permanence and into the lush natural environment. He infuses his sitters with movement, accentuated by the rich coloring he learned from Titian and Rubens. Van Dyck's role in the development of portraiture in Britain continued to endure long after his death in 1641.
Even during the unsettled years of the Civil War, the royal family and royalist officers continued to commission portraits. Between 1642 and 1646, English-born William Dobson (1611–1646) served the court, painting with a naturalism similar to that of Van Dyck, but with a less refined tenor suitable to the martial times.
One of the most significant events in the art world during the commonwealth's interregnum was the sale of Charles I's collection. Charles's vast expenditure on art works from the Catholic Continent had been a source of widespread suspicion and discontent during his reign, seen as symbolic of his authoritarian tendencies. Its dispersal, however, severely set back the development of a royal or central art collection in Britain. The sale began in October 1649. In addition, the collections of Buckingham, Arundel, and Hamilton were contemporaneously sold.
Although the interregnum may seem a bleak period for painting in Britain, it was during this time that Sir Peter Lely (1618–1680) established a prosperous career in London after having received his training in Haarlem. Lely arrived in England in the early 1640s and his earliest known portrait of this period, from 1647, is of Charles I and the duke of York (duke of Northumberland, Syon House). Nevertheless, Lely quickly adapted to the political climate of the commonwealth. His adaptability is seen once again during the Restoration with his appointment as principal painter.
In the 1660s Anne Hyde, duchess of York, commissioned Lely to create a series of the most beautiful women at court, now called the Windsor Beauties. It and his series of "Flagmen" at Greenwich exemplify his facility for different poses. Lely's vast output was facilitated by studio assistants who would paint the backgrounds and draperies of his works, as well as copies of them. Lely dominated this period of British painting and was knighted in 1680.
The crown was also the most significant patron of the virtuoso wood-carver Grinling Gibbons (1648–1721). The best examples of his naturalistic depictions of flora, fauna, and textiles may be found in the Royal Apartments at Windsor Castle, where he worked between 1677 and 1682.
With Lely's death at the end of 1680, Dutch-born Godfrey Kneller (1646–1723) dominated the portrait market. Kneller had trained with Ferdinand Bol in Amsterdam and, before his arrival in London in 1676, had traveled to Rome and Venice. By 1679 he was painting the portrait of Charles II. With the Glorious Revolution and the arrival of William III and Mary II in 1688, Kneller shared the position of principal painter with native-born portraitist John Riley. He was knighted in 1692 and made a baronet in 1715.
Kneller is best known for his series of portraits of the members of the Kit-Cat Club (painted 1700–1720). The format of these portraits, in which the sitter's head, shoulders, and one or both hands were shown, was innovative, and the size was thereafter termed a "Kit-Cat." Kneller's popularity, like Lely's, necessitated a large studio; the sometimes mediocre quality of its work did unfortunately undermine Kneller's posthumous reputation. Kneller was also the first governor of an academy for painting and drawing, which opened in 1711.
Contemporaneous with Kneller's career was the vogue for decorative schemes in the great houses of Europe. Practitioners of this late baroque form came from Italy (for example, Antonio Verrio, Giovanni Antonio Pellegrini, and Sebastiano and Marco Ricci) and France (Louis Laguerre). Verrio's illusionistic, decorative work can be seen at the duke of Devonshire's Chatsworth, where he painted various rooms and ceilings during the 1690s. However, the emergence of a nationalistic impulse can be seen in the competition for the decoration of St. Paul's Cathedral. English-born James Thornhill (1676–1734) vigorously lobbied for this prestigious commission and worked on it from 1715 to 1717.
Thornhill's nationalistic mantel was taken up by his son-in-law William Hogarth (1697–1764). Although Hogarth's style showed a clear knowledge of French painting, he was vociferous in his antagonism toward English patronage of foreign artists, especially in the area of historical painting. His Sigismunda (1759; Tate Gallery, London) was an attempt to demonstrate the superiority of English historical painting after a supposed Correggio on the same subject was bought for over £400 at auction; however, his work was met with ridicule.
By then it had become customary for well-born Englishmen to finish their education by undertaking a grand tour of Europe. An important aspect of these travels was the purchase of works of art commemorating their visit. The Venetian view painter Canaletto (born Giovanni Antonio Canal; 1697–1768) was so popular with his English patrons that he came to London in 1746, staying until 1755. Landscape painting in Britain had been characterized by topographical accuracy used to detail the house and grounds of estates. Under the influence of seventeenth-century landscape painters Claude Lorrain (born Claude Gellée), Nicolas Poussin, and Salvator Rosa, Richard Wilson instead gave the English landscape a classical, idealized expression. Nevertheless, Wilson died in poverty, and Thomas Gainsborough famously complained that he could only support a family through the practice of portraiture.
Hogarth was instrumental in popularizing the small-scale group portrait called the conversation piece, a format that had been brought to England by Watteau's follower Philippe Mercier. Hogarth's own innovation of the "modern moral subject" was itself influential on the Continent, and his promotion of the Engravers' Copyright Act of 1734 to protect artists' engravings secured him an important source of income.
Hogarth's full-length portrait of Captain Thomas Coram (1740, Thomas Coram Foundation for Children, London) epitomizes the shifting sources of patronage in mid-eighteenth-century England. The increasingly prosperous merchant classes adopted the forms of aristocratic portraiture. Moreover, Coram had established the Foundling Hospital. Hogarth and other artists donated works to this charitable institution for orphans, and it became the first venue for the public display of paintings in England.
Although Hogarth had lobbied for a democratically structured academy for training artists, the official academy that was founded in 1768 was given a royal charter and had a strict hierarchy. Sir Joshua Reynolds's centrality in the art world of the eighteenth century was confirmed by his election as its first president. In his renowned fifteen Discourses on Art, presented to the students and members of the academy during his tenure, he articulated his concern for raising the intellectual status of the artist in society. With its schools and annual exhibitions, the Royal Academy dominated the course British art was to follow for the next hundred years.
See also Academies of Art ; Britain, Architecture in ; England ; Gainsborough, Thomas ; Hogarth, William ; Holbein, Hans, the Younger ; Jones, Inigo ; London ; Portrait Miniatures ; Reynolds, Joshua ; Van Dyck, Anthony ; Wren, Christopher.
BIBLIOGRAPHY
Primary Source
Hilliard, Nicholas. A Treatise Concerning the Art of Limning. Reprint, transcribed by Arthur F. Kinney. Boston, 1983.
Secondary Sources
Brown, Jonathan. Kings and Connoisseurs: Collecting Art in Seventeenth-Century Europe. Princeton, 1995.
Gent, Lucy, ed. Albion's Classicism: The Visual Arts in Britain, 1550–1660. New Haven and London, 1995.
Llewellyn, Nigel. Funerary Monuments in Post-Reformation England. Cambridge, U.K., 2000.
Solkin, David H. Painting for Money: The Visual Arts and the Public Sphere in Eighteenth-Century England. New Haven and London, 1993.
Waterhouse, Ellis. Painting in Britain, 1530–1790. 5th ed. New Haven and London, 1994.
Whinney, Margaret. Sculpture in Britain, 1530–1830. 2nd ed., revised by John Physick. Harmondsworth, U.K., 1988.
Elizabeth A. Pergam
|
|||||
8327
|
dbpedia
|
0
| 91 |
https://www.wga.hu/cgi-bin/artist.cgi%3FProfession%3Dany%26School%3Dany%26Period%3Dany%26Time-line%3Dany%26from%3D300%26max%3D50%26Sort%3DName%26letter%3Ds%26width%3D700%26targetleft%3D0
|
en
|
Web Gallery of Art has been moved to a new address!
|
[
"https://www.wga.hu/support/header/header.gif",
"https://www.wga.hu/support/jpg/red_head.jpg",
"https://www.wga.hu/support/title/enter404.gif",
"https://www.wga.hu/support/gif/kockak.gif"
] |
[] |
[] |
[
""
] | null |
[] | null | null |
We kindly inform you that the location of some pages has changed due to significant upgrades in 2019-2020 involving the increase in both the number of images and artists featured in the collection. It resulted in the rearrangement of some parts of the database.
If you came to this page by following a link from a search or by using your earlier bookmark, the broken link occurred probably due to the rearrangement.
We suggest you to find the required image or data by using our
search engine in the standard version or
search engine for mobile devices.
Looking for an artist, you can use our
artist search in the standard version or
artist search for mobile devices.
Otherwise we kindly invite you to enter the Gallery by using the button below.
Thanks for your patience and your patronage.
|
||||||||
8327
|
dbpedia
|
0
| 2 |
https://en.wikisource.org/wiki/Dictionary_of_National_Biography,_1885-1900/Van_Somer,_Paul
|
en
|
Dictionary of National Biography, 1885
|
https://en.wikisource.org/static/favicon/wikisource.ico
|
https://en.wikisource.org/static/favicon/wikisource.ico
|
[
"https://upload.wikimedia.org/wikipedia/commons/thumb/8/81/Wikimedia-logo.svg/18px-Wikimedia-logo.svg.png",
"https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1",
"https://en.wikisource.org/static/images/footer/wikimedia-button.svg",
"https://en.wikisource.org/static/images/footer/poweredby_mediawiki.svg"
] |
[] |
[] |
[
""
] | null |
[
"Contributors to Wikimedia projects"
] |
2010-09-23T16:53:04+00:00
|
en
|
/static/favicon/wikisource.ico
|
https://en.wikisource.org/wiki/Dictionary_of_National_Biography,_1885-1900/Van_Somer,_Paul
|
VAN SOMER, PAUL (1576–1621), portrait-painter, was born at Antwerp in 1576. An elder brother, Bernard Van Somer, was entered in the guild of St. Luke at Antwerp in 1588 as the pupil of Philippe Lisart, but there is no trace of Paul Van Somer having become a member of the guild. The two brothers, according to the historian of art, Karel Van Mander, were in 1604 residing at Amsterdam, both in good esteem for portrait-painting and other branches of the art. Paul was then a bachelor, but Bernard had married in Italy the daughter of Arnold Mytens, who was probably related to Daniel Mytens [q. v.], for so many years Van Somer's rival as a portrait-painter in England. It is uncertain when he came over to England. A portrait of Christian IV, king of Denmark, at Hampton Court, is dated 1606, and it is possible that he came over in that king's train, as he seems always to have been the favourite painter of James I's consort, Anne of Denmark, and her household. Van Somer is chiefly known by a number of full-length portraits, both male and female, which are of great interest historically from the carefully rendered details of the costume, resembling very much the portraits by the great Spanish painter, Sanchez Coello. They are sometimes, when not signed, with difficulty distinguished from those by Mytens of a similar character. Speaking generally, those by Van Somer are more freely handled, and are richer in colour, showing a strong predilection for deep reds and browns. Van Somer also frequently introduced a piece of landscape or a view of a building into the background. A portrait of Anne of Denmark in hunting dress, with her dogs, painted in 1617, and now at Hampton Court, has a view of Oatlands in the background, another of the same queen has a view of Inigo Jones's facade at St. Paul's Cathedral. A portrait of James I, painted in 1619–20, also at Hampton Court, has a view of the newly erected banqueting-house at Whitehall in the background. Two interesting portraits of the Earl and Countess of Arundel, in the possession of the Duke of Norfolk, painted in 1618, show views of the earl's picture gallery and collections of marbles. A fine portrait of Henry, prince of Wales, formerly at Blenheim Palace, is in the National Portrait Gallery. Among other important portraits by Van Somer are those of Sir Simon Weston (1608); William Herbert, third earl of Pembroke (1617, engraved by Simon Van de Passe); Henry Wriothesley, earl of Southampton (engraved by Simon Van de Passe); Francis Bacon, viscount St. Albans (at Gorhambury); Sir Thomas Lyttelton (1621, at Hagley); Robert Carr, earl of Ancrum (1619); and others. There is a fine series of paintings by Van Somer at Ditchley, the seat of Viscount Dillon, representing ladies of Anne of Denmark's court. Van Somer died in London, and was buried on 5 Jan. 1621 in St. Martin's-in-the-Fields. It has been stated that his descendants remained in London and established a carpet manufactory. A portrait by Van Somer of himself was formerly at Ham House.
It is uncertain whether the mezzotint engravers Jan and Paul Van Somer belonged to this family. Jan Van Somer lived in Amsterdam, but his brother, Paul Van Somer, came to London in 1674, and lived in Newport Street, Soho, where he published many mezzotint engravings, and died in 1694.
[Walpole's Anecdotes of Painting, ed. Wornum; Van Mander's Vies des Peintres, ed. Hymans; De Piles's Lives of the Painters.]
|
||||
8327
|
dbpedia
|
2
| 88 |
http://www.visual-arts-cork.com/art-movements-glossary.htm
|
en
|
Art Movements: Periods, Schools
|
[
"http://www.google.com/images/icons/ui/gprofile_button-16.png"
] |
[] |
[] |
[
"Art Movements",
"History of Fine Arts",
"Painting Styles",
"Schools of Sculpture",
"Romanesque",
"Gothic",
"Renaissance",
"Baroque",
"Rococo",
"Neoclassicism",
"Impressionism",
"Expressionism",
"Cubism",
"Futurism",
"Dada",
"Surrealism",
"Abstract Expressionism",
"Pop Art",
"Minimalism"
] | null |
[] | null |
Art Movements and Schools: Styles of Painting, Sculpture and Architecture
| null |
A - B - C - D - E - F - G - H-J - K-L - M - N - O - P-Q - R - S - T - U-V - W-Z
A
Abstract Art
Non-representational painting and sculpture. See also Abstract Art Movements.
Abstract Expressionism
Originally a diverse style of abstract art developed in the USA during the 1940s and 1950s, and particularly associated with Arshile Gorky and Jackson Pollock; abstract expressionist painting is sometimes known as the New York School. After 1952, sometimes known alternatively as 'action painting.'
Academic Art
The official style taught in the official academies of fine arts.
Action Painting
Term coined in 1952 by US critic Harold Rosenberg to describe the type of Abstract Expressionism, practiced by Jackson Pollock and others, in which the emphasis was on the action of applying paint, sometimes splashing or pouring it over a canvas on the floor.
Aesthetic Movement
Active in Britain during the 1870s and 1880s in both the fine and applied arts. Amounting to a reverence of pure beauty in art and design, its motto was 'art for art's sake'. In painting, its aesthetic philosophy was exemplified by Whistler, Albert Moore and in part by Leighton. In applied arts and crafts, the movement was spearheaded by William Morris.
American Impressionism
Followed the French tradition; leading figures included William Merritt Chase (1849-1916), Theodore Robinson (1852-96), Mary Cassatt (1844-1926), John Singer Sargent (1856-1925), Childe Hassam (1859-1935), John Henry Twachtman (1853-1902), J Alden Weir (1852-1919) and Willard Leroy Metcalf (1858-1925).
American Scene Painting
General category describing art movements in the United States (1925-45) which used specifically American imagery, captured in a realistic, often nostalgic setting. Closely related to Regionalism.
Analytical Cubism
Early phase of CUBISM, c.1907-12, in which natural forms were analyzed and reduced to their essential geometric parts.
Armory Show
Most famous exhibition of modern art, ever held in New York, 1913.
Art Deco
Interior and graphic design of the 1920s and 1930s, characterized as a combination of Art Nouveau with new geometric forms.
Art Informel
Term coined by French critic Michel Tapie, and used from the 1950s to describe the European equivalent to American abstract expressionism.
Art Nouveau
Decorative style of artistic design popular in Europe in the late 19th and early 20th century poster art; it often employed stylized, curvilinear plant forms. It was known in Germany as Jugendstil.
Arte Povera
Term coined by Italian critic Germano Celani in 1967 to describe the work of artists such as Carl Andre, Richard Long etc. It stresses the use of ordinary materials such as sand, stones, twigs, etc., and the temporary, non-collectable nature of the work.
Arts and Crafts Movement
Championed by William Morris, it sought to reassert the value of good design and craftsmanship in the machine age. Paved the way for Art Nouveau, Bauhaus and Art Deco.
Ashcan School
Term used during the 1930s to describe the realist group of artists which evolved from the eight in New York c1908 and whose subject was usually the urban environment.
Australian Colonial Painting
First styles of art by Europeans in Australia.
Australian Impressionism
Works by Tom Roberts, Arthur Streeton, Fred McCubbin, Charles Conder. Also called the Heidelberg school.
Australian Modern Painting
20th-Century modern art embodied by Russell Drysdale, Sidney Nolan and others.
B
Barbizon School of Landscape painting
Group of French landscape painters of the mid 19th century, who painted landscape for its own sake, often in plein-air, directly from nature.
Baroque
Style of architecture, painting, and sculpture originating principally in Italy, of the late 16th to the early 18th century; it exhibited an increased interest in dynamic movement and dramatic effects. Also: "baroque" is sometimes used in a pejorative sense to mean over-elaborate, florid. Also: The Baroque period refers to the 17th century, when the style was at its height.
Bauhaus Design School
Named after a combination of the German terms for building (bau) and house (haus), it was a school of architecture and modern art, founded in Weimar, Germany, in 1919 by architect Walter Gropius, which became the focus of modern design. It moved to Dessau in 1925-6, to Berlin in 1932, and was closed in 1933. Its teaching method replaced the traditional pupil-teacher relationship with the idea of a community of artists working together.
Berlin Secession (Ger. Berliner Sezession)
Association led by the German Impressionist painter Max Liebermann which exhibited the work of the "Die Brucke" artists in 1908.
Biedermeier Style of Art
A Romantic-Realistic type of 'domestic' painting, interior design and architecture, popular in Germany, Austria and Denmark around 1810-60.
Biomorphic Abstraction
Style of rounded abstract forms, used by Henry Moore and others. Also referred to as Organic Abstraction.
Blaue Reiter (Ger. Der Blaue Reiter, "The Blue Rider")
Group of artists formed in Munich in 1911 by Wassily Kandinsky and Franz Marc. The group was of very varied outlook; other artists who joined it included Paul Klee, August Macke and Alexei von Jawlensky. See: German Expressionism.
Bolognese School of Painting
Founded in Bologna, Italy by Annibale Carracci, his brother Agostino, and cousin Ludovico (1555-1619).
Brucke (Ger. Die Brucke, "The Bridge")
Group of German Expressionist painters founded in Dresden in 1905, and including the artists Ernst Ludwig Kirchner and Karl Schmidt-Rottluff. See: German Expressionism.
Brutalism
Architectural style of the 1950s associated with Le Corbusier and Mies van der Rohe, in which no attempt is made to disguise the building materials used.
Byzantine Art
An umbrella term for fine arts developed within the Eastern Roman Empire, centred on Constantinople (Byzantium) from roughly 350 CE to 1450. See also: Christian Art, Byzantine Period.
C
Camden Town Group
Group of English Post-Impressionist painters formed in 1911 around Walter Sickert, including Spencer Gore, Lucien Pissarro, and Augustus John, who applied some of the principles of Paul Gauguin and Vincent van Gogh to contemporary London subject matter.
Caravaggism
The light/shadow painting technique associated with Michelangelo Merisi da Caravaggio, involving chiaroscuro and tenebrism.
Carolingian Art
The revival of European arts (c.750-900) after the Dark Ages, under the Frankish King Charlemagne.
Catholic Counter Reformation Art
Describes the campaign of Catholic art (c.1560-1700), launched by the Vatican following the Council of Trent (1545-63).
Celtic Art
A style based on curvilinear forms, using spirals, knots and interlace patterns.
Chicago School of Architecture
Group of architects working in Chicago between 1871 and 1893, led by William Le Baron Jenney (1832-1907). Other members included Louis Sullivan, Dankmar Adler, Daniel Burnham, John Wellborn Root, William Holabird, Martin Roche. See also: Second Chicago School of Architecture (c.1940-75) led by Mies van der Rohe.
Chinoiserie
Pseudo-Chinese style of decoration which flourished in Europe during the 17th and 18th centuries.
Christian Art
Visual arts associated with Christianity, from c.150 onwards.
Cinquecento
15th-Century Italian art.
Classical Indian Painting
From Ajanta to late classical Buddhist art (up to 1150 CE).
Classicism
Imitation of the art of classical Antiquity.
Classicism and Naturalism
Movements in 17th Century Italian Painting embodied by Annibale Carracci and Caravaggio.
Cloisonnism
Style of French painting - based on cloisonne enamel or stained glass shapes - developed at Pont-Aven by Emile Bernard and Louis Anquetin.
CoBrA Group
An association of Dutch, Danish and Belgium Expressionist artists 1948-51. An acronym of the words Copenhagen, Brussels and Amsterdam.
Cologne School
German medieval school of painting that reached a highpoint under Stefan Lochner around 1450.
Colonial Art (America)
Largely portraits, miniatures, neoclassical architecture, furniture-making and crafts (c.1670-1800).
Colour field painting
School of painting, usually on a large scale, in which solid areas of colour are taken right up to the edge of the canvas, suggesting that they extend to infinity.
Computer Art
General movement involving computer-generated imagery.
Constructivism
International Abstract art movement founded in post-revolutionary Russia by artists including Vladimir Tatlin, Alexandr Rodchenko, Antoine Pevsner and Naum Gabo, among others.
Contemporary Art Movements
Schools and styles from the 1960s onwards. See also Contemporary British Painting.
Cubism
Artistic movement c.1907-1915 initiated by Picasso and Braque as a reaction against Impressionism. It aimed to analyze forms in geometric terms (Analytical Cubism) or reorganize them in various contexts (Synthetic Cubism); colour remained secondary to form.
Cynical Realism
Chinese contemporary painting movement which emerged in Beijing in the aftermath of Tiananmen Square. Artists involved included Yue Minjun, Fang Lijun and Zhang Xiaogang.
D
Dada
International "anti-art" movement originating in Zurich c.1916, involving Marcel Duchamp, Jean Arp, Francis Picabia, among others; a forerunner of Surrealism; hence Dadaism, Dadaist.
Danube School
The name loosely refers to several early 16th-century German painters, such as Albrecht Altdorfer, Lucas Cranach the Elder, and Wolf Huber famous for atmospheric landscapes and rich colouristic effects.
Deconstructivism
A style of postmodernist design, championed by Frank O. Gehry (b.1929).
Degenerate Art
Avant-garde painting, sculpture and graphics, deemed "degenerate" by the Nazi Party. Also the name of an exhibition of modern art held in Munich in 1937.
Delft School
17th-century Dutch genre painting associated with Jan Vermeer and Pierer de Hooch.
De Stijl
Dutch art magazine founded in 1917 by Theo van Doesburg and Piet Mondrian. Also: artists and architects associated with the journal who were influential in promoting functional Bauhaus design during the 1920s.
Divisionism
Analytical painting technique developed systematically by Georges Seurat (1859-91); instead of mixing colours on the palette, each colour is applied "pure" in individual brush-strokes, so that from a certain distance, the viewer's eye and brain perform the mixing "optically"; see also Italian Divisionism.
Donkey's Tail
Russian artists exhibition group (1911-12), set up by Mikhail Larionov and Natalia Goncharova, to promote Russian-inspired avant-garde art.
Dutch Realist Painting
A memorable Netherlandish style of easel painting centred on towns like Haarlem, Delft, Leiden, Utrecht, Dordrecht and Amsterdam. It was responsible for a huge number of masterpieces across all the painting genres, and featured virtuoso portraitists like Frans Hals (15801666) and Rembrandt (16061669), genre-painters like Jan Vermeer (16321675), landscape artists like Jacob van Ruisdael (16281682) and still life masters such as Frans Snyders (15791657), Jan Davidsz De Heem (1606-1684) and Willem Kalf (1622-1693), among many others.
E
Early Renaissance
Style of 15th century Florentine art (c.1400-1490).
Ecole de Paris (Paris School of Art)
Broad name for various modern art movements centred in Paris including Les Nabis, Fauvism, Cubism, Orphism, Futurism, and Surrealism.
Edwardian
A style of architecture, painting and decorative art linked with Edward VII of Britain, the son of Queen Victoria, which is associated with the last decade or so before the First World War. In France it was referred to as Belle Epoque. The great exemplar of the Edwardian style was John Singer Sargent.
Elementarism
Modified form of Neo-Plasticism propounded by Theo van Doesburg in the 1920s, which caused a rift with Piet Mondrian by introducing diagonals instead of a rigid horizontal and vertical format.
Elizabethan
A style of art associated with the era of Queen Elizabeth I (reigned 1558-1603). Portraiture was an important Elizabethan painting genre, eminent portrait artists being Nicholas Hilliard, Marcus Gheeraerts.
English Figurative Painting
Early masters of this school included, William Hogarth (1697-1764), Joshua Reynolds (1723-92), Thomas Gainsborough (1727-88), George Romney (1734-1802), Joseph Wright of Derby (1734-97), George Stubbs (1724-1806), among others.
English Landscape Painting
A general movement pioneered by artists like Richard Wilson (1714-82), Thomas Gainsborough (1727-88), Thomas Malton (1748-1804), Paul Sandby (1725-1809), MA Rooker (1743-1804), Edward Dayes (1763-1804), Thomas Hearne (1744-1817), JR Cozens (1752-99), Thomas Girtin (1775-1802) J. M. W. Turner (1775-1851) and John Constable (1776-1837).
Euston Road Group
Group of artists working in a broadly naturalistic style in Euston Rd, London, for a brief period from 1937 to 1939, including William Coldstream, Victor Pasmore, and Lawrence Gowing.
Existential Art (1940s and 1950s)
John Paul Sartre's existentialist philosophy, with its themes of alienation and angst in the face of the human condition, can be seen in paintings by the American Abstract Expressionists, the Informel and "CoBrA" movements, the French Homme-Temoin (Man as a Witness) group, the British Kitchen Sink art group, and the American Beats - all of whom from time to time are designated Existential, as are many individual painters and sculptors: like the Swiss sculptor Alberto Giacometti, and the surrealist/expressionist Francis Bacon.
Expressionism
The Expressionist Movement (1880s onwards) was a style that first emerged in the late 19th century in which the expression of emotion and feeling is emphasized rather than the representation of nature; hence expressionist painters, Expressionistic. For more details, see also History of Expressionist Painting (1880-1939).
F
Fauvism
Originally a derogatory term (Les Fauves) meaning "wild beasts", used of a group of painters who exhibited at the Salon d' Automne in Paris in 1905, including Matisse.
Feminist Art
Late 1960s early 1970s movement that sought to increase opportunities for women in the art world and to rewrite the historical canon giving more importance to women artists.
Flemish Painting School
Realistic style of oil on panel painting.
Fluxus
Name of an international art movement, established in 1962, which aimed to unite Europe's avant-garde. It had similarities with the anti-art philosophy of Dada.
Fontainebleau School
There were two Schools; the First, under Francis I c.1528-58 was fundamentally Mannerist, directly influenced by expatriate Italian masters. The Second, under Henry IV (1589-1610) was more mediocre. Occasionally confused with 19th century Barbizon school of landscape art, near Fontainebleau.
French Painting
The French school. Its Golden Age was the 19th century and the early 20th century.
Futurism
Italian artistic movement founded in 1909 by Filippo Marinetti, which exalted the modern world of machinery, speed, and violence.
G
Georgian
General term describing the styles of art associated with the reigns of King George I, II, II and IV in Britain (1714-1830), notably in architecture, silver, furniture, and silver. Its unifying attribute is a certain classical restraint and harmony.
German Art: 19th Century
Neoclassicism, Realism and Impressionism in Germany.
German Expressionism
General expressionist trend in Germany, exemplified by artist groups like Der Blaue Reiter (1909-14, Munich) led by Wassily Kandinsky (1844-1944) and Franz Marc (1880-1916); Die Brucke (1905-13, Dresden) founded by Karl Schmidt-Rottluff (1884-1976) and Ernst Ludwig Kirchner (1880-1938); and Die Neue Sachlichkeit (1920s, Mannheim and elsewhere) whose famous members included Otto Dix (1891-1969), George Grosz (1893-1959) and Max Beckmann (1884-1950).
German Medieval Art
Carolingian/Ottonian Sculpture, goldsmithery, book-painting and architecture.
German Renaissance Art
Refers to artistic development in Germany during the period (c.1430-1580), exemplified by Albrecht Durer, Matthias Grunewald, Hans Holbein and Tilman Riemenschneider, among others.
Gesturalism
Style of highly expressive painting associated with members of the New York School (Jackson Pollock, Willem de Kooning) and Art Informel (Georges Mathieu).
Glasgow School of Painting
Barbizon-influenced group of Post-Impressionists. Also included C.R.Mackintosh's group.
Gothic Art and Gothic Architecture
The last period of medieval art and architecture. Early Gothic usually refers to the period 1140-1200; High Gothic c.1200-50; late Gothic from 1250. "Gothic" was used in the Renaissance as a pejorative adjective for medieval architecture. During the 19th century, a Gothic Revival movement appeared, notably in British and American architecture: US practitioners included Richard Upjohn (1802-78) and James Renwick (1818-95).
Graffiti Art (1970s onwards)
Also referred to as "Writing", "Spraycan Art" and "Aerosol Art", Graffiti is a movement or style of art associated with hip-hop, a cultural movement which sprang up in various American cities, especially on New York subway trains, during the 1970s and 1980s. Later it spread to Europe and Japan and eventually crossed over from the street into the gallery. Its most famous exemplar was Jean-Michel Basquiat.
Gruppo Origine
Italian group founded in Rome by Alberto Burri, Ettore Colla, Giuseppe Capogrossi and Mario Ballocco, in response to the disagreeably decorative quality of abstract art at the time. In their initial manifesto they proclaimed a return to fundamentals, notably by renouncing three-dimensional forms, restricting colour to its simplest, and by evoking elemental images. Began and ended during 1951.
Gutai (concrete) (1954-72)
The Gutai Bijutsu Kyokai (Gutai Art Association), a Japanese avant-garde group, was founded in 1954 in Osaka by Yoshihara Jiro, Kanayma Akira, Murakami Saburo, Shiraga Kazuo, and Shimamoto Shozo. Held a number of public exhibitions in 1955 and 1956, with works prefiguring later Happenings and Performance and Conceptual art. According to art historian Yve-Alain Bois, the group's activities constituted one of the most important moments of post-war Japanese culture.
H-J
Hallstatt Celtic Culture
Early style of Celtic art (c.800-450 BCE) centred on Austria and the Upper Danube.
Hard Edge Painting
Term coined in 1959 to describe abstract (but not geometric) painting, using large, flat areas of colour with precise edges.
Harlem Renaissance
An African-American artistic movement centered in the Harlem borough of New York City, and originally known as the New Negro Movement, it had a profound influence throughout the United States. Influential members were William H. Johnson, Lois Mailou Jones and the sculptor and printmaker Sargent Claude Johnson, as well as Jacob Lawrence, Archibald Motley and Romare Bearden.
Heidelberg School
A 19th century group of Melbourne-based painters associated with Australian Impressionism.
High Renaissance
Style of fine art practised in Italy, France, Spain between 1490 and 1530. See also: Renaissance in Rome, under Pope Sixtus IV (1471-84), Pope Julius II (1503-13), Pope Leo X (1513-21), and Pope Paul III (1534-45). Masterpieces of High Renaissance painting includes the fresco works in the Sistine Chapel and the decoration of the Raphael Rooms.
Hudson River School of landscape painting
Group of American landscape painters, working from 1825 to 1875. Includes Thomas Doughty, Thomas Cole, Asher B. Durand, J. F. Kensett, Henry Inman, Jasper Cropsey, and Frederick E. Church.
Humanism
A cultural and philosophical movement of the Italian Renaissance, focusing on the capabilities of human beings as opposed to the abstract concepts and problems of science or theology.
Impressionism
19th-century French art movement, from 1874. Impressionist painters like Pissarro, Monet, Renoir, and Sisley, were linked by their common interest in capturing immediate visual impressions, and an emphasis on light and colour; hence Impressionist; Impressionistic.
International Gothic
A style of painting, sculpture and decorative art that spread across western Europe during the period 1375-1450. Acted as a bridge between Gothic and Renaissance art. It was greatly stimulated by the growing cultural rivalry of the European royal courts. See also International Gothic illuminations.
International Style (Architecture)
Form of modern architecture, initiated by Walter Gropius, developed by Mies van der Rohe, Skidmore, Owings & Merrill and others.
Intimism
French genre painting of domestic, intimate interiors, such as the work of Pierre Bonnard and Edouard Vuillard; hence intimiste.
Irish Art History (from 3300 BCE)
A guide to the main movements of painting, sculpture and architecture on the island of Ireland.
Islamic Art
Refers to a general category of post-7th century visual art, created by artists in territory occupied by the cultures of Islam. It encompasses architecture, architectural decoration, pottery, faience mosaics, lustre-ware, relief sculpture, wood and ivory carving, drawing, painting, calligraphy, manuscript illumination, textile design, metalwork, goldsmithery, gemstone carving, and other art forms.
Jacobean Art
General artistic idiom associated with the culture of the reign of James I (reigned 1603-25) notably in theatre as well as painting. Leading exemplars include the eminent Elizabethan miniaturist Nicholas Hilliard and the Dutch born artists Paul Van Somer and Daniel Mytens the Elder.
Japonism
Late-19th century European craze for Japanese arts and crafts - including fans, screens, lacquers, bronzes, silks, porcelains and Ukiyo-e prints.
Jugendstil
The name for Art Nouveau-type styles in Germany, popularized by the Munich Secession.
Junk Art
A sub-genre of "found art", pioneered by Duchamp, Picasso, Schwitters and Rauschenberg, and characterized by the use of banal, everyday materials.
K
Kitchen Sink art
Term originally used as the title of an article by David Sylvester in the journal Encounter referring to the work of the realist artists known as the Beaux Arts Quartet, John Bratby, Derrick Greaves, Edward Middleditch and Jack Smith.
Kinetic Art
Works which incorporate movement or the appearance of movement (eg. mobiles).
Knave of Diamonds
Russian artists' exhibition society (1910-17) that promoted avant-garde art from Russia and Europe.
La Tene Celtic Culture
Style of Celtic Metalwork art and abstract design work.
Les Vingt
See entry under V.
Luminism
Term applied to American landscape painters of the Hudson River School from about 1830-70, as many of their paintings were dominated by intense, dramatic light effects. A form of Luminism underlies Whistler's 'Nocturnes'.
Lyrical Abstraction
Term coined by the French painter George Mathieu in 1947 to describe a more decorative, painterly style of Art Informel.
M
Magic Realism
Term invented by German photographer, art historian and art critic Franz Roh to describe late 19th early 20th realist paintings with fantasy or dream-like subjects.
Mannerism
Artistic style originating in Italy c.1520-90 that tends to employ distortion of figures, and emphasize an emotional content. See also: Mannerist Painting.
Macchiaioli
Realist/Impressionist art group active in Florence c.1855-70.
Medici Family (Florence Renaissance)
Arguably the most influential Italian family of art patrons. Had a huge impact on the development of painting and sculpture in 15th century Florence.
Medieval Art - in practice Medieval Christian Art
"Medieval" is an imprecise term describing the period of European history from the fall of the Roman Empire in the West (c.450 CE) to the onset of the Renaissance (c.1400). Medieval art was mostly architectural or decorative - sculpture, mosaic illuminated gospel texts, tapestry. Decorative art exemplified by works from the Carolingian court of King Charlemagne.
Medieval Sculpture
The term "Medieval sculpture" essentially describes the era 400-1000. It was followed by Romanesque sculpture.
Metaphysical Painting (It. Pittura Metafisica)
Movement of c.1915-18 associated with the painter Giorgio de Chirico; partly a reaction against Futurism.
Mexican Murals/Muralism
Term applied to the resurgence of large-size public mural painting in Mexico during the 1920s and 1930s, as practised by the left-wing artists Diego Rivera, Jose Clemente Orozco, and David Alfaro Siqueiros.
Minimalism
A non-representational style of painting, sculpture and architecture in the late 1960s, which was severely restricted in its use of visual elements and limited itself to simple geometric shapes or masses.
Modern Art Movements
Fine art styles from roughly 1850 to 1960s.
Mosan Art
Art of the 12th and 13th centuries in the valley of the River Meuse in France; it produced the first great school of enamel painters using the Champleve technique.
Moscow School of Painting (c.1500-1700)
Stroganov Workshop, Simon Ushakov and murals at Yaroslavl and Kostroma.
Mughal Painting (16th-19th Century)
School of Islamic painting developed on the Indian subcontinent.
Munich Secession
Withdrawal in 1892 of German artists in Munich from the traditional institutions; it remained relatively conservative, and was followed by the Vienna Secession (1897) and the Berlin Secession (1908).
N
Les Nabis (French)
Group of French artists working from c.1892 to 1899, influenced by Gauguin in their use of colour and lightly exotic decorative effects. They included Pierre Bonnard, Jean-Edouard Vuillard, Felix Vallotton and Paul Serusier.
Nazarenes
Group of German painters, led by Friedrich Overbeck, working in Rome in the early 19th century; inspired by Northern art of the 15th and early 16th centuries.
Neoclassical Art
The late 18th-century European style, lasting from c.1770 to 1830, which reacted against the worst excesses of the Baroque and Rococo, reviving the Antique. It implies a return to classical sources which imposed restraint and simplicity on painting and architecture.
Neo-Dada
Term often used to describe works by Robert Rauschenberg and Jasper Johns in New York in the late 1950s because of their use of collage, assemblage and found materials, and their apparent anti-art agenda.
Neo-Expressionism
1980s revival of figurative painting. Known as Neue Wilden in Germany, Figuration Libre in France, Transavantguardia in Italy, Bad Painting in America.
Neo-Impressionism
The development of Impressionism through Georges Seurat's scientific analysis and treatment of colour; see Divisionism; Pointillism.
Neo-Plasticism
A rigid Dutch style of Abstraction, based on rectangles, horizontal and vertical lines founded by Piet Mondrian in the early 1920s.
Neo-Romanticism
Broad term for several 20th-century European art movements that draw on mystical, dreamlike subjects; expressive, emotional forms; and Surrealism.
Netherlandish Renaissance Art
Refers to artistic development in Flanders and Holland in the period (c.1430-1580), exemplified by Jan Van Eyck, Roger Van Der Weyden, Hieronymus Bosch and Pieter Bruegel the Elder.
Neue Sachlichkeit (New Objectivity) (Die Neue Sachlichkeit)
German modern realist movement of the 1920s founded by Otto Dix and George Grosz, who vividly depicted the corruption and hedonism in Germany during the 1920s. See: German Expressionism.
Newlyn School
Led by Stanhope Alexander Forbes and Frank Bramley, the artists who settled in the West Cornish town of Newlyn from the early 1880s pursued the Impressionist derived pleinairism doctrine of working directly from nature.
New York School
The core of Abstract Expressionism in New York in the 1940s and early 1950s including Jackson Pollock, Willem de Kooning, and Mark Rothko.
Northern Renaissance
Western art from Northern Europe (eg. Flanders, Holland, Germany, Britain) of the period c 1420-1600.
Norwich School
Important English school of landscape painting, dating from 1803, led by John Crome and John Sell Cotman.
Nouveau Realisme (New Realism)
Term coined in 1960 by the French critic Pierre Restany for art derived partly from Dada and Surrealism, which reacted against more abstract work, especially by using industrial and everyday objects to make junk art or sculpture.
Novgorod School of Icon Painting
Work by Theophanes the Greek, Andrei Rublev, Dionysius and others (c.1100-1500).
O
Op art
Abbreviation of Optical art; 1960s movement in painting in which the illusion of movement was created by the juxtaposition of contrasting geometrical shapes, tones, lines, and colours. Bridget Riley was a leading member.
Orientalist Painting
Orientalism was a style of painting involving exotic subject matter - Levantine townscapes, genre scenes and the like - which coincided with the beginning of the great age of steamship travel, and exemplified by the French painter JeanLeon Gerome, as well as John Frederick Lewis, David Roberts, William Muller and David Wilkie. Later practitioners included the Pre-Raphaelites, Holman Hunt and Thomas Seddon.
Orphism (also Orphic Cubism, Simultanism)
Term coined c.1912 by Guillaume Apollinaire for the branch of Cubism associated with Robert Delaunay, emphasizing colour and the analysis of light and its connexion with nature; also known as Orphism.
Ottonian Art
The continuation of King Charlemagne's cultural revival under Otto I, II, and III, and their successors (c.900-1050).
P-Q
Palladian style
English architectural style, from c.1715, in imitation of the style of Andrea Palladio; a reaction against the Baroque in favor of the Classical.
Pergamene School
The Pergamene style of sculpture - named after Pergamon in Asia Minor - was marked by a high degree of expressiveness as well as a pronounced naturalism, both of which helped to create a vivid sense of reality in the spectator.
Photo-Secession
Anti-establishment American society of camera artists set up by Alfred Stieglitz and others in 1902. Included some of the greatest photographers in the United States.
Photorealism
Also called Superrealism and Hyperrealism, it describes a style of ultra-realistic painting directly from photographs, pioneered by Chuck Close, Richard Estes and others.
Pictorialism
Photographic movement which pursued a style of photography in which the camera artist manipulates a regular photo in order to create an "artistic" image.
Pointillism
The Neo-Impressionist technique pioneered by Georges Seurat, using dots of pure colour instead of mixing paint on the palette; hence pointille, pointillist, see Divisionism.
Pont-Aven School
Famous artist colony: the group of painters, generally Symbolists, who worked at Pont-Aven, France, during the late 19th century, including the Nabis and Gauguin. Irish artists who were members included Roderic O'Conor and Nathaniel Hill.
Pop art
Style derived from the popular culture of the 1960s, including commercial illustration, comic strips, and advertising images. British and American equivalent of New Realism.
Post-Classical Indian Painting
Illuminated manuscripts, illustrations and other forms of painting in India from the 14th to the 16th century.
Post-Impressionism
Term coined by the art theorist Roger Fry for the style of art of Post-Impressionist painters like Cezanne, van Gogh and Gauguin. See also: Post-Impressionist Painting (1880-1895) for trends and styles.
Postmodernist art
This phase starts with late Pop art and includes Conceptual art, Neo-Expressionism, Feminist art, and the Young British Artists of the 1990s. Postmodernism rejects the distinction between high culture and mass or popular culture, tends to efface the boundary between art and everyday life; and that refuses to recognise any single style or definition of what art should be.
Post-Painterly Abstraction
Term coined by the American critic Clement Greenberg for a group of Abstract artists working in the 1960s. It includes a number of specific styles and movements, such as Colour-Field Painting and Minimal Art.
Precisionism (1920s-1930s)
Precisionism (also called Cubist Realism), and somewhat similar to Art Deco, is a style of art whereby an object is depicted in a realistic manner, but with a focus on its geometric form. An important element in American Modernism, it was strongly influenced by the development of Cubism in Europe, as well as the rapid industrialization in North America. Leading exponents include Charles Demuth and Charles Sheeler as well as the urban paintings of Georgia O'Keeffe.
Pre-Columbian Art
Refers to the culture of mesoamerica and South America before the arrival of Christopher Columbus.
Pre-Raphaelite Brotherhood
English association of artists, c.1848-54, including Rossetti, Holman Hunt, and Millais. The Pre-Raphaelites had no clear, unifying doctrine but shared an interest in art prior to 1495, start of the High Renaissance.
Primitivism
Style of Western painting/sculpture characterized by motifs and imagery derived from African, Oceanic, Aboriginal or other tribal arts.
Protestant Reformation Art
Small-scale 17th-century style of painting, typically of genre-scenes, still lifes and portraits.
Proto-Renaissance
The style of fine art, derived from Greek and Byzantine traditions, practised by the Florentine Cenni Di Pepo (Cimabue) (c.1240-c.1302), the Sienese painter Duccio di Buoninsegna (c.1255-1319), the incomparable Giotto di Bondone (1267-1337) and others, during the period (c.1250-1400).
Quattrocento
Fifteenth century art in Italy. Coincides with the start of the Italian Renaissance.
R
Rajput Painting
Princely style of Indian art popular in India 16th-19th Century.
Rayonism
Development of Abstract art by the Russian artists Mikhail Larionov and Natalya Goncharova, c.1913, which was an offshoot of Cubist and in some respects the forerunner of Futurism.
Realism
Style of painting dating from the 19th century, exemplified by Courbet, that makes a deliberate choice of everyday subject matter (Realisme). See also: Realist Painting (19th Century).
Regency
A style of furniture and decorative art associated with the era of Prince George, the future George IV, who became Prince Regent in 1811 and later reigned from 1820 to 1830. Its characteristics include classical themes, combined with Egyptian, Chinese and French Rococo elements. The style is exemplified by the architecture of Nash, the painting of Thomas Lawrence, and the caricatures of Gillray, and Rowlandson.
Regionalism
American art movement (fl.1930s) active in the midwest, championed by Thomas Hart Benton, John Steuart Curry and Grant Wood.
Renaissance Art
Period of Italian art from c.1400 to 1530 characterized by increased emphasis on realism, the mastery of linear perspective and the rediscovery of classical art.
Rococo
Elegant, decorative style of c.1730-80. During the 19th century the term acquired pejorative connotations, meaning trivial or over-ornate.
Romanesque Art
Exemplified by a style of architecture that lasted from 1000 to 1150 in France and to the 13th century in the rest of Europe; characterized by massive vaults and rounded arches. The term is also applied to the fine and decorative arts of the period, notably Romanesque Sculpture (c.1000-1200).
Romanesque Revival
Neo-medieval style of monumental architecture which became popular in America and elsewhere during the nineteenth century. Leading exponents included Henry Hobson Richardson (1838-86), responsible for the celebrated Marshall Field Wholesale Store (1885-87), Chicago.
Romanticism
Late 18th- and early 19th-century antithesis to classicism; the imagination of the artist and the choice of literary themes predominated. Leading Romantic painters included William Blake, Eugene Delacroix and JMW Turner.
S
Scottish Colourists
Consisted of four painters, Samuel Peploe (1871-1935), Francis Cadell (1883-1937), John Fergusson (1874-1961), and Leslie Hunter (1877-1931), who were strongly influenced by Matisse and the Fauves.
Section d'Or
A Parisian group of Cubist artists who exhibited at Galerie La Boetie. It was an offshoot of the wider Puteaux Group - itself a spin-off from La Societe Normande de Peinture Moderne.
Sienese School of Painting
A conservative style centred on Siena, the arch-rival of Florence. Leading Representatives of the school include: Duccio di Buoninsegna (1255-1319), Simone Martini (1285-1344), the Lorenzetti brothers, Sassetta (1394-1450), Matteo di Giovanni (1430-1495) and Domenico Beccafumi (1485-1551).
Social Realism
Figurative style of art with a social message. Traditionally refers to American school, embodied by Ben Shahn and supported by the Federal Arts Project during the Depression era.
Socialist Realism
A type of modern realism, glorifying Communist society and its works, imposed in Russia by Stalin from the late 1920s. Poster based, it was employed as mass propaganda.
Spanish Painting
The Spanish school (c.1500-1970).
Spazialismo
The Italian movement (Movimento Spaziale, or spacialism), founded in 1947 by the Argentine-born Italian artist Lucio Fontana, involved a pioneering style of Installation art. Other leading members included Giovanni Dova and Roberto Crippa.
St Ives School
Term referring to the abstract group of artists based in Cornwall, led by Ben Nicholson, Barbara Hepworth, and for a short period Naum Gabo. Active, 1940s, 50s and 60s.
Suprematism
Russian pure Abstract art movement of 1913-15, led by Kasimir Malevich, that used geometric elements.
Surrealism
Movement in art and literature between the two World Wars that tried to fuse actuality with dream and unconscious experience, using automatism among other techniques; hence Surreal, Surrealist.
Symbolism Art Movement
Appeared c.1885 in France, originating in poetry; a reaction against both Realism and Impressionism, it aimed at the fusion of the real and spiritual worlds, the visual expression of the mystical.
Synchromism
A style of painting invented by two American painters, Morgan Russell and Stanton MacDonald-Wright, which combined the colour of Orphism and the structure of Cubism.
Synthetic Cubism
The second phase of Cubism, after 1912, using Collage
Synthetism
Style of expressionist painting, similar to cloisonnism, developed by Paul Gauguin at Pont-Aven.
T
Tachisme
Term coined in 1952 by the French critic Michel Tapie, for the technique of painting in irregular dabs (taches or spots) and in an apparently haphazard manner.
Tenebrism
17th century painting technique, used by artists to dramatically illuminate their paintings.
Tonalism (1880-1910)
An American style of landscape art in which views are portrayed in soft light and shadows, as if seen through a misty veil. It was brought to America by American painters influenced by Barbizon School landscapes, and thereafter inspired a number of followers of American Impressionism during the first decades of the 20th century. Leading members included George Inness, and James McNeill Whistler.
Trecento
13th-Century Italian art, including works by Giotto (Florence) and Duccio di Buoninsegna (Siena). For more, please see: Pre-Renaissance Painting (c.1300-1400).
U-V
Utrecht School
Group of painters in Utrecht including Terbrugghen and Honthorst, 1610-20, who had visited Rome and were influenced by the realism and lighting of Caravaggio.
Venetian Painting
Colorito-based style developed by Giovanni Bellini, Giorgione and Titian, in opposition to the disegno-based Florentine School.
Vienna Secession
Radical movement led by Gustav Klimt in an attempt to improve Austrian art, c.1897. It had strong links with Jugendstil and Art Nouveau.
Les Vingt
Belgian avant-garde artists exhibition society, set up in Brussels by Octave Maus. Members included James Ensor, Victor Horta, Fernand Khnopff, and others.
Vorticism
Short-lived English avant-garde movement, the most prominent member of which was Wyndham Lewis. Its name derives from a magazine published by the group in 1914: Blast! A Review of the Great English Vortex.
W-Z
Worpswede Group
An artist colony founded in 1889 by the painters Fritz Mackensen, Otto Modersohn and Hans am Ende in the countryside of Lower Saxony, Germany. Initially painting in the plein air tradition, the group later veered towards Expressionism. Other members included Paula Modersohn-Becker, Carl Vinnen, Fritz Overbeck, and Heinrich Vogeler.
Young British Artists - YBAs, Britart (1980s)
This UK group, consisting of numerous painters, sculptors, conceptual and installation artists, many of whom attended Goldsmiths College in London, gained huge media coverage for its shocking artworks. Led by Damien Hirst, the group went mainstream in 1997 when the London Royal Academy, in conjunction with Charles Saatchi (their patron), hosted "Sensation", a definitive exhibition of YBA art, amid no little controversy.
Back to Top.
|
|||||||
8327
|
dbpedia
|
3
| 50 |
https://www.artwarefineart.com/gallery/portrait-king-james-i-england-ireland-vi-scotland-1566-1625
|
en
|
Portrait of King James I of England & Ireland & VI of Scotland 1566 -1625
|
https://www.artwarefineart.com/core/misc/favicon.ico
|
https://www.artwarefineart.com/core/misc/favicon.ico
|
[
"https://www.artwarefineart.com/sites/default/files/logo.png",
"https://www.artwarefineart.com/sites/default/files/styles/460xh/public/portraits/Portrait%20of%20King%20James%20I%20of%20England%20%26%20Ireland%20%26%20VI%20of%20Scotland%201566%20-1625.jpg?itok=dbT1L61-",
"https://www.artwarefineart.com/sites/default/files/styles/140xh/public/portraits/Portrait%20of%20King%20James%20I%20of%20England%20%26%20Ireland%20%26%20VI%20of%20Scotland%201566%20-1625%20det.jpg?itok=k_iZXNwO",
"https://www.artwarefineart.com/sites/default/files/styles/140xh/public/portraits/Portrait%20of%20King%20James%20I%20of%20England%20%26%20Ireland%20%26%20VI%20of%20Scotland%201566%20-1625%20det%202.jpg?itok=1QfSyxRX",
"https://upload.wikimedia.org/wikipedia/commons/thumb/9/9d/King_James_I_of_England_and_VI_of_Scotland_by_Arnold_van_Brounckhorst.jpg/170px-King_James_I_of_England_and_VI_of_Scotland_by_Arnold_van_Brounckhorst.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/d/da/Mary_Stuart_James.jpg/220px-Mary_Stuart_James.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/1/1f/James-VI-1586-Age-20.jpg/170px-James-VI-1586-Age-20.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/c/cb/Marriage_contract_between_Princess_Anna_of_Denmark_and_Jacob_6._of_Scotland_1589.jpg/220px-Marriage_contract_between_Princess_Anna_of_Denmark_and_Jacob_6._of_Scotland_1589.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/8/89/John_De_Critz_Anne_of_Denmark_1605.jpg/220px-John_De_Critz_Anne_of_Denmark_1605.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/b/b1/North_Berwick_Witches.png/170px-North_Berwick_Witches.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/2/27/James_VI_unite_1609_662019.jpg/220px-James_VI_unite_1609_662019.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/2/26/True_Law_of_Free_Monarchies.jpg/170px-True_Law_of_Free_Monarchies.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/9/93/Union_of_the_Crowns_Royal_Badge.svg/170px-Union_of_the_Crowns_Royal_Badge.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/9/9e/Portrait_of_James_I_of_England_wearing_the_jewel_called_the_Three_Brothers_in_his_hat.jpg/220px-Portrait_of_James_I_of_England_wearing_the_jewel_called_the_Three_Brothers_in_his_hat.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/3/30/James_I_of_England_404446.jpg/170px-James_I_of_England_404446.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/0/02/Robert_Carr%2C_Earl_of_Somerset_by_John_Hoskins.jpg/220px-Robert_Carr%2C_Earl_of_Somerset_by_John_Hoskins.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/6/64/George.Villiers.%28digital-tweak-of-restored-Rubens%29.jpg/220px-George.Villiers.%28digital-tweak-of-restored-Rubens%29.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/7/72/James_I_of_England_by_Daniel_Mytens.jpg/220px-James_I_of_England_by_Daniel_Mytens.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/b/bf/Banqueting_House_03_crop.jpg/220px-Banqueting_House_03_crop.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/9/93/Royal_Coat_of_Arms_of_the_Kingdom_of_Scotland.svg/200px-Royal_Coat_of_Arms_of_the_Kingdom_of_Scotland.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/4/43/Coat_of_Arms_of_England_%281603-1649%29.svg/200px-Coat_of_Arms_of_England_%281603-1649%29.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/1/18/Coat_of_Arms_of_Scotland_%281603-1649%29.svg/200px-Coat_of_Arms_of_Scotland_%281603-1649%29.svg.png"
] |
[] |
[] |
[
""
] | null |
[] | null |
en
|
/core/misc/favicon.ico
|
https://www.artwarefineart.com/gallery/portrait-king-james-i-england-ireland-vi-scotland-1566-1625
|
James VI and I (James Charles Stuart; 19 June 1566 – 27 March 1625) was King of Scotland as James VI from 24 July 1567 and King of England and Ireland as James I from the union of the Scottish and English crowns on 24 March 1603 until his death in 1625. The kingdoms of Scotland and England were individual sovereign states, with their own parliaments, judiciaries, and laws, though both were ruled by James in personal union.
James was the son of Mary, Queen of Scots, and a great-great-grandson of Henry VII, King of England and Lord of Ireland, and thus a potential successor to all three thrones. He succeeded to the Scottish throne at the age of thirteen months, after his mother was compelled to abdicate in his favour. Four different regents governed during his minority, which ended officially in 1578, though he did not gain full control of his government until 1583. In 1603, he succeeded the last Tudor monarch of England and Ireland, Elizabeth I, who died childless. He continued to reign in all three kingdoms for 22 years, a period known as the Jacobean era, until his death. After the Union of the Crowns, he based himself in England (the largest of the three realms) from 1603, returning to Scotland only once, in 1617, and styled himself "King of Great Britain and Ireland". He was a major advocate of a single parliament for England and Scotland. In his reign, the Plantation of Ulster and English colonisation of the Americas began.
At 57 years and 246 days, James's reign in Scotland was the longest of any Scottish monarch. He achieved most of his aims in Scotland but faced great difficulties in England, including the Gunpowder Plot in 1605 and repeated conflicts with the English Parliament. Under James, the "Golden Age" of Elizabethan literature and drama continued, with writers such as William Shakespeare, John Donne, Ben Jonson, and Sir Francis Bacon contributing to a flourishing literary culture. James himself was a prolific writer, authoring works such as Daemonologie (1597), The True Law of Free Monarchies (1598), and Basilikon Doron (1599). He sponsored the translation of the Bible into English later named after him, the Authorized King James Version. Sir Anthony Weldon claimed that James had been termed "the wisest fool in Christendom", an epithet associated with his character ever since. Since the latter half of the 20th century, historians have tended to revise James's reputation and treat him as a serious and thoughtful monarch. He was strongly committed to a peace policy, and tried to avoid involvement in religious wars, especially the Thirty Years' War that devastated much of Central Europe. He tried but failed to prevent the rise of hawkish elements in the English Parliament who wanted war with Spain. He was succeeded by his second son, Charles.
James was the only son of Mary, Queen of Scots, and her second husband, Henry Stuart, Lord Darnley. Both Mary and Darnley were great-grandchildren of Henry VII of England through Margaret Tudor, the older sister of Henry VIII. Mary's rule over Scotland was insecure, and she and her husband, being Roman Catholics, faced a rebellion by Protestant noblemen. During Mary's and Darnley's difficult marriage, Darnley secretly allied himself with the rebels and conspired in the murder of the Queen's private secretary, David Rizzio, just three months before James's birth.
James was born on 19 June 1566 at Edinburgh Castle, and as the eldest son and heir apparent of the monarch automatically became Duke of Rothesay and Prince and Great Steward of Scotland. Five days later, an English diplomat Henry Killigrew saw the queen, who had not fully recovered and could only speak faintly. The baby was "sucking at his nurse" and was "well proportioned and like to prove a goodly prince". He was baptised "Charles James" or "James Charles" on 17 December 1566 in a Catholic ceremony held at Stirling Castle. His godparents were Charles IX of France (represented by John, Count of Brienne), Elizabeth I of England (represented by the Earl of Bedford), and Emmanuel Philibert, Duke of Savoy (represented by ambassador Philibert du Croc).[a] Mary refused to let the Archbishop of St Andrews, whom she referred to as "a pocky priest", spit in the child's mouth, as was then the custom. The subsequent entertainment, devised by Frenchman Bastian Pagez, featured men dressed as satyrs and sporting tails, to which the English guests took offence, thinking the satyrs "done against them".
James's father, Darnley, was murdered on 10 February 1567 at Kirk o' Field, Edinburgh, perhaps in revenge for the killing of Rizzio. James inherited his father's titles of Duke of Albany and Earl of Ross. Mary was already unpopular, and her marriage on 15 May 1567 to James Hepburn, 4th Earl of Bothwell, who was widely suspected of murdering Darnley, heightened widespread bad feeling towards her. In June 1567, Protestant rebels arrested Mary and imprisoned her in Loch Leven Castle; she never saw her son again. She was forced to abdicate on 24 July 1567 in favour of the infant James and to appoint her illegitimate half-brother, James Stewart, Earl of Moray, as regent.
Regencies
The care of James was entrusted to the Earl and Countess of Mar, "to be conserved, nursed, and upbrought" in the security of Stirling Castle. James was anointed King of Scotland at the age of thirteen months at the Church of the Holy Rude in Stirling, by Adam Bothwell, Bishop of Orkney, on 29 July 1567. The sermon at the coronation was preached by John Knox. In accordance with the religious beliefs of most of the Scottish ruling class, James was brought up as a member of the Protestant Church of Scotland, the Kirk. The Privy Council selected George Buchanan, Peter Young, Adam Erskine (lay abbot of Cambuskenneth), and David Erskine (lay abbot of Dryburgh) as James's preceptors or tutors. As the young king's senior tutor, Buchanan subjected James to regular beatings but also instilled in him a lifelong passion for literature and learning. Buchanan sought to turn James into a God-fearing, Protestant king who accepted the limitations of monarchy, as outlined in his treatise De Jure Regni apud Scotos.
In 1568, Mary escaped from her imprisonment at Loch Leven Castle, leading to several years of sporadic violence. The Earl of Moray defeated Mary's troops at the Battle of Langside, forcing her to flee to England, where she was subsequently kept in confinement by Elizabeth. On 23 January 1570, Moray was assassinated by James Hamilton of Bothwellhaugh.The next regent was James's paternal grandfather Matthew Stewart, 4th Earl of Lennox, who was carried fatally wounded into Stirling Castle a year later after a raid by Mary's supporters. His successor, the Earl of Mar, "took a vehement sickness" and died on 28 October 1572 at Stirling. Mar's illness, wrote James Melville, followed a banquet at Dalkeith Palace given by James Douglas, 4th Earl of Morton.
Morton was elected to Mar's office and proved in many ways the most effective of James's regents, but he made enemies by his rapacity. He fell from favour when Frenchman Esmé Stewart, Sieur d'Aubigny, first cousin of James's father Lord Darnley and future Earl of Lennox, arrived in Scotland and quickly established himself as the first of James's powerful favourites. James was proclaimed an adult ruler in a ceremony of Entry to Edinburgh on 19 October 1579. Morton was executed on 2 June 1581, belatedly charged with complicity in Darnley's murder. On 8 August, James made Lennox the only duke in Scotland. The king, then fifteen years old, remained under the influence of Lennox for about one more year.
Rule in Scotland
Lennox was a Protestant convert, but he was distrusted by Scottish Calvinists who noticed the physical displays of affection between him and the king and alleged that Lennox "went about to draw the King to carnal lust". In August 1582, in what became known as the Ruthven Raid, the Protestant earls of Gowrie and Angus lured James into Ruthven Castle, imprisoned him, and forced Lennox to leave Scotland. During James's imprisonment (19 September 1582), John Craig, whom the king had personally appointed royal chaplain in 1579, rebuked him so sharply from the pulpit for having issued a proclamation so offensive to the clergy "that the king wept".
After James was liberated in June 1583, he assumed increasing control of his kingdom. He pushed through the Black Acts to assert royal authority over the Kirk, and denounced the writings of his former tutor Buchanan. Between 1584 and 1603, he established effective royal government and relative peace among the lords, ably assisted by John Maitland of Thirlestane who led the government until 1592. An eight-man commission known as the Octavians brought some control over the ruinous state of James's finances in 1596, but it drew opposition from vested interests. It was disbanded within a year after a riot in Edinburgh, which was stoked by anti-Catholicism and led the court to withdraw to Linlithgow temporarily.
One last Scottish attempt against the king's person occurred in August 1600, when James was apparently assaulted by Alexander Ruthven, the Earl of Gowrie's younger brother, at Gowrie House, the seat of the Ruthvens. Ruthven was run through by James's page John Ramsay, and the Earl of Gowrie was killed in the ensuing fracas; there were few surviving witnesses. Given James's history with the Ruthvens and the fact that he owed them a great deal of money, his account of the circumstances was not universally believed.
In 1586, James signed the Treaty of Berwick with England. That and his mother's execution in 1587, which he denounced as a "preposterous and strange procedure", helped clear the way for his succession south of the border. Queen Elizabeth was unmarried and childless, and James was her most likely successor. Securing the English succession became a cornerstone of his policy. During the Spanish Armada crisis of 1588, he assured Elizabeth of his support as "your natural son and compatriot of your country". Elizabeth sent James an annual subsidy from 1586 which gave her some leverage over affairs in Scotland.
Marriage
Throughout his youth, James was praised for his chastity, since he showed little interest in women. After the loss of Lennox, he continued to prefer male company. A suitable marriage, however, was necessary to reinforce his monarchy, and the choice fell on fourteen-year-old Anne of Denmark, younger daughter of Protestant Frederick II. Shortly after a proxy marriage in Copenhagen in August 1589, Anne sailed for Scotland but was forced by storms to the coast of Norway. On hearing that the crossing had been abandoned, James sailed from Leith with a 300-strong retinue to fetch Anne personally in what historian David Harris Willson called "the one romantic episode of his life". The couple were married formally at the Bishop's Palace in Oslo on 23 November. James received a dowry of 75,000 Danish dalers and a gift of 10,000 dalers from his mother-in-law Sophie of Mecklenburg-Güstrow. After stays at Elsinore and Copenhagen and a meeting with Tycho Brahe, they returned to Scotland on 1 May 1590. By all accounts, James was at first infatuated with Anne and, in the early years of their marriage, seems always to have shown her patience and affection. The royal couple produced three children who survived to adulthood: Henry Frederick, Prince of Wales, who died of typhoid fever in 1612, aged 18; Elizabeth, later queen of Bohemia; and Charles, his successor. Anne died before her husband, in March 1619.
Witch hunts
James's visit to Denmark, a country familiar with witch-hunts, sparked an interest in the study of witchcraft, which he considered a branch of theology. He attended the North Berwick witch trials, the first major persecution of witches in Scotland under the Witchcraft Act 1563. Several people were convicted of using witchcraft to send storms against James's ship, most notably Agnes Sampson.
James became concerned with the threat posed by witches and wrote Daemonologie in 1597, a tract inspired by his personal involvement that opposed the practice of witchcraft and that provided background material for Shakespeare's Tragedy of Macbeth. James personally supervised the torture of women accused of being witches. After 1599, his views became more sceptical. In a later letter written in England to his son Henry, James congratulates the prince on "the discovery of yon little counterfeit wench. I pray God ye may be my heir in such discoveries ... most miracles now-a-days prove but illusions, and ye may see by this how wary judges should be in trusting accusations".
Highlands and Islands
The forcible dissolution of the Lordship of the Isles by James IV in 1493 had led to troubled times for the western seaboard. He had subdued the organised military might of the Hebrides, but he and his immediate successors lacked the will or ability to provide an alternative form of governance. As a result, the 16th century became known as linn nan creach, the time of raids. Furthermore, the effects of the Reformation were slow to affect the Gàidhealtachd, driving a religious wedge between this area and centres of political control in the Central Belt.
In 1540, James V had toured the Hebrides, forcing the clan chiefs to accompany him. There followed a period of peace, but the clans were soon at loggerheads with one another again. During James VI's reign, the citizens of the Hebrides were portrayed as lawless barbarians rather than being the cradle of Scottish Christianity and nationhood. Official documents describe the peoples of the Highlands as "void of the knawledge and feir of God" who were prone to "all kynd of barbarous and bestile cruelteis". The Gaelic language, spoken fluently by James IV and probably by James V, became known in the time of James VI as "Erse" or Irish, implying that it was foreign in nature. The Scottish Parliament decided that Gaelic had become a principal cause of the Highlanders' shortcomings and sought to abolish it.
It was against this background that James VI authorised the "Gentleman Adventurers of Fife" to civilise the "most barbarous Isle of Lewis" in 1598. James wrote that the colonists were to act "not by agreement" with the local inhabitants, but "by extirpation of thame". Their landing at Stornoway began well, but the colonists were driven out by local forces commanded by Murdoch and Neil MacLeod. The colonists tried again in 1605 with the same result, although a third attempt in 1607 was more successful. The Statutes of Iona were enacted in 1609, which required clan chiefs to provide support for Protestant ministers to Highland parishes; to outlaw bards; to report regularly to Edinburgh to answer for their actions; and to send their heirs to Lowland Scotland, to be educated in English-speaking Protestant schools. So began a process "specifically aimed at the extirpation of the Gaelic language, the destruction of its traditional culture and the suppression of its bearers."
In the Northern Isles, James's cousin Patrick Stewart, Earl of Orkney, resisted the Statutes of Iona and was consequently imprisoned. His natural son Robert led an unsuccessful rebellion against James, and the Earl and his son were hanged. Their estates were forfeited, and the Orkney and Shetland islands were annexed to the Crown.
Theory of monarchy
In 1597–98, James wrote The True Law of Free Monarchies and Basilikon Doron (Royal Gift), in which he argues a theological basis for monarchy. In the True Law, he sets out the divine right of kings, explaining that kings are higher beings than other men for Biblical reasons, though "the highest bench is the sliddriest to sit upon". The document proposes an absolutist theory of monarchy, by which a king may impose new laws by royal prerogative but must also pay heed to tradition and to God, who would "stirre up such scourges as pleaseth him, for punishment of wicked kings".
Basilikon Doron was written as a book of instruction for four-year-old Prince Henry and provides a more practical guide to kingship. The work is considered to be well written and perhaps the best example of James's prose. James's advice concerning parliaments, which he understood as merely the king's "head court", foreshadows his difficulties with the English Commons: "Hold no Parliaments," he tells Henry, "but for the necesitie of new Lawes, which would be but seldome". In the True Law, James maintains that the king owns his realm as a feudal lord owns his fief, because kings arose "before any estates or ranks of men, before any parliaments were holden, or laws made, and by them was the land distributed, which at first was wholly theirs. And so it follows of necessity that kings were the authors and makers of the laws, and not the laws of the kings."
Literary patronage
In the 1580s and 1590s, James promoted the literature of his native country. He published his treatise Some Rules and Cautions to be Observed and Eschewed in Scottish Prosody in 1584 at the age of 18. It was both a poetic manual and a description of the poetic tradition in his mother tongue of Scots, applying Renaissance principles. He also made statutory provision to reform and promote the teaching of music, seeing the two in connection. One act of his reign urges the Scottish burghs to reform and support the teaching of music in Sang Sculis.
In furtherance of these aims, he was both patron and head of a loose circle of Scottish Jacobean court poets and musicians known as the Castalian Band, which included William Fowler and Alexander Montgomerie among others, Montgomerie being a favourite of the king. James was himself a poet, and was happy to be seen as a practising member of the group.
By the late 1590s, his championing of native Scottish tradition was reduced to some extent by the increasing likelihood of his succession to the English throne. William Alexander and other courtier poets started to anglicise their written language, and followed the king to London after 1603. James's role as active literary participant and patron made him a defining figure in many respects for English Renaissance poetry and drama, which reached a pinnacle of achievement in his reign,but his patronage of the high style in the Scottish tradition, which included his ancestor James I of Scotland, became largely sidelined.
Accession in England
Main article: Union of the Crowns
From 1601, in the last years of Elizabeth's life, certain English politicians—notably her chief minister Sir Robert Cecil maintained a secret correspondence with James to prepare in advance for a smooth succession. With the Queen clearly dying, Cecil sent James a draft proclamation of his accession to the English throne in March 1603. Elizabeth died in the early hours of 24 March, and James was proclaimed king in London later the same day.
On 5 April, James left Edinburgh for London, promising to return every three years (a promise that he did not keep), and progressed slowly southwards. Local lords received him with lavish hospitality along the route and James was amazed by the wealth of his new land and subjects, claiming that he was "swapping a stony couch for a deep feather bed". James arrived in the capital on 7 May, nine days after Elizabeth's funeral. His new subjects flocked to see him, relieved that the succession had triggered neither unrest nor invasion. On arrival at London, he was mobbed by a crowd of spectators.
His English coronation took place on 25 July at Westminster Abbey, with elaborate allegories provided by dramatic poets such as Thomas Dekker and Ben Jonson. An outbreak of plague restricted festivities, but "the streets seemed paved with men," wrote Dekker. "Stalls instead of rich wares were set out with children, open casements filled up with women."
The kingdom to which James succeeded, however, had its problems. Monopolies and taxation had engendered a widespread sense of grievance, and the costs of war in Ireland had become a heavy burden on the government, which had debts of £400,000.
Early reign in England
Main article: Jacobean era
James survived two conspiracies in the first year of his reign, despite the smoothness of the succession and the warmth of his welcome: the Bye Plot and Main Plot, which led to the arrest of Lord Cobham and Sir Walter Raleigh, among others.Those hoping for a change in government from James were disappointed at first when he kept Elizabeth's Privy Councillors in office, as secretly planned with Cecil, but James soon added long-time supporter Henry Howard and his nephew Thomas Howard to the Privy Council, as well as five Scottish nobles.
In the early years of James's reign, the day-to-day running of the government was tightly managed by the shrewd Cecil, later Earl of Salisbury, ably assisted by the experienced Thomas Egerton, whom James made Baron Ellesmere and Lord Chancellor, and by Thomas Sackville, soon Earl of Dorset, who continued as Lord Treasurer. As a consequence, James was free to concentrate on bigger issues, such as a scheme for a closer union between England and Scotland and matters of foreign policy, as well as to enjoy his leisure pursuits, particularly hunting.
James was ambitious to build on the personal union of the Crowns of Scotland and England to establish a single country under one monarch, one parliament, and one law, a plan that met opposition in both realms. "Hath He not made us all in one island," James told the English Parliament, "compassed with one sea and of itself by nature indivisible?" In April 1604, however, the Commons refused his request to be titled "King of Great Britain" on legal grounds. In October 1604, he assumed the title "King of Great Britain" instead of "King of England" and "King of Scotland", though Sir Francis Bacon told him that he could not use the style in "any legal proceeding, instrument or assurance" and the title was not used on English statutes. James forced the Parliament of Scotland to use it, and it was used on proclamations, coinage, letters, and treaties in both realms.
James achieved more success in foreign policy. Never having been at war with Spain, he devoted his efforts to bringing the long Anglo–Spanish War to an end, and a peace treaty was signed between the two countries in August 1604, thanks to the skilled diplomacy of the delegation, in particular Robert Cecil and Henry Howard, now Earl of Northampton. James celebrated the treaty by hosting a great banquet. Freedom of worship for Catholics in England, however, continued to be a major objective of Spanish policy, causing constant dilemmas for James, distrusted abroad for repression of Catholics while at home being encouraged by the Privy Council to show even less tolerance towards them.
Gunpowder Plot
Main article: Gunpowder Plot
A dissident Catholic, Guy Fawkes, was discovered in the cellars of the parliament buildings on the night of 4–5 November 1605, the eve of the state opening of the second session of James's first English Parliament. He was guarding a pile of wood not far from 36 barrels of gunpowder. Some politicians, scared of Catholics, assumed Fawkes intended to use the barrels to blow up Parliament House the following day and cause the destruction, as James put it, "not only ... of my person, nor of my wife and posterity also, but of the whole body of the State in general". The sensational discovery of the "Gunpowder Plot," as it quickly became known, aroused a mood of national relief at the delivery of the king and his sons. Salisbury exploited this to extract higher subsidies from the ensuing Parliament than any but one granted to Elizabeth. Fawkes and other implicated minorities were tortured and executed.
King and Parliament
The co-operation between monarch and Parliament following the Gunpowder Plot was atypical. Instead, it was the previous session of 1604 that shaped the attitudes of both sides for the rest of the reign, though the initial difficulties owed more to mutual incomprehension than conscious enmity. On 7 July 1604, James had angrily prorogued Parliament after failing to win its support either for full union or financial subsidies. "I will not thank where I feel no thanks due", he had remarked in his closing speech. "... I am not of such a stock as to praise fools ... You see how many things you did not well ... I wish you would make use of your liberty with more modesty in time to come".
As James's reign progressed, his government faced growing financial pressures, partly due to creeping inflation but also to the profligacy and financial incompetence of James's court. In February 1610, Salisbury proposed a scheme, known as the Great Contract, whereby Parliament, in return for ten royal concessions, would grant a lump sum of £600,000 to pay off the king's debts plus an annual grant of £200,000. The ensuing prickly negotiations became so protracted that James eventually lost patience and dismissed Parliament on 31 December 1610. "Your greatest error", he told Salisbury, "hath been that ye ever expected to draw honey out of gall". The same pattern was repeated with the so-called "Addled Parliament" of 1614, which James dissolved after a mere nine weeks when the Commons hesitated to grant him the money he required. James then ruled without parliament until 1621, employing officials such as the merchant Lionel Cranfield, who were astute at raising and saving money for the crown, and sold baronetcies and other dignities, many created for the purpose, as an alternative source of income.
Spanish match
Main article: Spanish match
Another potential source of income was the prospect of a Spanish dowry from a marriage between Charles, Prince of Wales, and Infanta Maria Anna of Spain.The policy of the Spanish match, as it was called, was also attractive to James as a way to maintain peace with Spain and avoid the additional costs of a war. Peace could be maintained as effectively by keeping the negotiations alive as by consummating the match—which may explain why James protracted the negotiations for almost a decade.
The policy was supported by the Howards and other Catholic-leaning ministers and diplomats—together known as the Spanish Party—but deeply distrusted in Protestant England. When Sir Walter Raleigh was released from imprisonment in 1616, he embarked on a hunt for gold in South America with strict instructions from James not to engage the Spanish. Raleigh's expedition was a disastrous failure, and his son Walter was killed fighting the Spanish. On Raleigh's return to England, James had him executed to the indignation of the public, who opposed the appeasement of Spain. James's policy was further jeopardised by the outbreak of the Thirty Years' War, especially after his Protestant son-in-law, Frederick V, Elector Palatine, was ousted from Bohemia by the Catholic Emperor Ferdinand II in 1620, and Spanish troops simultaneously invaded Frederick's Rhineland home territory. Matters came to a head when James finally called a Parliament in 1621 to fund a military expedition in support of his son-in-law. The Commons on the one hand granted subsidies inadequate to finance serious military operations in aid of Frederick, and on the other—remembering the profits gained under Elizabeth by naval attacks on Spanish gold shipments—called for a war directly against Spain. In November 1621, roused by Sir Edward Coke, they framed a petition asking not only for war with Spain but also for Prince Charles to marry a Protestant, and for enforcement of the anti-Catholic laws. James flatly told them not to interfere in matters of royal prerogative or they would risk punishment, which provoked them into issuing a statement protesting their rights, including freedom of speech. Urged on by the Duke of Buckingham and the Spanish ambassador Gondomar, James ripped the protest out of the record book and dissolved Parliament.
In early 1623, Prince Charles, now 22, and Buckingham decided to seize the initiative and travel to Spain incognito, to win the infanta directly, but the mission proved an ineffectual mistake. The infanta detested Charles, and the Spanish confronted them with terms that included the repeal of anti-Catholic legislation by Parliament. Though a treaty was signed, the prince and duke returned to England in October without the infanta and immediately renounced the treaty, much to the delight of the British people. Disillusioned by the visit to Spain, Charles and Buckingham now turned James's Spanish policy upon its head and called for a French match and a war against the Habsburg empire. To raise the necessary finance, they prevailed upon James to call another Parliament, which met in February 1624. For once, the outpouring of anti-Catholic sentiment in the Commons was echoed in court, where control of policy was shifting from James to Charles and Buckingham, who pressured the king to declare war and engineered the impeachment of Lord Treasurer Lionel Cranfield, by now made Earl of Middlesex, when he opposed the plan on grounds of cost. The outcome of the Parliament of 1624 was ambiguous: James still refused to declare or fund a war, but Charles believed the Commons had committed themselves to finance a war against Spain, a stance that was to contribute to his problems with Parliament in his own reign.
King and Church
After the Gunpowder Plot, James sanctioned harsh measures to control English Catholics. In May 1606, Parliament passed the Popish Recusants Act, which could require any citizen to take an Oath of Allegiance denying the Pope's authority over the king. James was conciliatory towards Catholics who took the Oath of Allegiance, and tolerated crypto-Catholicism even at court. Henry Howard, for example, was a crypto-Catholic, received back into the Catholic Church in his final months. On ascending the English throne, James suspected that he might need the support of Catholics in England, so he assured the Earl of Northumberland, a prominent sympathiser of the old religion, that he would not persecute "any that will be quiet and give but an outward obedience to the law".
In the Millenary Petition of 1603, the Puritan clergy demanded the abolition of confirmation, wedding rings, and the term "priest", among other things, and that the wearing of cap and surplice become optional. James was strict in enforcing conformity at first, inducing a sense of persecution amongst many Puritans; but ejections and suspensions from livings became rarer as the reign continued. As a result of the Hampton Court Conference of 1604, a new translation and compilation of approved books of the Bible was commissioned to resolve discrepancies among different translations then being used. The Authorized King James Version, as it came to be known, was completed in 1611 and is considered a masterpiece of Jacobean prose. It is still in widespread use.
In Scotland, James attempted to bring the Scottish Kirk "so neir as can be" to the English church and to reestablish episcopacy, a policy that met with strong opposition from presbyterians.James returned to Scotland in 1617 for the only time after his accession in England, in the hope of implementing Anglican ritual. James's bishops forced his Five Articles of Perth through a General Assembly the following year, but the rulings were widely resisted. James left the church in Scotland divided at his death, a source of future problems for his son.
Personal relationships
Throughout his life James had close relationships with male courtiers, which has caused debate among historians about their exact nature. In Scotland Anne Murray was known as the king's mistress. After his accession in England, his peaceful and scholarly attitude contrasted strikingly with the bellicose and flirtatious behaviour of Elizabeth, as indicated by the contemporary epigram Rex fuit Elizabeth, nunc est regina Iacobus (Elizabeth was King, now James is Queen).
Some of James's biographers conclude that Esmé Stewart (later Duke of Lennox), Robert Carr (later Earl of Somerset), and George Villiers (later Duke of Buckingham) were his lovers. Sir John Oglander observed that he "never yet saw any fond husband make so much or so great dalliance over his beautiful spouse as I have seen King James over his favourites, especially the Duke of Buckingham" whom the king would, recalled Sir Edward Peyton, "tumble and kiss as a mistress." Restoration of Apethorpe Palace in Northamptonshire, undertaken in 2004–08, revealed a previously unknown passage linking the bedchambers of James and Villiers.
Some biographers of James argue that the relationships were not sexual. James's Basilikon Doron lists sodomy among crimes "ye are bound in conscience never to forgive", and James's wife Anne gave birth to seven live children, as well as suffering two stillbirths and at least three other miscarriages. Contemporary Huguenot poet Théophile de Viau observed that "it is well known that the king of England / fucks the Duke of Buckingham". Buckingham himself provides evidence that he slept in the same bed as the king, writing to James many years later that he had pondered "whether you loved me now ... better than at the time which I shall never forget at Farnham, where the bed's head could not be found between the master and his dog". Buckingham's words may be interpreted as non-sexual, in the context of seventeenth-century court life, and remain ambiguous despite their fondness. It is also possible that James was bisexual.
When the Earl of Salisbury died in 1612, he was little mourned by those who jostled to fill the power vacuum. Until Salisbury's death, the Elizabethan administrative system over which he had presided continued to function with relative efficiency; from this time forward, however, James's government entered a period of decline and disrepute. Salisbury's passing gave James the notion of governing in person as his own chief Minister of State, with his young Scottish favourite Robert Carr carrying out many of Salisbury's former duties, but James's inability to attend closely to official business exposed the government to factionalism.
The Howard party, consisting of Northampton, Suffolk, Suffolk's son-in-law Lord Knollys, and Charles Howard, Earl of Nottingham, along with Sir Thomas Lake, soon took control of much of the government and its patronage. Even the powerful Carr fell into the Howard camp, hardly experienced for the responsibilities thrust upon him and often dependent on his intimate friend Sir Thomas Overbury for assistance with government papers.Carr had an adulterous affair with Frances Howard, Countess of Essex, daughter of the Earl of Suffolk, whom James assisted by securing an annulment of her marriage to free her to marry Carr.
In summer 1615, however, it emerged that Overbury had been poisoned. He had died on 15 September 1613 in the Tower of London, where he had been placed at the king's request. Among those convicted of the murder were Frances and Robert Carr, the latter having been replaced as the king's favourite in the meantime by Villiers. James pardoned Frances and commuted Carr's sentence of death, eventually pardoning him in 1624.The implication of the king in such a scandal provoked much public and literary conjecture and irreparably tarnished James's court with an image of corruption and depravity. The subsequent downfall of the Howards left Villiers unchallenged as the supreme figure in the government by 1619.
Health and death
In his later years, James suffered increasingly from arthritis, gout and kidney stones. He also lost his teeth and drank heavily. The king was often seriously ill during the last year of his life, leaving him an increasingly peripheral figure, rarely able to visit London, while Buckingham consolidated his control of Charles to ensure his own future. One theory is that James suffered from porphyria, a disease of which his descendant George III of the United Kingdom exhibited some symptoms. James described his urine to physician Théodore de Mayerne as being the "dark red colour of Alicante wine". The theory is dismissed by some experts, particularly in James's case, because he had kidney stones which can lead to blood in the urine, colouring it red.
In early 1625, James was plagued by severe attacks of arthritis, gout, and fainting fits, and fell seriously ill in March with tertian ague and then suffered a stroke. He died at Theobalds House in Hertfordshire on 27 March during a violent attack of dysentery, with Buckingham at his bedside. James's funeral on 7 May was a magnificent but disorderly affair. Bishop John Williams of Lincoln preached the sermon, observing, "King Solomon died in Peace, when he had lived about sixty years ... and so you know did King James". The sermon was later printed as Great Britain's Salomon .
James was buried in Westminster Abbey. The position of the tomb was lost for many years until his lead coffin was found in the Henry VII vault, during an excavation in the 19th century.
Legacy
James was widely mourned. For all his flaws, he had largely retained the affection of his people, who had enjoyed uninterrupted peace and comparatively low taxation during the Jacobean era. "As he lived in peace," remarked the Earl of Kellie, "so did he die in peace, and I pray God our king [Charles I] may follow him". The earl prayed in vain: once in power, Charles and Buckingham sanctioned a series of reckless military expeditions that ended in humiliating failure. James had often neglected the business of government for leisure pastimes, such as the hunt; his later dependence on favourites at a scandal-ridden court undermined the respected image of monarchy so carefully constructed by Elizabeth.
Under James, the Plantation of Ulster by English and Scots Protestants began, and the English colonisation of North America started its course with the foundation of Jamestown, Virginia, in 1607, and Cuper's Cove, Newfoundland, in 1610. During the next 150 years, England would fight with Spain, the Netherlands, and France for control of the continent, while religious division in Ireland between Protestant and Catholic has lasted for 400 years. By actively pursuing more than just a personal union of his realms, he helped lay the foundations for a unitary British state.
According to a tradition originating with anti-Stuart historians of the mid-17th-century, James's taste for political absolutism, his financial irresponsibility, and his cultivation of unpopular favourites established the foundations of the English Civil War. James bequeathed Charles a fatal belief in the divine right of kings, combined with a disdain for Parliament, which culminated in the execution of Charles I and the abolition of the monarchy. Over the last three hundred years, the king's reputation has suffered from the acid description of him by Sir Anthony Weldon, whom James had sacked and who wrote treatises on James in the 1650s.
Other influential anti-James histories written during the 1650s include: Sir Edward Peyton's Divine Catastrophe of the Kingly Family of the House of Stuarts (1652); Arthur Wilson's History of Great Britain, Being the Life and Reign of King James I (1658); and Francis Osborne's Historical Memoirs of the Reigns of Queen Elizabeth and King James (1658). David Harris Willson's 1956 biography continued much of this hostility. In the words of historian Jenny Wormald, Willson's book was an "astonishing spectacle of a work whose every page proclaimed its author's increasing hatred for his subject". Since Willson, however, the stability of James's government in Scotland and in the early part of his English reign, as well as his relatively enlightened views on religion and war, have earned him a re-evaluation from many historians, who have rescued his reputation from this tradition of criticism.
Representative of the new historical perspective is the 2003 biography by Pauline Croft. Reviewer John Cramsie summarises her findings:
Croft's overall assessment of James is appropriately mixed. She recognises his good intentions in matters like Anglo-Scottish union, his openness to different points of view, and his agenda of a peaceful foreign policy within his kingdoms' financial means. His actions moderated frictions between his diverse peoples. Yet he also created new ones, particularly by supporting colonisation that polarised the crown's interest groups in Ireland, obtaining insufficient political benefit with his open-handed patronage, an unfortunate lack of attention to the image of monarchy (particularly after the image-obsessed regime of Elizabeth), pursuing a pro-Spanish foreign policy that fired religious prejudice and opened the door for Arminians within the English church, and enforcing unpalatable religious changes on the Scottish Kirk. Many of these criticisms are framed within a longer view of James' reigns, including the legacy—now understood to be more troubled—which he left Charles I.
Titles, styles, honours, and arms
Titles and styles
In Scotland, James was "James the sixth, King of Scotland", until 1604. He was proclaimed "James the first, King of England, France, and Ireland, defender of the faith" in London on 24 March 1603.On 20 October 1604, James issued a proclamation at Westminster changing his style to "King of Great Brittaine, France and Ireland, Defender of the Faith, &c." The style was not used on English statutes, but was used on proclamations, coinage, letters, treaties, and in Scotland. James styled himself "King of France", in line with other monarchs of England between 1340 and 1801, although he did not actually rule France.
Arms
As King of Scotland, James bore the ancient royal arms of Scotland: Or, a lion rampant Gules armed and langued Azure within a double tressure flory counter-flory Gules. The arms were supported by two unicorns Argent armed, crined and unguled Proper, gorged with a coronet Or composed of crosses patée and fleurs de lys a chain affixed thereto passing between the forelegs and reflexed over the back also Or. The crest was a lion sejant affrontée Gules, imperially crowned Or, holding in the dexter paw a sword and in the sinister paw a sceptre both erect and Proper.
The Union of the Crowns of England and Scotland under James was symbolised heraldically by combining their arms, supporters and badges. Contention as to how the arms should be marshalled, and to which kingdom should take precedence, was solved by having different arms for each country.
The arms used in England were: Quarterly, I and IV, quarterly 1st and 4th Azure three fleurs de lys Or (for France), 2nd and 3rd Gules three lions passant guardant in pale Or (for England); II Or a lion rampant within a tressure flory-counter-flory Gules (for Scotland); III Azure a harp Or stringed Argent (for Ireland, this was the first time that Ireland was included in the royal arms). The supporters became: dexter a lion rampant guardant Or imperially crowned and sinister the Scottish unicorn. The unicorn replaced the red dragon of Cadwaladr, which was introduced by the Tudors. The unicorn has remained in the royal arms of the two united realms. The English crest and motto was retained. The compartment often contained a branch of the Tudor rose, with shamrock and thistle engrafted on the same stem. The arms were frequently shown with James's personal motto, Beati pacifici.
The arms used in Scotland were: Quarterly, I and IV Scotland, II England and France, III Ireland, with Scotland taking precedence over England. The supporters were: dexter a unicorn of Scotland imperially crowned, supporting a tilting lance flying a banner Azure a saltire Argent (Cross of Saint Andrew) and sinister the crowned lion of England supporting a similar lance flying a banner Argent a cross Gules (Cross of Saint George). The Scottish crest and motto was retained, following the Scottish practice the motto In defens (which is short for In My Defens God Me Defend) was placed above the crest.
As royal badges James used: the Tudor rose, the thistle (for Scotland; first used by James III of Scotland), the Tudor rose dimidiated with the thistle ensigned with the royal crown, a harp (for Ireland) and a fleur de lys (for France).
|
||||
8327
|
dbpedia
|
3
| 11 |
https://www.royalacademy.org.uk/art-artists/name/paul-van-somer-ii
|
en
|
Royal Academy of Arts
|
http://www.royalacademy.org.uk/assets/burlington_house-559ef2c373c4586519e7adeea4e3e1ef.jpg
|
http://www.royalacademy.org.uk/assets/burlington_house-559ef2c373c4586519e7adeea4e3e1ef.jpg
|
[
"https://d1inegp6v2yuxm.cloudfront.net/royal-academy/image/upload/c_limit,cs_tinysrgb,dn_72,dpr_auto,f_auto,fl_progressive.keep_iptc,w_350/qn1xbkhblekhepqv6svd.jpeg"
] |
[] |
[] |
[
""
] | null |
[] | null |
The Royal Academy of Arts, located in the heart of London, is a place where art is made, exhibited and debated.
|
/assets/favicon-e93a1c04c22b9ad78053ef5c2c957ed9.ico
|
https://www.royalacademy.org.uk/art-artists/name/paul-van-somer-ii
|
When should this exhibition be published?
|
||||
8327
|
dbpedia
|
0
| 13 |
https://www.alamy.com/stock-photo/paul-van-somer-i.html
|
en
|
res stock photography and images
|
[
"https://s.alamy.com/logos/1.68.0/alamy.svg",
"https://s.alamy.com/logos/1.68.0/alamy-black.svg",
"https://s.alamy.com/logos/1.68.0/alamy-black.svg",
"https://s.alamy.com/logos/1.68.0/alamy.svg",
"https://s.alamy.com/assets/latest/footer/mastercard.svg",
"https://s.alamy.com/assets/latest/footer/visa.svg",
"https://s.alamy.com/assets/latest/footer/amex.svg",
"https://s.alamy.com/assets/latest/footer/paypal.svg",
"https://s.alamy.com/assets/latest/footer/apple-pay.svg",
"https://s.alamy.com/assets/latest/footer/google-pay.svg"
] |
[] |
[] |
[
""
] | null |
[
"Alamy Limited"
] | null |
Find the perfect paul van somer i stock photo, image, vector, illustration or 360 image. Available for both RF and RM licensing.
|
en
|
Alamy
|
https://www.alamy.com/stock-photo/paul-van-somer-i.html
|
Alamy and its logo are trademarks of Alamy Ltd. and are registered in certain countries. Copyright © 18/08/2024 Alamy Ltd. All rights reserved.
|
|||||
8327
|
dbpedia
|
1
| 28 |
https://www.bonhams.com/auction/20612/lot/66/circle-of-paul-van-somer-antwerp-1576-1621-london-portrait-of-a-girl-half-length-in-a-pink-silk-dress-and-a-bejewelled-lace-collar-and-headdress-holding-a-lace-handkerchief-and-an-ostrich-feather-fan/
|
en
|
length, in a pink silk dress and a bejewelled lace collar and headdress, holding a lace handkerchief and an ostrich feather fan
|
https://images1.bonhams.com/image?src=Images%2Flive%2F2013-04%2F29%2F94549146-1-2.jpg&width=580
|
https://images1.bonhams.com/image?src=Images%2Flive%2F2013-04%2F29%2F94549146-1-2.jpg&width=580
|
[
"https://www.bonhams.com/_next/image.jpg?url=https%3A%2F%2Fimg1.bonhams.com%2Fimage%3Fsrc%3DImages%2Flive%2F2013-04%2F29%2F94549146-1-2.jpg%26height%3D430%26quality%3D90&w=576&q=75 576w, /_next/image.jpg?url=https%3A%2F%2Fimg1.bonhams.com%2Fimage%3Fsrc%3DImages%2Flive%2F2013-04%2F29%2F94549146-1-2.jpg%26height%3D430%26quality%3D90&w=768&q=75 768w, /_next/image.jpg?url=https%3A%2F%2Fimg1.bonhams.com%2Fimage%3Fsrc%3DImages%2Flive%2F2013-04%2F29%2F94549146-1-2.jpg%26height%3D430%26quality%3D90&w=1200&q=75 1200w, /_next/image.jpg?url=https%3A%2F%2Fimg1.bonhams.com%2Fimage%3Fsrc%3DImages%2Flive%2F2013-04%2F29%2F94549146-1-2.jpg%26height%3D430%26quality%3D90&w=2400&q=75 2400w",
"https://www.bonhams.com/_next/image.jpg?url=https%3A%2F%2Fimg1.bonhams.com%2Fimage%3Fsrc%3DImages%2Flive%2F2013-10%2F21%2FU-3563-0-1.jpg%26top%3D0.060000000000%26left%3D0.192468619246%26bottom%3D0.490000000000%26right%3D0.732217573221%26width%3D230&w=576&q=75 576w, /_next/image.jpg?url=https%3A%2F%2Fimg1.bonhams.com%2Fimage%3Fsrc%3DImages%2Flive%2F2013-10%2F21%2FU-3563-0-1.jpg%26top%3D0.060000000000%26left%3D0.192468619246%26bottom%3D0.490000000000%26right%3D0.732217573221%26width%3D230&w=768&q=75 768w, /_next/image.jpg?url=https%3A%2F%2Fimg1.bonhams.com%2Fimage%3Fsrc%3DImages%2Flive%2F2013-10%2F21%2FU-3563-0-1.jpg%26top%3D0.060000000000%26left%3D0.192468619246%26bottom%3D0.490000000000%26right%3D0.732217573221%26width%3D230&w=1200&q=75 1200w, /_next/image.jpg?url=https%3A%2F%2Fimg1.bonhams.com%2Fimage%3Fsrc%3DImages%2Flive%2F2013-10%2F21%2FU-3563-0-1.jpg%26top%3D0.060000000000%26left%3D0.192468619246%26bottom%3D0.490000000000%26right%3D0.732217573221%26width%3D230&w=2400&q=75 2400w"
] |
[] |
[] |
[
"art auction",
"antiquarian",
"antique",
"antiques",
"antiquities",
"valuation",
"arms",
"armour",
"armour",
"art",
"Art Deco",
"asian art",
"auction",
"auction house",
"auctions",
"auctioneers",
"autographics",
"automobilia",
"Bonhams",
"Bonhams & Butterfields",
"Bonhams & Goodmans",
"books",
"Brooks",
"buying art",
"Cartier",
"ceramics",
"classic",
"coins",
"collectable",
"collectibles",
"contemporary",
"crystal",
"cubism",
"drawing",
"drawings",
"engraving",
"etching",
"fine art",
"first editions",
"entertainment",
"fishing",
"frames",
"furniture",
"Gallé",
"glass",
"Glenginings",
"Goodmans",
"Impressionist",
"Islamic art",
"jewellery",
"jewellery",
"maps",
"manuscripts",
"medal",
"memorabilia",
"models",
"motorbike",
"motorcar",
"motorcycle",
"musical instruments",
"online auction",
"online auctions",
"Oriental carpets",
"Oriental rugs",
"painting",
"paintings",
"Persian carpets",
"Persian rugs",
"piano",
"photographs",
"pop",
"porcelain",
"portrait miniatures",
"prints",
"probate",
"rare",
"rare books",
"Rococo",
"scientific instrument",
"sculpture",
"silver",
"stamps",
"textiles",
"tribal art",
"topographic",
"toys",
"valuation",
"vase",
"Warhol",
"watch",
"watches",
"watercolours",
"works of art",
"London auction house",
"fine art",
"art and antique",
"art & antiques",
"fine",
"arts",
"America",
"USA",
"UK"
] | null |
[] | null |
Portrait of a girl, half-length, in a pink silk dress and a bejewelled lace collar and headdress, holding a lace handkerchief and an ostrich feather fan oil on canvas 65 x 49.5cm (25 9/16 x 19 1/2in).
|
en
|
/favicon.ico
|
https://www.bonhams.com/auction/20612/lot/66/circle-of-paul-van-somer-antwerp-1576-1621-london-portrait-of-a-girl-half-length-in-a-pink-silk-dress-and-a-bejewelled-lace-collar-and-headdress-holding-a-lace-handkerchief-and-an-ostrich-feather-fan/
|
ALL BIDDERS MUST AGREE THAT THEY HAVE READ AND UNDERSTOOD BONHAMS' CONDITIONS OF SALE AND AGREE TO BE BOUND BY THEM, AND AGREE TO PAY THE BUYER'S PREMIUM AND ANY OTHER CHARGES MENTIONED IN THE NOTICE TO BIDDERS. THIS AFFECTS THE BIDDERS LEGAL RIGHTS.
If you have any complaints or questions about the Conditions of Sale, please contact your nearest client services team.
For all Sales categories, buyer's premium excluding Cars, Motorbikes, Wine, Whisky and Coin & Medal sales, will be as follows:
Buyer's Premium Rates
28% on the first £40,000 of the hammer price;
27% of the hammer price of amounts in excess of £40,000 up to and including £800,000;
21% of the hammer price of amounts in excess of £800,000 up to and including £4,500,000;
and 14.5% of the hammer price of any amounts in excess of £4,500,000.
A 3rd party bidding platform fee of 4% of the Hammer Price for Buyers using the following bidding platforms will be added to the invoices of successful Buyers for auctions starting on or after 6th July 2024 – Invaluable; Live Auctioneers; The Saleroom; Lot-tissimo.
VAT at the current rate of 20% will be added to the Buyer's Premium and charges excluding Artists Resale Right.
|
|||
8327
|
dbpedia
|
3
| 66 |
http://godsandfoolishgrandeur.blogspot.com/2019/09/
|
en
|
Gods and Foolish Grandeur
|
http://godsandfoolishgrandeur.blogspot.com/favicon.ico
|
http://godsandfoolishgrandeur.blogspot.com/favicon.ico
|
[
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIM23c9aUKwn9KjsUviT9GreNTGM2R5NvjmEEz8EANuJkknyMuH3vfV0Pl8fWII7tBDqrPqVADWrCz3VfIPT6Kk7x0n2d6OvW3rsNf09dRgyiRJXOghtRagFAxljsjHxR091xb4VdXKG8/s1600/mosaic+image+black+fuller+text+sm.png",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoCTgUxcgVUcuNOlyaf50p_h2EL1kJ22TdOgGr0sWCw7ZVoUBh6Q7bzR9D2wRGST_wxqAT_O80Fe8txnC5AiUDuTWpG2ZB0gIWDI6qEcEusYKjYjmWk606jmeIpO3Rg53lawdM9VZATjo/s1600/Image7.png",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiv7CgLPOVY1fMhsCED2BFCtyqQMFHLS2PDvrkwdMFRS00OaxvISNVQY1YlO2kgikN-f1ztj2l7k_fmWQisnbR80e3K42PB62DAzqDKyvxjWgALnPQ_6L3Rar0V4A8xQGlGlYwyTKgNrn8/s1600/George+Villiers%252C+1st+Duke+of+Buckingham%252C+portrait+by+Michiel+van+Mierevelt%252C+oil+on+panel%252C+c.1625+6.png",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijEnbWWOvbTTPqklHBL9wfw5POs3Q51jypMivvCHnNhqnutLduj_V_SFfWqQ9cfqVM2yCT0ADA0l3f256NTqCJ2KfKDUA74NAuIZC6feu2GxxG6KLLNWVMTUsFLTU6Q8GJ_WBtzeCFHys/s1600/attributed+to+William+Larkin%252C+and+studio+of+William+Larkin+c1616.png",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGX2fp5qw84qmghrCnkAUuulYJCvPEQo5Bdd8ebu-2IjRSNhFqcNc42gxyFBImrXTxICb4ABCrISBLu13OzuyJKzeZV31v5l4fBduEtmeRBdIeU75NZQvdhKlwMElPmMsZDiVU13xvrV0/s1600/4+Image15.png",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgO5HihGJN0b6kNq8lKt3yOb3sDj8y1Azurv7u3GfXEVZPoHIhadDZx9_TmP3oLwXf1q-JwPJfkAbu3EpFH6sxqnyt8M3Vu-1cK7b0NRdguxl2yuUQi_dzz1ADfPErVhZsLTNh4zMHORSk/s1600/5+Daniel+Mytens+after.png",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEik9StnEO2eRnG8ndOog9TMwtaJNJhVIHHHHCkaNJz7VEhAyiztuX0DhIbXqOYuaClMnkNhImnMha9Q6mxyW6VXNO3OFe_FE1_6e1KRwqPlEhIQwpz0vFusKVNLwGG0OZOYwdtCOqM4dcI/s1600/6+Paul_van_Somer_-_George_Villiers%252C_1before+1621.png",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoFWQP1TO9FYx3N9-WZJqvbn_beIoQ88L5BkbF3VUzpBz1k0iedOYulQ7bEXEW2PLlwnbU4e8Y-1u9zNPudj1_zP38tgjCCatFOmzzbf0_m6QZ1ErcDk94QN216dZhoHJFaF8e4YR1k7w/s1600/7+NMM_NMMG_BHC2583.png",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjecgEo_rJK6hJVxT0Dymrv0Nokh-R4USbs-8lm1X21V5M4NBjEWz6KZIhWQZ0nZyIp40D5r9dfCh8ZnVAyeg3xoioN1hBEiDQU-nvwaXe431BfaPAGvPeRbPpBVcvcHgt0Uv9hJAYcSb0/s1600/8+Image11.png",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOWbJ96jl_zarqKwj2qYOaIqT_CCwBuwDMPaoGaKGi7MX5KCMu-7iIoGtzTBTRjKQ127n2exSQ01596nc0tZSpMslpNdceebOGMCqodmNBeE0sh6mnt9M9-TmNBDjyMLOrCCW1jqk9Kpg/s1600/8a+1625%252C+by+Daniel+Dumonstier.png",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg14AXUY2Zq4NxJNyekYFBOhCirtR6O2-D_sIDnHxd9WKD9IakFaGpXzXXAFv3A8uukaWQk3I3oy76ZUmFejh7eYG-5qvqUQ9wr7JJIpfe733jUQTpZOQC6QPyV4DwT2T7PgDYSJzk7s0I/s1600/9+Studio+of+Daniel+Mytens+the+Elder+c+1620s.png",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9GXz0SiyjXD_1_l2FfHfeykKxgsGPte7ZvDILQAnJsvHnv3xpHFH7BbrjIYCAg2QBAOuZPM9TdWLVm6wegw84I09hN-sKQrA0kLWtLTZWuh6TqDu9dwdfgK1lKiC4KS8eLd7BzIztpzA/s1600/9a+and+his+wife%252C+Katherine+Manners+%25281603-1649%2529%252C+as+Venus+and+Adonis+By+Anthony+Van+Dyck.png",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5cAeANQ6znUr53EXuF9iXF5LKfEvFH7RODtxv2Y_9kSxpWNPZaFhbPhHENapg-594KtZ8YjJjh64TetUx5azwZZsVrBHOeaHW8bYXyKvfwcpdec9nNm-8GnndUjckH3Dcu2uChyrKJQA/s1600/10+after+hont+c+1628.png",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQ0FAzPZiXIG9-o3uV8ccmIB3Hqo_9AURtOfyZLADrwQKDxX23UBQtV8suk83epJ_UjVZ4MPkaWYsKRaXroXHbfMaJXPvIk3DqFKAWQFc99BJOF8xcrEe2fkdwYi2A8heN5VCJ58vyIUM/s1600/11+download+2.png",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgs_dOmIIn0AIbGnRbX7uwK6_gUKZ5zUsxdyAgmK5drLmNnns0yZPulUnIap0StFMKxtYzqBv8CwL3jrAF5SNVXCgKpSjA_tMtB-y9g38juow1fKqKIZr5Vw013aUhZrZrOE9rXswYrGLE/s1600/12+studio+honthorst.png",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4Eb6GJxsUH31YXg4Rr_9RsNg0cmT55QJycr7MSi9cTbLV_Nnos8EUVKifJFy1EgWTtSyKZHDpxKpWhZMo7LPY3G2xwMCWeCF0g1kMphTV46TWeJKEsyMzxIj136x-TM9FikJ051chSok/s1600/13+JOHN+HOSKINS+c+1628+29.png",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFMrBY7URDYHoB9XQoJOa8Q0cVjIWS9xhQAErEo25j3MOujC5X3fnc7HUKcgnESAP8Wjh_OEuHBIifbujJlSafDR2BJjSB2WkGSlUpn7pnU6ote10J5k4PZmDMAcz-BWL1rqCJEIecdm0/s1600/1352412418_rubens.portret.png",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLtY6nM61oj5BLgxC-gfq-F4G4TPSVBVNMFNhe2RbXD47zRUIR0R20jvv03AGGRAYrCnqxphL9gLjT-xrmpgjA8gGWOiu9sxyky367POUjq6-vmbSJf7G3R2TKMNDjm0nUQ1hPtMwKiho/s1600/14+George.Villiers.%2528digital-tweak-of-restored-Rubens%2529c+1625+.png",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWBS-ALHhNAXb-6MU5EH2jbBm_7mOd8591Xowt3rqSW1SM40YhiBCeKrS29RteNWbY_IZBFr51__0Df9f4naVD3dgqYUQjI__KWu-RbRwM-JCBDAqs0Kcot0_HJkcvdhAFzmv2qDI_Nvg/s1600/15+Peter_Paul_Rubens_-_Equestrian_Portrait_of_the_Duke_of_Buckingham_-1625.png",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWPwq-ZK1hvKgF084QiAbQfi4TA8aZtuy_zGWdNaN293NFNzo_mxF4Hq8UsXtqM0lYH_PLzPnVvxfAG-XGi8MPlB_b0V2fyzhHMKiJFmDuS4aDZ29FWGr-0VT8UhHoI2Y4icn9CrPedcw/s1600/16+Image10.png",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirNAVIKGxR4zbFWnS9HHPq1-ntOLgDRBjI1t-kunO5tqVAImBx8fRz3L7ZpnoXFobPSAs2YWzhMwnojwcvW42k3GtqY5xea5_zZdh8znusMaRD_vjnpW_HEzMMFwqVdddAPb5JVxjyR6s/s1600/17+honthorst+The_Liberal_Arts_presented_to_King_Charles_and_Henrietta_Mariaing.+guise+of+Mercury%252C+patron+of+the+arts.+apollo+and+diana.png",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNdlAfMzVopyTTP2Q4N9RDnJM8hSj3os1KWOdwFj_XSCub7o68xGBq26K_2Cqg4fxBzzCEn-gg8JbMWGwqEuV0O8e4JPm3W_h0H9tdHp9bVxtshByZRf5mtDxK9eF4KefwSM9v73S7mmI/s1600/18+Image13.png",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHM1OU1WhNKgHq3IEY3RkRALMpxDKEv6l2z1JeRSp-6qcz-ELXB6arTaCEUZEaLdsqR4LOVTeXKA3F5sxlkCQs-LwlEI-L7ayP0VwYJTnXlKm884PjvNCRd18cyQhswCfO04tsez-bqJA/s1600/23+Katherine+Villiers+Duchess+of+B+w+Lady+Mary+Vrs+Lat+Duchess+of+Lennox+George+Vrs+2nd+Duke+of+B+Lord+Francis+Villiers+c+1633+studio+vd.png",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOUURqs9wVXWwssKfF7SrQsNye0yAISbovYMMVRthCdTB4vzmjIO5e_J_UYKEWNKaSiR6JjTkLgmG56AWLgR9903ZsbWy9d6Dobv9heWx9bpG2kb_SM-RL2OX3T9ZXRSNTM-tlwObVaL4/s1600/24+AFTER+DANIEL+MYTENS+c+1620+or+after.png",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6tGzMdyIUSA4X1PKiAE4BVLhOrTM2KDZMeBWk3rx_qLuP7t3zR2CiYTSqxxjQyaf95Q-hacF88nBFKFFr7iWoqewfcsX3t6JsrqhRNfTrffjTzk5OlTtdVkVRAwyemuFun-_GZfERasA/s1600/25+Image8.png",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7pRlzVFu78ZhLfqO8Z53Z5TYnECDT0ihQXieXwToOy4pJHGOFSF7JMxqnPgAGdgbWdsG3jnc8vGHKn_gNN3-WxTAkHaePlN8bKnZfryxoH3BfmUANrTSlBlqdTTS2uzlG5QfUmSNb5yo/s1600/20ferenc.png",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUUz3OnNoXHt3vxWCVcavnP-0q1spqPYjFs6rPlEm-romvWEOaE0CTgMx0L3-K8wPe7AAvshfdUWR4aiCe8iZXs4pbcv1mv0qAwP8SM16wVy5lUAOp-goKO-ZHGe0c9_O_YqfMa6lMYP8/s1600/Image8.png",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvue8AZfxp2cFVusyh9anBLknsJVIm_JpR10nj92fyHA0rZGToCtr4oir9vPfwd5eOmIFF7x28yylLPVRe3SeIXMRdN081OFNVL_cI_JfbjgOLB6q5rWWVOQz8JF0Ljr88b_U_1uQi_cs/s1600/123.png",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjT-oTe0yzqHjS5psUUIcDIScu-7UKNeQ4qARCdo0BxvEdbHNphI8RpIQSUe8WiCw_TwoVwwva7to0khucoA7NGPv6ivJQXcIjTJBHItCK_HA9XqOe3kPWS3BecipAke2vvKi6qwAkaL1c/s1600/Red+Wall+I.+%252C+1910.png",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgG4XP33bP5lbvZyG0bC3sZ5x_AEe-UVl18HP7IC_WgBZn-tOctxhsjp0sp9yM-ThpAM2q0Mm65EaJ61d2cAiH72_T1tL8SngwsJKozbj53IQNz0vbgZgaQ6-eh_hUUZezROxHz5YXh8wo/s1600/The+Red+Wall+II.%252C+1910.png",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2PYTexvaoBdRVQqtqaDHdGY-DsdjH74JxakQ_vF2FpBFyv0ZXyvMKf1Dy9hqBu6b9UUzW5ghebZohnMS63_sGtB9jcvaHy2alrebmYoPgNv1cKE1uLz_6jG8uuSZuqdcx8-FdhxQjXFs/s1600/Image6.png",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiA58mAGOPM-FqYAzJjCCzS8yD6HcA_XrEOYfEf3yKcpd8eL079ervJq4YSed7QNfZqVCdBWQyj4J7f-tOYY3-kXH4chGTUwOJnzeAc9rFeWCGK5mlQW3c1y94a3W15Tt06RMyVeYHptow/s1600/1875+Two+Women+in+Day+Dresses%252C1875.png",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDjIKlmX3qgd8bCU8Nx-eM-DaPTd2FtN4WgpO6fHMeLXimYamfi50Yos_jbi8B5EOXVQfb_Ov3qf2i53N41FWqgQAGzAgjb6VMvSKBWcDL2nQO_UB6tzFpcrazLx8RZ5hHEBZ2cBbJ1KE/s1600/Image4.png",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijIxbJjvfwnOCYG38sILk2rCeVhLyJyhI7vKpMOemJc8WCRA7NxxKqOueQjUy3Ol9NxorWcnA7hzSZ3TVfrYG2hkel58kzu9yJ3G45Lr0FgdR7mQWwHydVQ1Jd4RzphotO3hf-AcRdhIU/s1600/1849.png",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHVENcMBUntt6NcoV0XGHR9Em7zpLoHaXPmqnGFrYhu_S_RY9WzndlSDejHSRn0QV83oevyIu5yV2nEdGNXmfl4cK70y0C2ZrTUjB5i4u7DLz0b3cKFFnURgA3j_RcvQ_UMtPIrTmrEhU/s1600/1852.png",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNMNizyktxVtE8Z5jHCBWCEWBLVzzK-ElCxzyJ9adeRUvyMRm-l9ohEbbDgD-U7THI-QP-fTnnkjEeyJvBlpGtkrHkaM2M-aUSFLDYlBaDRvXt8WDrf4iIXLvqh1p_S6NPO_uCf4fqoQ0/s1600/1859.png",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhx0qQ3CKRqqkQIhiBLfM3hVDSiVTUPzQChFnHqMujxGSEFB8-rgxbXcNH3kL2aKXVNOVDuucAk3yjIiYJTGzvXucnfkuqwn3FmVXNJ2-38g5_pB6MsQWRbpl6MG1RvevzhbQfAZTSdNNs/s1600/1861+67934682_1200170866831859_4768557109048508416_n.png",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6JqZLUSn2Kc_zlvoMionT3toxFKsTwjZ5GhSSmN3DkA-83hlPF5apeJHfPfqyjSGuQiTyL7-zkmvda_ghHLzBVltqWorqQg7Z_OGwZzyuZVlLwt5RZFGCDtk8d5lPm2cSoAkB_aIo_KU/s1600/1862+67712372_1200171223498490_1638394431306465280_n+jules+david.png",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhj6QxIKhL1JL1oQoYx-4C9SqE-z2BAA3GIVnBJp6AHQsSXz-_23gbP28QYR6EbfpyraOGubbnaQ9hsJo94xcq90krcy0RNF8hD_eUQ1onwheaEZpkkBOu5HGoVDfn0M9dSDTfz67dxC0c/s1600/1865+69002795_1200171490165130_3543732878334492672_n.png",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVWirpIJ4iJMV5wiSaSB4P4YJyk82VCpIbOxkmOcMcJPNHfDpBo2N6j-58cZQ5CyX7NC4N3gnYgsWQFPbksi1vH3xWNT_k9wwE8UrKB6D_d1MeMqVEdj25sDTSQ5U1XiBMJwE8IxXzu5A/s1600/1866+blog+post+EMMANUEL+CHAUSSADE.png",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJoHN_5DBJ_fvBXBI50zsyR2lAxLC4bB_RJ9YiD1i7XI3yL5lJkvGYKBztiyPWwXKEv9YgoRwbg6b4_rtuHv1Sk2e8ezcVvWwLelR_XhbRFqyZiL-1IHiUm3GuwmhCm1cI_tVDIxP2u1A/s1600/1868+67917714_1200172010165078_8910531021355614208_n.png",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhktvpKXEl3DbEASkEkG2QB_QTVmWVwMGBYtR5gS9afIlkdnAAuG6UZrDol5f5RRE6MPRSK9rj5p6BYRkdcujnZHXRKbrQq-AEhll0m8tXhZo0r8Rx0DwXU0aLAPhU-5-8865W5QyHBYrE/s1600/1868.png",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfSehY2CmY2jP4y_X0f2YwOWaQ7DSbZ__MYmxUDKt0OcZTHa4_f508ybXaPx4KNL1GUniSUQuf1No6jn2DjZtmTDi09wjJzCu77vgSWV0MDVOSOz-ozUEohyphenhyphen-hDxaEcuBTMO9xtEsPhI4/s1600/1869+1955.1626.png",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjk4Hq5BU2Awintp2GphIy-s6dsO1VbCgKbemaaESbk07ACFgE1ySdYNKzGNJFbjMsnSxgsPZcMuv7U8q0f3IkGEnOZcFhUjMzHxpSx1Eqb19n_cuEU11nyPWgikOJg-SvrdYMWdl8KYfE/s1600/1869+67844797_1200172290165050_8607642166635790336_n.png",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoHWTeUTfpHtTaSBCAfFeHQ4RSvgPkvwqGv_cZ59v8pMfTaPxK6TS0T_P7zP0qcK0YoCayHxWyjkbXPCUIbtvnwnrGGvY5E5lMyXSy73GJpsiQPq-AHqcWpaKclB7W5Y_lJYg3JPP5iRA/s1600/1869.png",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjcgptMVBFKcQrWQGpRqXD-c357GmEQefj-zTN2f6nk3czi7tQD8pabbSQlyuhZ62nmeZyT0eUevkSdU87ZwB64-rvTwLFyvAHBv2TS2OQ_h-Gt6nq17kQ7M2yXFY4qihPqK7z8-ztXSg/s1600/1872++955.1628.png",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaXFkeQ-8BI9Ab6QF6F3CGqI2aLpXhtNw64ukCbciQR8gDIHnT58nSytBRfj735uo2XNiggKhtfYo9SEFJWus0Klu7VtHB2D5SxO0IgXFX0lzsMWfLhQ0RifQZKf_ezCSYrDGspZ67cTg/s1600/1874.png",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhepnYhMM7BhaL7UV-3z5uacTS9bNrOisoXvJRsCVOVAEwgMv14YZIIvqF59BJvjSYGOa5LEssNv8_1w6u1mcxV6_TbPNGe7q0530ykXu_87Cx0j4NQEEsoSkEhu5aKwuSEhWSA4iaLbi4/s1600/1875.png",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8ZJzasLxkHRlTYQcDIijPjC57ZJZWuBIkjWGth2MMc4-h_KP7SpQA4KUnbLM0cXLxLlSZ5ER135KxGiNZ75jZJIUbcUeU3W2gEkO54xG6o56XWZ3gWqnyBxQLkCjBPWJErLshxH8SnTY/s1600/1876.png",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmYiAVO7s8sWSZLW44l2kmR0Dr3ThfAT0u2Aq1DWZCqkYgm0UYsUsbcM3bKhoPEF_c-BeigtBJTvIaowgK_bOEdblC00BB2kRPjueqPiAch25DI8VxbYYCiI0rQsdxUFRS2_MS5jB-OzE/s1600/1878++955.1632.png",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOwbeWnk79QWkrCbCCDX-D425dEnG9bnZy6ITtxRYqghuXVd0tfaxtnkDR8mWcB-uhJgI8Bh3k9hyphenhyphenXtmPUxlC7Q8StC7fvh_hSa4pRoP0Yw5sQEGFVbn2rhDtR_HcoD5cKVGv0hJnZgvs/s1600/1878.png",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhq7MISqsmqbg9XxmVs5rgGifVucSboVF3EMx0VN0CaztUzqjSM5rkdTYoj9DgcePmrJiR2k5q-vqq-6bPRwiTkROF5bS3wsCwZM7U6vjTQ7jWaUttjvrTRCeMRiIh87rzsgtlSJfev3YA/s1600/1880.png",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJSZ64ikRkBhgFx6X_APManhcNk3bO3W5lcW21LDGs90aGIDbIxEbAlyZmzY9kA4QN9GcYWoPDpcPtuxWdPVktBEnspS6Ehr7uRs8zopZIaWGiG8bI0-g-UiPOf7EwYdLaVa-tJrY6wmI/s1600/1881.png",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsFsUstT8avxFrIfBtcE_Kga-8B3Mh85VOCSp-5OzkZ0ez-baAuVDV0O6OdEp0J0JHwd16pHyOv_cbaiM1Qi4lv1xwb1gaJIvwQO_DLtB2kPsyy0W1wFlASQxDUvO1evWHCSN-PwBZmJ8/s1600/1885++955.1636.png",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSvWMCTpdeIkLMqnSjYu-vbOiseRqbYMH1rorNK9S4OItcOL4WJ5anBym4t57AxSe9H-woEZpXp10ww0YPatTVGYV6tL_yA8_Q0GjZTZljiCQ9VRA94YgrAbFeUo7FtV0zTqaB-qakA8A/s1600/1885+DP809010.png",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEji-2H7ovSS28_YEdyUfclpMxsZbpFpzbGZmltQ2z_vvpbS3C4LFejFgLs7QjgBk4OMjLMGYRF7MrUN0uyvb5Ie2pxTgL3_MCNWoCFbIHrEVZW2daFuLr6_-ZzkBdP2jsTjw4jydYjXJy8/s1600/1886.png",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhi6lqCCFnoM6ERWnV7xbQUGvlpAvljRDETmdPjy145KHRFUPGQ2QaG6BiHXm3Yi9yq3pHhzNvqxfpiuN8jtapPIV_9F-uQMvq44scnoeBPM-xwWzy3Cg_mYWp3CPO8JBWG046N9lSWJXc/s1600/Image7.png",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgH2jw_exTpY7Ekyw3Ensjdx9ecen3TBagjAF-vfaa0_TMkDFvAkvfFOjtW0d3cInpzXblpzrN9EQelntkfzh7ZbNm9xrfIKXEzokLNbiqdUOc61ob0cdXwCxAgD8CNg3UltRbG3_1Wpus/s400/Untold+Gaze+Front+Cover+blog.png",
"http://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7J7PVEN0XcMYj9FCVyBW5mZvVL72qevf1pIAq0o8LxRxY_29wc9JHViUkYGEK48P27v3rJcjphUCeGmbLNMpIwQzMoKBM7DrhE0X0B_Ev61Q_pIcb0PYP4ORhwh-iTQ/s113/*",
"https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_u3ZrkcE3JWMSidACtH0mYO_8P2dWuvLx6PslRGnvGOnJqrGfGYWYDVnxqSC6seIChSOc7LM17zr6q9pjVjmnD-dxA7-NNV6v7sZ2BfTKvDR_jABUNR4zWpgqhEMw98WMd1uoPsAHiJCQ=s16-w16-h16",
"https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_vzv9LjmOki_EFKDagrsSVYx9E_ncyZocsLLvyup73HIB_qvfgSNumPUf0p8cCcozJOgGKdEBK4vaXXlP6a6b4bMGxN532Bg_6JUOJ09wPWRNEL=s16-w16-h16",
"https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_vf8Q_kO72uJvX2pMaEgz-WgCV49PxMxpoxi7pfuOBRfJblDOMz4Dizbu1lycdAKCZeLOS6C2PbC2Cgm3CfD7OUajwqdAKsepGiq9Pe2QY=s16-w16-h16",
"https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_v0O1uubFP_Q6Qp39wnVc-XRIVL9_rR27w0zaU80Rv2tIlg_yKR1AhyfWzWfaW-Zp_T_aQZHsJoBXl5LHRwbfTNQGDwVR5hLT76PNb4HT5wRlEWnognJNfT3g=s16-w16-h16",
"https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_vvREOYuY2qgToxLyIeawq1Xjb3jPFMTh6J-bAVbiNYh-_be7XK-l4iA-H5qop2QkiKE_4Ca2_eBBfzq4hl6ipEohqw8-3GohpJky1VkQ=s16-w16-h16",
"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTWDuT2aLokZ2qQgYNLt10upnJb4WlU5GFpj4oXah7aPLsfchPDEnajb_glX8kC4iaptBVd_DcPvYdxEHK35ve53jSWdtzRtdsQmRtQdMI-BDxfx97RBa6ycaTfya_FL7xnQMNVXsGQXU/s1600/Image45+b.png"
] |
[] |
[] |
[
""
] | null |
[
"View my complete profile"
] | null |
Life And The Arts...From A Retrograde Perspective
|
http://godsandfoolishgrandeur.blogspot.com/favicon.ico
|
http://godsandfoolishgrandeur.blogspot.com/2019/09/
|
"Venus and Adonis", an allegorical portrait of Buckingham and his wife, by Anthony van Dyck, circa 1620. With his wife and their children Mary and George - later 2nd Duke of Buckingham - after Gerrit van Honthorst, circa 1628. "Apollo and Diana" or "The Liberal Arts Presented to King Charles and Queen Henrietta Maria", by Gerrit van Honthorst, 1628. The King and Queen, together on their cloud, represent Apollo and his sister Diana, while Buckingham appears below as Mercury.
|
||||
8327
|
dbpedia
|
3
| 89 |
https://www.flickr.com/photos/tedesco57/33187365533
|
en
|
Henry, Price of Wales b1594 d1612 Paul van Somer at Dunster Castle. Older brother of Charles I
|
[
"https://live.staticflickr.com/2886/33187365533_ccf4234c21.jpg",
"https://live.staticflickr.com/2886/33187365533_ccf4234c21.jpg"
] |
[] |
[] |
[
""
] | null |
[
"Flickr",
"tedesco57"
] |
2024-08-18T20:27:51.569000+00:00
|
Henry Frederick, Prince of Wales was the elder son of James VI and I, King of England and Scotland, and his wife, Anne of Denmark.
His name derives from his grandfathers: Henry Stuart, Lord Darnley, and Frederick II of Denmark. Wikipedia
Born: 19 February 1594, Stirling Castle, Stirling
Died: 6 November 1612, City of Westminster
Place of burial: Westminster Abbey, London
House: House of Stuart
Siblings: Charles I of England, Elizabeth Stuart, Queen of Bohemia, Robert Stuart, Duke of Kintyre and Lorne
Parents: James VI and I, Anne of Denmark
Henry was created Prince of Wales at Westminster in June 1610, the paragon of a prince: he was intelligent, well read, an excellent swordsman, an avid patron of the arts, and possessed of a strict sense of morality.
Henry was also a stout Protestant—when his father proposed a French marriage, he answered that he was 'resolved that two religions should not lie in his bed.'1 He was very approving of his sister Elizabeth's proposed match to the Protestant Frederick, Elector Palatine. Henry was the great hope of the Protestants, who saw in him a Protestant Henry V who would lead troops to the continent on a crusade against Catholic Spain. Others thought that a fertile time in the arts would take place at the court of the future King Harry.
These dreams were shattered in November 1612, when Henry suddenly took ill and died, probably of typhoid fever, though rumors circulated that the Prince was poisoned. Always most fond of his little sister Elizabeth, his last words on his deathbed are said to have been “where is my dear sister?” Henry's untimely death occasioned national mourning.
It is difficult to gauge the extent to which English and European history would have been different, had Henry lived. It is possible that the well-informed Protestant prince, once king, would have adopted policies agreeable to the Parliament, keeping it in voluntary submission to the Crown, thereby preventing entirely the English Civil War, in which Henry's younger brother, as King Charles I, lost his head.
<a href="http://www.luminarium.org/encyclopedia/princehenry.htm" rel="noreferrer nofollow">www.luminarium.org/encyclopedia/princehenry.htm</a>
|
en
|
https://combo.staticflickr.com/pw/favicon.ico
|
Flickr
|
https://www.flickr.com/photos/tedesco57/33187365533
|
Henry Frederick, Prince of Wales was the elder son of James VI and I, King of England and Scotland, and his wife, Anne of Denmark.
His name derives from his grandfathers: Henry Stuart, Lord Darnley, and Frederick II of Denmark. Wikipedia
Born: 19 February 1594, Stirling Castle, Stirling
Died: 6 November 1612, City of Westminster
Place of burial: Westminster Abbey, London
House: House of Stuart
Siblings: Charles I of England, Elizabeth Stuart, Queen of Bohemia, Robert Stuart, Duke of Kintyre and Lorne
Parents: James VI and I, Anne of Denmark
Henry was created Prince of Wales at Westminster in June 1610, the paragon of a prince: he was intelligent, well read, an excellent swordsman, an avid patron of the arts, and possessed of a strict sense of morality.
Henry was also a stout Protestant—when his father proposed a French marriage, he answered that he was 'resolved that two religions should not lie in his bed.'1 He was very approving of his sister Elizabeth's proposed match to the Protestant Frederick, Elector Palatine. Henry was the great hope of the Protestants, who saw in him a Protestant Henry V who would lead troops to the continent on a crusade against Catholic Spain. Others thought that a fertile time in the arts would take place at the court of the future King Harry.
These dreams were shattered in November 1612, when Henry suddenly took ill and died, probably of typhoid fever, though rumors circulated that the Prince was poisoned. Always most fond of his little sister Elizabeth, his last words on his deathbed are said to have been “where is my dear sister?” Henry's untimely death occasioned national mourning.
It is difficult to gauge the extent to which English and European history would have been different, had Henry lived. It is possible that the well-informed Protestant prince, once king, would have adopted policies agreeable to the Parliament, keeping it in voluntary submission to the Crown, thereby preventing entirely the English Civil War, in which Henry's younger brother, as King Charles I, lost his head.
www.luminarium.org/encyclopedia/princehenry.htm
|
||||
8327
|
dbpedia
|
0
| 33 |
https://www.bonhams.com/auction/20612/lot/66/circle-of-paul-van-somer-antwerp-1576-1621-london-portrait-of-a-girl-half-length-in-a-pink-silk-dress-and-a-bejewelled-lace-collar-and-headdress-holding-a-lace-handkerchief-and-an-ostrich-feather-fan/
|
en
|
length, in a pink silk dress and a bejewelled lace collar and headdress, holding a lace handkerchief and an ostrich feather fan
|
https://images1.bonhams.com/image?src=Images%2Flive%2F2013-04%2F29%2F94549146-1-2.jpg&width=580
|
https://images1.bonhams.com/image?src=Images%2Flive%2F2013-04%2F29%2F94549146-1-2.jpg&width=580
|
[
"https://www.bonhams.com/_next/image.jpg?url=https%3A%2F%2Fimg1.bonhams.com%2Fimage%3Fsrc%3DImages%2Flive%2F2013-04%2F29%2F94549146-1-2.jpg%26height%3D430%26quality%3D90&w=576&q=75 576w, /_next/image.jpg?url=https%3A%2F%2Fimg1.bonhams.com%2Fimage%3Fsrc%3DImages%2Flive%2F2013-04%2F29%2F94549146-1-2.jpg%26height%3D430%26quality%3D90&w=768&q=75 768w, /_next/image.jpg?url=https%3A%2F%2Fimg1.bonhams.com%2Fimage%3Fsrc%3DImages%2Flive%2F2013-04%2F29%2F94549146-1-2.jpg%26height%3D430%26quality%3D90&w=1200&q=75 1200w, /_next/image.jpg?url=https%3A%2F%2Fimg1.bonhams.com%2Fimage%3Fsrc%3DImages%2Flive%2F2013-04%2F29%2F94549146-1-2.jpg%26height%3D430%26quality%3D90&w=2400&q=75 2400w",
"https://www.bonhams.com/_next/image.jpg?url=https%3A%2F%2Fimg1.bonhams.com%2Fimage%3Fsrc%3DImages%2Flive%2F2013-10%2F21%2FU-3563-0-1.jpg%26top%3D0.060000000000%26left%3D0.192468619246%26bottom%3D0.490000000000%26right%3D0.732217573221%26width%3D230&w=576&q=75 576w, /_next/image.jpg?url=https%3A%2F%2Fimg1.bonhams.com%2Fimage%3Fsrc%3DImages%2Flive%2F2013-10%2F21%2FU-3563-0-1.jpg%26top%3D0.060000000000%26left%3D0.192468619246%26bottom%3D0.490000000000%26right%3D0.732217573221%26width%3D230&w=768&q=75 768w, /_next/image.jpg?url=https%3A%2F%2Fimg1.bonhams.com%2Fimage%3Fsrc%3DImages%2Flive%2F2013-10%2F21%2FU-3563-0-1.jpg%26top%3D0.060000000000%26left%3D0.192468619246%26bottom%3D0.490000000000%26right%3D0.732217573221%26width%3D230&w=1200&q=75 1200w, /_next/image.jpg?url=https%3A%2F%2Fimg1.bonhams.com%2Fimage%3Fsrc%3DImages%2Flive%2F2013-10%2F21%2FU-3563-0-1.jpg%26top%3D0.060000000000%26left%3D0.192468619246%26bottom%3D0.490000000000%26right%3D0.732217573221%26width%3D230&w=2400&q=75 2400w"
] |
[] |
[] |
[
"art auction",
"antiquarian",
"antique",
"antiques",
"antiquities",
"valuation",
"arms",
"armour",
"armour",
"art",
"Art Deco",
"asian art",
"auction",
"auction house",
"auctions",
"auctioneers",
"autographics",
"automobilia",
"Bonhams",
"Bonhams & Butterfields",
"Bonhams & Goodmans",
"books",
"Brooks",
"buying art",
"Cartier",
"ceramics",
"classic",
"coins",
"collectable",
"collectibles",
"contemporary",
"crystal",
"cubism",
"drawing",
"drawings",
"engraving",
"etching",
"fine art",
"first editions",
"entertainment",
"fishing",
"frames",
"furniture",
"Gallé",
"glass",
"Glenginings",
"Goodmans",
"Impressionist",
"Islamic art",
"jewellery",
"jewellery",
"maps",
"manuscripts",
"medal",
"memorabilia",
"models",
"motorbike",
"motorcar",
"motorcycle",
"musical instruments",
"online auction",
"online auctions",
"Oriental carpets",
"Oriental rugs",
"painting",
"paintings",
"Persian carpets",
"Persian rugs",
"piano",
"photographs",
"pop",
"porcelain",
"portrait miniatures",
"prints",
"probate",
"rare",
"rare books",
"Rococo",
"scientific instrument",
"sculpture",
"silver",
"stamps",
"textiles",
"tribal art",
"topographic",
"toys",
"valuation",
"vase",
"Warhol",
"watch",
"watches",
"watercolours",
"works of art",
"London auction house",
"fine art",
"art and antique",
"art & antiques",
"fine",
"arts",
"America",
"USA",
"UK"
] | null |
[] | null |
Portrait of a girl, half-length, in a pink silk dress and a bejewelled lace collar and headdress, holding a lace handkerchief and an ostrich feather fan oil on canvas 65 x 49.5cm (25 9/16 x 19 1/2in).
|
en
|
/favicon.ico
|
https://www.bonhams.com/auction/20612/lot/66/circle-of-paul-van-somer-antwerp-1576-1621-london-portrait-of-a-girl-half-length-in-a-pink-silk-dress-and-a-bejewelled-lace-collar-and-headdress-holding-a-lace-handkerchief-and-an-ostrich-feather-fan/
|
ALL BIDDERS MUST AGREE THAT THEY HAVE READ AND UNDERSTOOD BONHAMS' CONDITIONS OF SALE AND AGREE TO BE BOUND BY THEM, AND AGREE TO PAY THE BUYER'S PREMIUM AND ANY OTHER CHARGES MENTIONED IN THE NOTICE TO BIDDERS. THIS AFFECTS THE BIDDERS LEGAL RIGHTS.
If you have any complaints or questions about the Conditions of Sale, please contact your nearest client services team.
For all Sales categories, buyer's premium excluding Cars, Motorbikes, Wine, Whisky and Coin & Medal sales, will be as follows:
Buyer's Premium Rates
28% on the first £40,000 of the hammer price;
27% of the hammer price of amounts in excess of £40,000 up to and including £800,000;
21% of the hammer price of amounts in excess of £800,000 up to and including £4,500,000;
and 14.5% of the hammer price of any amounts in excess of £4,500,000.
A 3rd party bidding platform fee of 4% of the Hammer Price for Buyers using the following bidding platforms will be added to the invoices of successful Buyers for auctions starting on or after 6th July 2024 – Invaluable; Live Auctioneers; The Saleroom; Lot-tissimo.
VAT at the current rate of 20% will be added to the Buyer's Premium and charges excluding Artists Resale Right.
|
|||
8327
|
dbpedia
|
1
| 86 |
https://www.britannica.com/biography/Cornelius-Johnson
|
en
|
Cornelius Johnson | Baroque Artist, Court Painter, Dutch Master
|
[
"https://cdn.britannica.com/mendel/eb-logo/MendelNewThistleLogo.png",
"https://cdn.britannica.com/mendel/eb-logo/MendelNewThistleLogo.png",
"https://cdn.britannica.com/74/129374-131-833AE3CF/Chalk.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/85/151885-131-F94726A4/Close-up-man-palette-color-mixing-paint-painting.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/13/229013-131-CF011E83/Tate-Modern-Switch-House-London-England.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/32/91732-131-E8BF5F79/The-Birth-of-Venus-canvas-Sandro-Botticelli.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/67/215467-131-5A200489/Aerial-view-dome-Cathedral-Santa-Maria-del-Fiore-Florence-Italy.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/35/179035-131-9646BA4D/Oil-paints-consistency-paste-variety-colors-brushes.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/43/193443-131-17ABE1C9/Union-Jack-flag-Great-Britain-united-kingdom.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/34/231634-050-3F7B39B1/London-Big-Ben-from-Trafalgar-Square-traffic-in-UK.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/02/220302-131-3BE40348/National-Museum-Fine-Arts-Stockholm-Sweden.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/96/173996-131-3DDAD81A/Fish-Lionfish-Lion-fish-Turkey-fish-Red-lionfish.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/34/193634-131-F5FF783D/factories-Industrial-Revolution-workers-house-machines.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/35/146135-131-BC5E7D00/Baseball-grass-arts-Homepage-blog-entertainment-sports-2010.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/58/156058-131-22083D0A/Adolf-Hitler.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/90/202690-131-1D29B008/colorful-winter-sunset.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/70/191970-131-A85628DA/Color-wheel-light-color-spectrum.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/13/195913-131-E6C2B632/World-map-Oceans-Continents.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/74/129374-131-833AE3CF/Chalk.jpg"
] |
[] |
[] |
[
"Cornelius Johnson",
"encyclopedia",
"encyclopeadia",
"britannica",
"article"
] | null |
[
"The Editors of Encyclopaedia Britannica"
] |
1998-07-20T00:00:00+00:00
|
Cornelius Johnson was a Baroque painter, considered the most important native English portraitist of the early 17th century. Johnson was the son of Dutch parents living in London. He was patronized by James I and Charles I but seems to have lost his popularity with the court when Van Dyck went to
|
en
|
/favicon.png
|
Encyclopedia Britannica
|
https://www.britannica.com/biography/Cornelius-Johnson
|
Cornelius Johnson (baptized Oct. 14, 1593, London, Eng.—died Aug. 5, 1661, Utrecht, Neth.) was a Baroque painter, considered the most important native English portraitist of the early 17th century.
Johnson was the son of Dutch parents living in London. He was patronized by James I and Charles I but seems to have lost his popularity with the court when Van Dyck went to England in 1632. His English career dates to 1643, after which he went to Holland, painting in Middelburg, Amsterdam, The Hague, and finally Utrecht.
Britannica Quiz
Ultimate Art Quiz
Johnson seldom painted anything except bust portraits, usually oval in format. These pictures are distinguished for their sensitive rendering of the sitter’s likeness and their delicate and deft technique—e.g., Sir Robert Dormer (1642). He generally painted upon wood panels on a small scale, sometimes producing replicas of his larger works.
|
||||
8327
|
dbpedia
|
3
| 5 |
http://www.colonialsense.com/Society-Lifestyle/Census/Person/Paul_van_Somer_II/10943.php
|
en
|
Colonial Sense: Census: Paul van Somer II
|
http://www.colonialsense.com/favicon.ico
|
http://www.colonialsense.com/favicon.ico
|
[
"http://www.colonialsense.com/Colonial/Pix/Logos/08CSHeader.jpg",
"http://www.colonialsense.com/Colonial/Pix/NavBarH.png"
] |
[] |
[] |
[
"Paul van Somer II"
] | null |
[] | null |
Paul van Somer II: Biography, Facts, Information, Timeline, Links, Images, Notes, Quotes, Dictionary Citations, Contemporaries
|
/favicon.ico
| null | |||||
8327
|
dbpedia
|
3
| 27 |
https://jhna.org/articles/a-mirror-for-the-prince-anne-of-denmark-in-hunting-costume-with-her-dogs-1617-by-paul-van-somer/
|
en
|
A Mirror for the Prince? Anne of Denmark in Hunting Costume with Her Dogs (1617) by Paul van Somer
|
[
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig01-1206x1536FI-720x540.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig01-707x900.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig02-scaled-112x84.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig03-scaled-112x84.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig04-scaled-112x84.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig05-112x84.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig06-scaled-112x84.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig07-scaled-112x84.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig08-scaled-112x84.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig09-scaled-112x84.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig10-840x900.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig11-706x900.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig12-900x467.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig13-900x762.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig01-112x84.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig02-112x84.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig03-112x84.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig04-112x84.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig05-112x84.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig06-112x84.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig07-112x84.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig08-112x84.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig09-112x84.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig10-112x84.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig11-112x84.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig12-112x84.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig13-112x84.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig01-112x84.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig02-112x84.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig03-112x84.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig04-112x84.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig05-112x84.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig06-112x84.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig07-112x84.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig08-112x84.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig09-112x84.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig10-112x84.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig11-112x84.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig12-112x84.jpg",
"https://jhna.org/wp-content/uploads/2020/05/Ayres_12.2_Fig13-112x84.jpg",
"https://i.creativecommons.org/l/by-nc/4.0/88x31.png"
] |
[] |
[] |
[
""
] | null |
[
"Sara Ayres"
] |
2020-05-22T17:11:07+00:00
|
This essay re-examines the emblematic portrait Anne of Denmark in Hunting Costume with her Dogs by Paul van Somer (fig. 1). The portrait of the queen
|
en
|
https://jhna.org/wp-content/themes/jhna-theme/images/favicon.ico
|
Journal of Historians of Netherlandish Art
|
https://jhna.org/articles/a-mirror-for-the-prince-anne-of-denmark-in-hunting-costume-with-her-dogs-1617-by-paul-van-somer/
|
This essay re-examines the emblematic portrait Anne of Denmark in Hunting Costume with her Dogs by Paul van Somer (fig. 1). The portrait of the queen consort of James VI and I, King of Great Britain and Ireland, was painted in the sitter’s early forties, when she was the mother of seven children, two of whom had survived into adulthood. Only one of those children remained in England: her son, Charles, then Prince of Wales, the future Charles I of England.
The portrait was paid for, and presumably commissioned, by Anna herself. During her lifetime, the portrait was displayed at Oatlands Palace, one of her residences. The portrait’s display within the context of Oatlands Palace has been the subject of recent articles by Jemma Field and Wendy Hitchmough. Both discuss not only the portrait’s iconography in relation to wider court politics but also its choreography at Oatlands in relation to other works of art in the palace’s evolving collections. A few days after Anna’s death, the work was sent to Prince Charles’s court at St. James Palace. Whether this move honored the wishes of the dying Queen or those of her son remains unknown. This essay considers the significance of the portrait’s posthumous presence at St. James Palace; the nature of its specific, intra-dynastic address to the new Prince of Wales; and his response to its stimulus within a semiprivate familial context of cultural transfer and dynastic succession.
In what follows, I will demonstrate that the portrait exemplifies early modern elite self-fashioning as an act of creative originality, drawing on the same methods and principles as a highly trained artist creating a new work of art. Within the portrait, the stuff of Anna’s venerable genealogy is shaped and molded by the agency of her individuality. Anna’s portrait wittily presents her as an artwork of her own creation whose sitter has used her innate, God-given qualities—infused from on high, as her motto reminds us—to fashion the material inherited from her dynastic forebears. Practices of self-fashioning, based on erudition and creativity, allied to a virtuous genealogy, shadow the construction of this exemplary royal portrait, which, I will argue, quite literally impressed a future King. Anna’s aware complicity in this directed “impression” is signaled by her appropriation of the masculine pose of hand on hip and the commanding position she assumes on the hunting field.
Gender and Genealogy
The body of the consort as staged in her portraits—from betrothal portraits proclaiming her as a potential ornament to her marital court, to the effigies enacting royal funeral rites—always answered political imperatives. The image of the consort, shining with brilliants and garlanded with offspring, personified a pledge of prosperous continuity to the greater political body whose head was the wise ruler. While the primary duty of a royal consort was the reproduction in flesh and blood of the dual royal dynasties to which she belonged, the reiterative force of picturing these children in other media multiplied the visible might and majesty of her marital court. Portraits of consorts and the heirs, spares, and princesses they brought forth served important domestic and diplomatic purposes. As Catriona Murray has shown, royal children, when they arrived and even when they died, were replicated in portraits painted, printed, and cast. Anna’s portrait innovates from within this practice, functioning both as a screen for the external projection of the aura of dynastic majesty emitted by the reign of James VI and I and, more narrowly, as a mirror for her son, the future Charles I.
As such, Anne of Denmark both conforms to and departs from the conventions of the female consort portrait. It departs from these, first, in terms of its subject’s depiction while engaged in the courtly hunt. Anna wears green hunting garb, her physical stature raised by her high hat, embellished with a red feather trim. She is accompanied by a horse and a black groomsman wearing the Oldenburg family colors of red and gold. Her left hand grips the leash of a brace of two black-and-white greyhounds, while three wait unleashed at her feet. Her right hand is turned back and rests upon her hip, her elbow forming a jutting point. Anna is presented in the hunting landscape of Oatlands Palace. Its park wall features a gateway designed by the architect Inigo Jones, completed early in 1617. The specific, recognizable setting, unique among Anna’s portraits, shimmers under a sky dramatically split between darkness and daylight, as if to highlight the analogical relationship between the microcosm and the macrocosm, the earthly and the divine, so central to the period’s habits of thought.
An owl, the bird of Minerva, who, as goddess of wisdom and war, governed princely pedagogy, lurks flatly in the tree at the left. The groom, wearing the colors of the House of Oldenburg, creates a self-contained, satellite presence within the portrait; he looks at the Queen, modeling the serious regard expected of us as viewers. The bridled horse, richly caparisoned in red and gold, delicately raises one hoof and engages the spectator’s gaze. A deer runs alongside the palace wall. The dogs seem ready to set off into the bracken, and they wear collars emblazoned with Anna’s cipher. Anna’s motto, “La Mia Grandezza Dal Eccelso” (my greatness comes from on high) unfurls over the scene.
Anne of Denmark is often described as a splendid costume portrait. Yet this fails to recognize the painting’s singularity. The Queen does more than merely model her hunting garb. Her firm grasp of the dogs’ leash asserts her right to deploy the weapons of the field herself. Her jutting elbow signifies a status that is masculine and martial, and this forms the second departure from the normative conventions of consort imagery. If the female elbow akimbo is a signifier of a woman exceeding the limits of her gender, if she is figuratively elbowing those limits aside, then this is amplified in Anna’s portrait by her participation in the hunt, an activity performative of aristocratic masculinity via its use as training for war.
It should be stated that there is ample evidence that women of the period, including members of the dynastic and political networks surrounding Anna, participated in the hunt. Anna’s brother, Christian IV, King of Denmark, wrote in his diary for September 13, 1607, that the cloak of his wife, Anna of Brandenburg, had been shot through while she was out hunting. In a 1605 missive to the Earl of Salisbury, the Earl of Shrewsbury gleefully reported: “My wife has sent you four pies of red deer . . . being of a stag that had the mishap to be killed by her own hand.” While hunting deer in July 1613, Anna of Denmark mistakenly shot James’s favourite hound, Jewel. As John Chamberlain related: “After he knew who did it, he was soon pacified, and with much kindness wished her not to be troubled with it, for he should love her never the worse; and the next day sent her a diamond worth £2000 as a legacy from his dead dog.” It is certainly the case that Anna kept greyhounds during 1617. In two letters dated March and April of that year, Thomas Watson wrote that two greyhounds he had seized for catching a hare had proven to be the Queen’s. His fears that he might be punished for this were unfounded, for the Queen sent to say if he found any more he should simply return them to her.
It may be that arguments suggesting that women spectated, but did not (usually) participate actively in the hunt are overdetermined by surviving images of the hunt, most of which show male hunters. Yet intriguing portraits of royal female hunters also survive, as a recent exhibition at Schloss Ambras has demonstrated in relation to Maria of Portugal and Maria of Hungary. We might also include the possible portrayal of Elisabeth of Lorraine hunting in the monumental Months of the Year tapestry series (especially April, July, and November), woven by Hans van der Biest to designs by Peter Candid just a few years before Anna’s portrait was painted by van Somer (figs. 2, 3, 4). Further, Elizabeth I is represented as a huntress in woodcuts illustrating The Noble Arte of Venerie of 1575. This shows George Gascoigne, the translator of the work, presenting Queen Elizabeth with a knife to commence the undoing of the quarry, her privilege as the most senior figure attending a par force (“by strength of dogs”) hunt. Following the succession, Elizabeth’s image was replaced with one of James VI and I. No official portrait depicts Elizabeth in the act of hunting, although her iconography draws on that of Diana, the virgin Roman goddess of the hunt, and she is reported to have enjoyed the sport. The Devonshire Hunt tapestries, originating two centuries before Anna’s portrait, would have been known within the architectonic context of their contemporary display at Hardwicke Hall and consequently in relation to the identity of the Countess of Shrewsbury, “Bess of Hardwicke.” Her granddaughter, Arbella Stuart, was cousin to James VI and I and a close friend of Anna’s, performing in her masques. Peter Paul Rubens’s Wolf and Fox Hunt (ca. 1616)—a picture that the English ambassador to the Hague, Sir Dudley Carleton, attempted yet failed to buy in 1616–17—includes a composed female huntress, albeit at the periphery of the battle (fig. 5). Equipped female bodies actively participating in hunting appear frequently in representations of myths, such as in the Histories of Diana tapestry series, designed by Karel van Mander and woven by Francois Spiering in Delft, elements of which survive in English collections (figs. 6 and 7).
Notwithstanding such a rich array of precedents, the hunting theme of van Somer’s portrait has been explained as a means of visually binding the image to existing portraits by Robert Peake the Elder of Anna’s deceased son and only surviving daughter: Henry Frederick (1594–1612), Prince of Wales, with Sir John Harington (1592–1614), in the Hunting Field of 1603 and Princess Elizabeth (1596–1662), aged Seven, also 1603 (figs. 8 and 9). The assumption that Anna’s portrait would have been received primarily in association with her children’s portraits conforms to the traditional historiographical expectations of consort imagery. Such expectations render the hunting landscape setting specific to these precedents and foreground Anna’s successful motherhood. The narrative continuity embedded in their hunting landscape settings (which, in the case of Peake’s pendants, is also an aesthetic-topographical continuity, connecting the portraits of brother and sister) may indeed speak to an intent to link Anna’s portrait with those of her issue, situating her identity within a chain of family resemblances. The continuity of English green complements the genealogical colors ordinarily constituted by the coat of arms, bodied forth in Anna’s portrait by the groom and her horse.
The children’s portraits appear to be set in the hunting park of the Harington family seat of Coombe Abbey, in Warwickshire. Sir John and Prince Henry were friends, and Elizabeth lived under the guardianship of Lord John Harington until her marriage to Frederick V, Elector Palatine, in 1613, shortly after Henry’s death (probably from typhoid), after which she departed to Heidelberg. Henry and Elizabeth perform idealized aspects of gendered participation in the courtly hunt. He is the martial nobleman, a leader among his peers, while her destiny is marital, as indicated by the couple seated in the bower in the background. Henry is shown sword in hand, at a critical moment in the process of the courtly hunt—the commencement of the ritual undoing, or flaying of the quarry; again, the privilege of the hunt’s most senior member. His commanding pose situates him as a worthy heir to the throne, ready to assume the leadership of his armies and the governance of his kingdom.
But Anna’s martial pose in Anne of Denmark cannot be straightforwardly situated within this binary gender patterning; her masculine excess points to the complexity of the portrait’s address. Anna’s pose is anticipated by those of her father and brother within their portraits woven into the series of genealogical tapestries known as the “king tapestries,” elements of which survive in the Danish National Museum, Kronborg Palace, and Stockholm’s Nationalmuseum. These were commissioned by Anna’s father, Frederik II, in late 1581 from the Flemish emigré Hans Knieper, whose workshop had recently been established in Copenhagen. When hung in the Great Hall of the Danish castle of Kronborg, they covered the entire wall surface, measuring 560 square meters. The completed series illustrated a one-thousand-year-old genealogical line, portraying one hundred Danish rulers—one of whom, Margaret I, was female—on forty tapestries, supplemented by three hunting scenes. Completed in 1585, the series concluded with the one hundredth ruler, the reigning King Frederik II, who was portrayed on the last tapestry with his son, the Crown Prince Christian, later Christian IV, brother to Anna of Denmark (fig. 10). Frederik’s great architectural projects—the castles of Kronborg, Frederiksborg, and Rosenborg—are arranged along the horizon, in defiance of their real topography, and court astronomer Tycho Brahe stands conversing in the background. The King wears armor, and his favorite hunting dog, Wilpret, waits by his feet. His reign represents martial success, scientific achievement, and cultural prowess.
Each tapestry includes a small panel containing a moralizing verse that describes the ruler and his or her reign, along with its successes and failures, comprising an encyclopedia of wise, foolish, and at times even tyrannical rulership. The rhyming verses are mnemonic devices, enabling viewers to remember their lessons, suggesting that the tapestries were intended to deliver a sustained impact upon viewers.
A little later, Frederik added a throne baldachin canopy and backcloth to the commission for himself and his queen. Taken as war booty, it now forms part of the collection of the Nationalmuseum of Sweden in Stockholm. Elizabeth Cleland has noted, “This was an inspirational moment of proto-Baroque theatre on the part of Frederick and his advisers: in a room encircled by . . . rulers represented in tapestry, the centrepiece would be the actual ruler himself, living, breathing, and framed against a tapestry surround.” This perceptive analysis highlights the way that this tapestry room functioned on multiple levels as historia, portraiture, and architecture, producing a heterotopic space presenting the reigning monarch as the culmination of the dynasty: genealogy perfected by ingenium (a person’s extraordinary, innate talent, often thought to be gifted to them by heaven). Frederik embodies the triumph of the individual will and intelligence over destiny—or perhaps, in this case, dynasty. His royal portrait is one of the first to present a king as a fully developed individual of his own creation, rather than a mere link in a dynastic sequence. Yet the king remains aware of his historicity within the chain of succession, as indicated by his inclusion of his young son and heir within his individual tapestry.
The king tapestries were famous throughout Europe, and no less so in England during Anna’s tenure as consort. Their expository, instructive tone, coupled with the themes of dynasty and the chain of succession, also inflects her portrait by van Somer. Emulating her father, Anna (as indicated by her motto) deploys her own self-fashioning—defined as the art of (re)creating oneself in the image of one’s best exemplars, using one’s God-given reason—to augment her venerable genealogy. Aesthetically too, her portrait and the tapestry series exhibit commonalities. Like her children, and like the standing figures in the Danish genealogy tapestries, Anna is shown inhabiting an identifiable, exterior topographical space: the hunting park of Oatlands Palace. Anna is standing upright, with the palace visible in the distance, a composition recalling those of the individual tapestries. Anna’s portrait refers to her Danish genealogy while anchoring it in a British context, while the Stuart succession is extended back through the Danish line.
Anna’s portrait also anticipates Anthony van Dyck’s portrait of Charles I of about 1635, now in the Louvre (fig. 11). This astonishing portrait shows the king, like Anna, standing beside his horse, accompanied by his groomsman. Charles rests his fist upon his hip, his elbow jutting toward the viewer, his turned stance mirroring that of his mother. Despite his assertive pose, the overall mood is rather contemplative. Charles presents himself, perhaps contrary to our expectations, somewhat more as a thinker than a martial leader. Walter Liedtke notes that it is surprising that van Somer’s Anne of Denmark and van Dyck’s Charles I have never been considered to be pendants, as their dimensions are almost exactly the same. In what follows, I will argue that these similarities are not accidental. These two works are kin in terms of both blood and art, and they actively articulate their subjects as mother and son, teacher and pupil, the model and its perfection.
Christopher Foley has observed that the development of the “dismounted equestrian portrait,” as materialized successively in the hunting portraits of Henry, Anne, and Charles, narrates the transference of increasingly sophisticated Netherlandish skills to a Stuart visual context, established by the English painter Peake at the commencement of the dynasty’s English reign. This is a seductive but ultimately flawed teleological narrative of aesthetic development, which passes over the purposeful agency of the political image in its early modern context. Anna’s portrait’s address to her son, and Charles’s portrait’s response to it, position them within a dialogic, intergenerational cultural transfer, transacting ideas of inheritance, individuality, historicity, artistic originality, and elite self-fashioning. Her pose highlights her indispensable role in preserving the body politic for the Stuart succession; her elbow anticipates the authority of her son as King. As indicated by the presence of Minerva’s bird, a symbol of wisdom, Anna may seek here to provide her son with a teachable model of masculine majesty to emulate. Charles’s active reception and digestion of this lesson, his use of it as an inspiration for his own self-fashioning as king, is made manifest in his own portrait by van Dyck. The courtly hunt provides the arena, both real and represented, in which these transactions were made. As in art, so in life: the courtly hunt was a practice long developed across Asia and Europe for the preparation of princes for their future roles as kings.
The Courtly Hunt as Princely Pedagogy
Hunting, especially par force hunting, was a privilege restricted to the nobility. The exclusion of other ranks was legitimated by framing hunting as military training. The courtly hunt’s ceremonial battles with the animal world were inherently representational: staged rehearsals for the military campaigns that noblemen were expected to lead as the warrior elite. To this extent, hunts were performances whose actors showed their readiness to defend their subjects. Hunts were also performative in that they constituted and perfected noble masculinity.
The courtly hunt played an important role in the education of princes, a role articulated within the interlocking framework of cynegetic and conduct literatures. The circulation of cynegetic manuals in manuscript, and later in print, which describe in detail the processes by which various animals should be hunted, was essential to the trans-aulic development of the ritualistic hunt across Western Europe. Late sixteenth- and early seventeenth-century translations of key works into English, and modernized editions of older English works, often feature passages comparing the nuances of British practice with that of its medieval forebears, European neighbors, or antique exemplars.
Cynegetic and conduct literatures describe the ideal behavior and attitude of the young nobleman toward his hunting practice and the nature of the courtly hunt’s performative effects on noble masculinity. This tradition begins with Xenophon’s ancient Cyropaedia. This Greek work originated the literary genre of princely pedagogy that became known as the “Mirror of Princes,” of which perhaps Niccolò Machiavelli’s The Prince (1532) and Baldassare Castiglione’s The Book of the Courtier (1528) are the best-known examples. Within the Nordic region, the thirteenth-century Norwegian manuscript of the Konungs Skuggsjá, or King’s Mirror, forms the earliest example of this genre. Within this tradition, Anna’s dynastic portrait acts decisively as an exemplary mirror for her son.
This tradition continued in England with those writing under the reign of James VI and I; his extended address to his son Henry, Basilikon Doron (1599), constituted an exemplary pedagogical text that few seeking patronage could afford to ignore. However, I will focus here on Henry Peacham’s The Compleat Gentleman (1622) and James Cleland’s Hērō-paideia, or Institution of a Noble Young Man (1607), both of which draw on, cite, and respond to James’s text. Peacham’s career as a poet, emblem designer, and author is well documented; the lesser-known Cleland appears to have been a Scot, working as tutor to Sir John Harington, Prince Henry’s companion.
James deals briefly with the courtly hunt in the third book of the Basilikon Doron, within a longer section on physical exercise. He advises his son that hunting with running hounds is the “moste honorable and noblest sorte” of hunting. Cleland and Peacham deal with the sport and its effects more fully. Both writers concur that hunting trains the mind as well as the body. As Cleland here describes it:
there is noe exercise so proper unto you as Hunting, with running hounds, wherby your bodie is disposed to endure patiently, heat, raine, wind, cold, hunger, and thirst; your minde made voide of al idle and naughtie cogitations, as it appeareth by the chast Diana. Hunting formeth the Judgment, and furnisheth a thousand inventions unto the Imagination: it maketh a man couragious and valiant, in his enterprises. . . . How am I able to reckon, the surprises, the strategems used for the obtaining of victorie, according to the beastes you doe hunt, which are all requisite & imploied without difference at the warrs, the hunting of men.
The hunt prepares a man for far-reaching military leadership. Its physical rigors increase his tolerance of discomfort and strengthen his self-control; they demand concentration, judgment; and imagination. Hunting is not solely a trial of physical strength but of a man’s personal qualities. Henry Peacham writes:
Hunting, especially, which Xenophon commendeth to his Cyrus, calling it a gift of the Gods, bestowed first upon Chiron for his vprightnesse in doing Iustice, and by him taught vnto the old Heroes and Princes; by whose vertue and prowesse (as enabled by this exercise) their Countries were defended, their subjects and innocents preserved, Iustice maintained.
Hunting prepares leaders for the public responsibilities of the defense of the realm from external enemies and maintaining the rule of law within it; such training includes a moral dimension. The pleasure afforded by the hunt is such that it requires great fortitude to pursue it with moderation. Cleland writes, “Morouer hunting is so pleasant, that if reason were not obaied, manie could not returne frõ such an exercise more then Mithridates who remained seauen yeares in the forrest.” Cleland warns against the nobleman’s surrender to the pleasures of hunting in the severest terms: “For if you neglect your necessarie affaies, you deserve to be punished with Lycaon, and Acteon, who were both hunted and killed by their owne dogges.”
The specter of excess, of reason abandoned to passion, haunts hunting’s status as the act most performative of exemplary, elite masculinity. Submission to passion undermines the ethical edifice that noble masculine privilege constructed for itself within the hunt’s circumscribed processes. The strength to resist the hunt’s private pleasures form a pillar of its purpose as a training ground to public duty. Temperance and moderation are the ethical imperatives that legitimize the political asymmetry inherent in early modern monarchy; self-control is the hallmark of the just governance of others. Peacham writes: “And albeit it is true as Galen saith, we are commonly beholden for the disposition of our minds, to the Temperature of our bodies, yet much lyeth in our power to keep that fount from empoisoning, by taking heed to ourselves; . . . to correct the malignitie of our Starres with a second birth.” These views were common across the Protestant northwestern periphery of Europe, dovetailing even with the responsibilities of Tycho Brahe as astronomer to Anna’s father, Frederik II of Denmark, which included the casting of natal horoscopes. As John Robert Christianson has shown, Brahe’s understanding of celestial influence did not rule out an orthodox Lutheran view on free will: “Men have something higher in themselves, which overcomes the heavenly and elemental influences,” Brahe writes in the Astrologia of 1591. “And the human being conveyed by his reason and manifold thoughts, and alignments, is not so easily transformed and moved, as the unreasonable beasts. But a few men more or less so than the others.”
Such discourses privilege the cool head, the seat of reason, over the labile body natural, subject to the ebbs and flows of its passions. “Mind over matter” is a distinction of rank within the body analogous to the control of the sovereign over the state. As Jonathan Gil Harris has written: “The members of bodies natural and politic share a pathological predispensation to imbalance, discord and unruliness, the corrective to which is the beneficent, yet decidedly authoritarian, intervention of the soul and/or ruler.” The hunt, therefore, offered a means of profoundly fleshly self-fashioning, constituting, to coin Peacham’s phrase, a “second birth.”
The pedagogical theme extends to Anna’s spirited little hunting dogs (see detail, fig. 12). Claude Anthenais, drawing on the French name for the greyhound—lévrier, or hare-courser—suggests in his analysis of the portrait that the Queen is hunting hares (as appears to have been her custom, as we have already seen). Following this, I suggest that Anna’s dogs are young greyhounds that she is training in the field. Greyhounds began their training by hunting hares, as the hares’ ingenuity (their doublings and crossings) taught young dogs perseverance. Although not specifically identified as Italian greyhounds in these sources, black-and-white hunting dogs appear in both French and English cynegetic literatures. George Gascoigne writes: “Now in our latter experience in this kingdome [England], we find the white Dog, and the white dog spotted with blacke, to bee ever the best hunters, especially at the Hare.” Jacques Espée de Selincourt, in Le Parfait Chasseur, writes: “Of the three main kinds of dogs the English have, the largest and most beautiful are said to be of the royal race, and are white marked with black.” For those viewers familiar with these literatures, the portrayed scene could function as a witty allegory. Just as Anna teaches the young dogs of the English royal race to navigate the hunting field, so too she performs exemplary majesty for the young Charles, then in training to be the future king of the larger field of Great Britain.
Within this scenario, the privileging of reason over strength as the foundation of rulership persists. As the wiliest of all prey animals, the hare was especially a test of a hunter’s and her dogs’ intelligence and strategy. In the sole textual reference to women’s (and indeed scholars’) hunting practice that I am aware of, in the Boke of the Governor (1537), Thomas Elyot writes: “Huntyng of the hare with grehoundes is a right good solace for men that be studiouse, or them to whom nature hath not given personage or courage apt for the warres. And also for gentilwomen which fear neither sonne nor wynde for appairing their beauty.” Hares also possessed other cultural valencies. In his edition of Juliana Berger’s The Book of St. Albans, Gervase Markham writes: “The Hare is the King of al the beasts of Venerie, and in hunting maketh best sport, breedeth the most delight of any other, and is a beast most strange by nature, for he often changeth his kinde, and is both male and female.”
This theory of the hare’s hermaphroditism was thoroughly debunked by Edward Topsell in his 1607 translation of Conrad Gesner’s magisterial zoological tract Historiæ Animalium; nevertheless, the myths of the bestiaries retained their cultural currency well into the seventeenth century. Animals’ special qualities were preserved in vernacular oral culture, and their stories were used to inspire young scholars to read their books, as Cleland recommends. John Robert Christianson has shown that Anna hunted hares with her sister Elizabeth; her father, Frederik II; and her mother, Sophia, as a young woman in Denmark. Hares may have had some special significance at the Danish court; Hans Knieper’s Kronborg workshop produced a series of tapestries portraying them, which are now lost. Within the Danish context, the hare may have been identified with Loki, who as the clever, shape-shifting, gender-fluid trickster of Norse mythology was perhaps the ultimate master of self-fashioning.
Genealogy and Ingenium
Hans Belting has argued that a shift in the concept of the portrait by the humanist artists of the Northern Renaissance during the sixteenth century revisioned the “Self” so that it was no longer understood as something fully contiguous with the body, but separate from it. Within the portrait, the physiognomic view of the body was gradually superseded by a new visual-textual rhetoric of the Self. While this new rhetoric served intellectual humanists and other members of the non-noble classes by articulating their claims to social status—and to representation—it was also co-opted by those with venerable dynastic genealogies, such as Frederick the Wise, as Belting shows. Within the courtly class, genealogy became paired with ingenium. A body’s fleshly, inherited nobility was crowned with the personal distinction conferred by the innate qualities of the individual: their God-given reasoning and creative powers. So James Cleland writes of James VI and I: “I maie affirme there is one like a Quintessence, above the foure elements, which containeth such wits, as appeare not to bee taught or informed by men, but infused by God; they are able in the twinkling of an eie, at the first motion to conceive, invent and retaine al things most accurately. Of such wits I have never seene, read or heard of one comparable to the King’s Majesty.”
Of course, venerable genealogy retained its importance for the self-imaging of elites, since the association between noble blood and superior virtue only served to further legitimize their privilege. As James writes in Basilicon Doron, referencing the theology of traductionism (the theory that original sin is transmitted from parents to children): “For though, anima non venit extraduce [the soul does not come by traduction], but is immediately created by God, and infused from above: yet it is most certaine that virtue or vice will oftentimes with the heritage bee transferred from the parentes to the posteritie and run on a blood (as the Proverbe is). &c.” While a virtuous genealogy retained its importance to royal identity within hereditary monarchy, this inheritance was balanced and enhanced by the ruler’s individual, even divine attributes.
Similarly, for artists of all disciplines, ingenium was conceived as a God-given talent for originality, equipping an individual to create something brand new from the models available to him or her, rather than merely repeating them. The proper assimilation and phenomenological digestion of a rich array of precedents stored in the memory nourished the inborn genius, enabling it to surpass and perfect its models. The intertwining theories of imitation and innutrition taught that the assimilating and digesting of many precedent perfections, like the honeybee visiting many flowers, would assist student practitioners of painting, poetry, rhetoric, or indeed, rulership, to construct their own new and original styles. Peacham couches his advice to young nobles on developing their style by speaking in just these terms, while drawing on a series of examples of artisanal expertise:
For as the young Virgin to make her fairest Garlands, gathereth not altogether one kinde of Flower; and the cunning Painter, to make a delicate beautie, is forced to mixe his Complexion, and compound it of many colours; the Arras-worker, to please the eyes of Princes, to be acquainted with many Hiftories: so are you to gather this Honey of eloquence, A gift of heaven, out of many fields; making it your owne by diligence in collection, care in expreffion, and skill in digeftion.
In the wake of Anna’s death, her portrait offered her son an image to instruct and nurture him. Selecting a diet within the humoral regimes that structured the early modern body was an act of self-fashioning in its most literal sense, affecting the quality and comfort of body and mind. So, too, selecting a diet of images was informed by the potential effects on the physical and mental interiority of the viewer. Consumption of food, drink, and art were all part of a “highly complex network of influences on character and health,” and all required the discipline of temperance. As Denis Ribouillault has noted, a taste for painting was not necessarily an untrammeled virtue. Indiscriminate “binging” on images without carefully selecting and properly digesting them could lead to dubious encounters with the early modern medical profession. This is demonstrated in a print in which patients of Dr. Panurgus are purged of a surfeit of images by variously scatological means (fig. 13). A well-to-do courtier’s head is steamed in an oven to evaporate the frivolous images that have congested in his brain. A rather less well-to-do client is purged of his poorly digested images on a close stool, or commode. The accompanying text states that “millions” have resorted to this grave doctor, suggesting that the fashionable consumption of high art could lead as often to widespread dangerous delusions as to virtuous erudition. This may seem rather prescient in light of Charles’s later career as perhaps the most discerning collector and commissioner of art the British succession has ever produced, and also as leader of the defeated Royalist armies.
Such graphic pastiches are dependent on the reception theory of the period, which argues for the transformative agency of the exemplary portrait. Richard Haydocke’s translation of Gian Paolo Lomazzo’s Trattato dell’arte della Pittura, Scoltura et Architettura (1584) maintained that painting had the power to move the beholder literally, and he conceptualized the body as a medium for the imprinting and storing of images, as Hans Belting has more recently argued. Haydocke writes: “So a picture artificially expressing the true naturall motions, will (surely) procure laughter when it laugheth, pensiuenesse when it is grieued &c.” He goes on to explain that a beholder will feel his appetite moved when he sees delicacies being eaten or will experience fury at a heated battle scene. A beholder before a portrait of exemplary majesty would, theoretically, experience his reception of an image physically and feel the literal impression being made upon him by the scene before his eyes. As Thijs Weststeijn has written, “Taken to the extreme, this means the beholder is supposed to ‘become’ the work, as ultimately he takes on the work’s qualities.” The image fashions the viewer.
Ingenium was thus linked dialogically with genealogy in all kinds of creative practice. As Aileen A. Feng notes in relation to poetry, “the relationship between the source texts and the new one should be modeled on that between a father and his son: a subtle resemblance, but not an exact replica.” A well-stocked visual memory is of central importance to both making and experiencing art, since much of its pleasure is in the recognition of the visual allusions that a work makes to its precedents. As Elizabeth Cropper has shown in relation to the Caracci family of painters:
Artists in the humanist tradition of painting . . . were just as concerned with inventing, disposing and ornamenting themes through allusive cross-references as they were with the representation of natural effects or the invention of new subject matter altogether. . . . Works of art relied as much, if not more, upon familial relationships with other works of art as they did on comparisons with living nature.
Within this allusive culture, Anna’s portrait exceeds its place as a link in an aesthetic genealogical chain. According to this reading, Anna is no longer the passive subject of a portrait whose story narrates a prologue in an artistic succession, from Peake to van Somer to van Dyck, to which she is only somewhat incidental. Anna, by means of her portrait, intervenes and demonstrates her contributive agency within the historical process of the princely succession. As sitter, mother and queen, Anna’s portrait anticipates, even interpellates, the portrait of her son.
Concluding Thoughts
By reading into Anna’s pictorial genealogy, the rich and complex early modern cultures of the hunt, and contemporary theories of art making and reception, we are able to recognize a reciprocal dialogic engagement between van Somer’s Anne of Denmark and van Dyck’s Charles I. Van Dyck’s Charles may now be regarded as a material reception of van Somer’s Anne and as evidence of how Charles’s kingly self-fashioning was constructed in light of her example. This is not to minimize the contribution of either van Somer or van Dyck in taking forward the theme of the dismounted equestrian ruler portrait in new and innovative directions. Both artists’ authorship is clearly legible in the portraits they painted for their royal sitters. It would be unwise to assume that these artists, having trained in the richly creative and innovative tradition of the Low Countries, had no input into the composition of the works of art they painted. The intent of this article, rather, has been to reintegrate the queen and her son, the king, as thinking agents acting within this process and upon its artistic outcomes. Genealogy and ingenium have often been mapped against the royal sitter and the commissioned artist, respectively. This essay argues that both the possession of heritage and the powerful ability to fashion and create are qualities brought to bear by artist and patron in the production of these original portraits.
The queen, whose body has physically regenerated the dynasty and whose portrait provides the next generation with its perfect exemplar, is doubly figured as the ultimate reproductive medium. Her portrait is much more than a mere screen for the projection of monarchical and dynastic aura. The portrait’s witty composition should remind us that both the sitters and viewers of Renaissance court portraits were often more adept and erudite than historians have recognized, and that their splendid portraits contain greater political agency and self-awareness than is sometimes assumed.
|
||||
8327
|
dbpedia
|
1
| 12 |
https://philamuseum.org/collection/object/23326
|
en
|
Resting Cow
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
Paul van Somer II (English (born Netherlands), c. 1649–1714) After Paulus Potter (Dutch (active The Hague, Delft, and Amsterdam), 1625–1654)
|
en
|
data:image/x-icon;base64,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
|
https://philamuseum.org/collection/object/23326
|
We are always open to learning more about our collections and updating the website. Does this record contain inaccurate information or language that you feel we should improve or change? Contact us here.
Please note that this particular artwork might not be on view when you visit. Don’t worry—we have plenty of exhibitions for you to explore.
|
|||||
8327
|
dbpedia
|
2
| 47 |
https://www.mediastorehouse.com.au/fine-art-finder/artists/robert-edge-pine/portrait-john-bridgeman-bishop-chester-24912442.html
|
en
|
Portrait of John Bridgeman, Bishop of Chester (1577
|
[
"https://monitor.fraudblocker.com/fbt.gif?sid=cnYdtc-59XGDbdNoyi6Mq",
"https://www.mediastorehouse.com.au/templates/printstore/3100/images/framed-prints-and-wall-art.png",
"https://www.mediastorehouse.com.au/icons/reviews-io.png",
"https://www.mediastorehouse.com.au/p/690/portrait-john-bridgeman-bishop-chester-24912442.jpg",
"https://www.mediastorehouse.com.au/images/4_Card_color_horizontal.png",
"https://www.mediastorehouse.com.au/templates/printstore/2998/images/logo_60x60.gif",
"https://www.mediastorehouse.com.au/t/164/selection-fish-1935835.jpg",
"https://www.mediastorehouse.com.au/t/690/bearded-seal-erignathus-barbatus-38429798.jpg",
"https://www.mediastorehouse.com.au/t/106/elizabeth-cecil-countess-berkshire-j920198-5145919.jpg",
"https://www.mediastorehouse.com.au/t/106/lords-cricket-ground-24418-024-1705215.jpg",
"https://www.mediastorehouse.com.au/t/690/ceres-bacchus-venus-c-1550-1610-oil-canvas-24912734.jpg",
"https://www.mediastorehouse.com.au/t/690/tannhauser-au-venusberg-chalk-paper-22258134.jpg",
"https://www.mediastorehouse.com.au/t/497/first-thanksgiving-plymouth-massachusetts-6214595.jpg",
"https://www.mediastorehouse.com.au/t/731/excommunicated-spinoza-1907-creator-24029814.jpg",
"https://www.mediastorehouse.com.au/t/467/south-america-chile-atacama-desert-copiaco-11158440.jpg",
"https://www.mediastorehouse.com.au/t/731/daniel-lions-den-1872-1917-artist-14980731.jpg",
"https://www.mediastorehouse.com.au/t/690/battle-ballinahinch-13th-june-1798-c-22656828.jpg",
"https://www.mediastorehouse.com.au/t/690/cleopatra-c-1887-oil-canvas-23010138.jpg",
"https://www.mediastorehouse.com.au/icons/icon_facebook.jpg",
"https://www.mediastorehouse.com.au/icons/icon_pinterest.jpg",
"https://www.mediastorehouse.com.au/icons/reviews-io.png",
"https://www.mediastorehouse.com.au/icons/icon_card.png",
"https://www.mediastorehouse.com.au/images/logo_black.png",
"https://www.mediastorehouse.com.au/icons/icon_facebook.jpg",
"https://www.mediastorehouse.com.au/icons/icon_pinterest.jpg",
"https://www.mediastorehouse.com.au/icons/currency-USD.png",
"https://www.mediastorehouse.com.au/icons/currency-GBP.png",
"https://www.mediastorehouse.com.au/icons/currency-EUR.png",
"https://www.mediastorehouse.com.au/icons/currency-AUD.png"
] |
[] |
[] |
[
"portrait john bridgeman bishop chester"
] | null |
[] | null |
Prints of 7240684 Portrait of John Bridgeman, Bishop of Chester (1577-1652), c.1597-1621 (oil on canvas) by Somer
|
en
|
Media Storehouse Photo Prints
|
https://www.mediastorehouse.com.au/fine-art-finder/artists/robert-edge-pine/portrait-john-bridgeman-bishop-chester-24912442.html
|
favorite
Fine Art Finder Photo Prints and Wall Art
Portrait of John Bridgeman, Bishop of Chester (1577-1652), c. 1597-1621 (oil on canvas)
7240684 Portrait of John Bridgeman, Bishop of Chester (1577-1652), c.1597-1621 (oil on canvas) by Somer, Paul van (c.1576-1621) (attr.to); 75x61 cm; The Weston Park Foundation, Shropshire, UK; (add.info.: Half length portarit, the sitter wearing ecclesciastical dress, facing right wearing a ruff, inscribed with the sitters name and charged with his coat of arms
Attributed to Paul van Somer, (1577-1621).); Trustees of the Weston Park Foundation
Media ID 24912442
© Trustees of the Weston Park Foundation / Bridgeman Images
Bearde Bishop Bishops Blazon Cheshire Chester Child Birth Childbirth City Coat Of Arms Coast Of Arms Coat Of Arm Curled Hair Ecclesiastic Goatee Beard Miscellaneous Emblems Official Seal Oil On Cnvas Oil Painting On Wood Oil Paintings Oil Paints Sombreros Town Coat Of Arms Bearded C European Economic Community C European Union Christinaity Ecclesiastical Gents Heraldry Imam Portait Portriat Religious Role Summer Clothes
FEATURES IN THESE COLLECTIONS
> Animals > Birds > Charadriiformes > Sandpipers > Ruff
> Animals > Mammals > Phocidae > Bearded Seal
> Arts > Artists > S > Paul van Somer
> Arts > Artists > W > John Wood
> Arts > Still life artwork > Still life art > Colorful artworks
> Arts > Still life artwork > Still life art > Portrait painting
> Arts > Still life artwork > Oil paintings > Animal portraits
> Arts > Still life artwork > Oil paintings > Portrait paintings
> Arts > Still life artwork > Oil paintings > Wildlife paintings
> Arts > Still life artwork > Oil paintings
> Fine Art Finder > Artists > Paul van (attr.to) Somer
> Fine Art Finder > Artists > Robert Edge Pine
EDITORS COMMENTS
This portrait print showcases John Bridgeman, the esteemed Bishop of Chester from 1577 to 1652. Created between 1597 and 1621 by the talented artist Paul van Somer or someone attributed to him, this oil on canvas masterpiece measures at an impressive size of 75x61 cm. The portrait captures Bishop Bridgeman in a half-length pose, adorned in his ecclesiastical attire and facing towards the right with a dignified expression. His ruff collar adds a touch of elegance to his appearance while emphasizing his status within the religious order. The painting is inscribed with the bishop's name and prominently displays his coat of arms. This artwork beautifully represents both the artistic style prevalent during the late 16th and early 17th centuries as well as Bishop Bridgeman's significant role within Christianity. It offers a glimpse into Great Britain's rich history, particularly Cheshire's connection to this influential figure. The attention to detail is remarkable; every stroke brings out intricate features such as Bishop Bridgeman's curled hair and distinguished beard. The use of color enhances the overall composition, creating depth and realism. Displayed by The Weston Park Foundation in Shropshire, UK, this portrait print serves as a testament to both artistry and spirituality intertwined seamlessly through time. Its presence evokes admiration for those who appreciate historical significance captured through brushstrokes on canvas.
Rate this comment thumb_up thumb_down
Framed Prints
Add a touch of history to your home or office with our exquisite Framed Prints from Media Storehouse. This stunning Portrait of John Bridgeman, Bishop of Chester (1577-1652), captures the essence of the subject's character and elegance. Painted by the renowned artist Paul van Somer around the turn of the 17th century, this oil on canvas masterpiece is a true testament to the artistic talent of the time. Bring the rich history of this intriguing figure into your space, and enjoy the timeless beauty of this work of art every day.
Photo Prints
Bring timeless elegance to your home or office with our exquisite Portrait of John Bridgeman, Bishop of Chester print from Bridgeman Images. This stunning oil on canvas masterpiece, created by the renowned artist Paul van Somer around 1597-1621, showcases the intricate details and rich colors of the original artwork. The portrait captures the dignified and noble presence of Bishop Bridgeman (1577-1652), making it an excellent addition to any art collection. Experience the beauty and history of this Fine Art Finder masterpiece in your personal space with our high-quality photographic print.
Poster Prints
Bring history to life with our exquisite Media Storehouse Poster Prints featuring the Portrait of John Bridgeman, Bishop of Chester (1577-1652), an oil on canvas masterpiece by Paul van Somer. This stunning artwork, believed to have been created between 1597 and 1621, showcases the intricate details and rich colors of the original piece. Add this elegant and captivating portrait to your home or office space as a conversation starter and a testament to the beauty of fine art.
Jigsaw Puzzles
Discover the intrigue of history with our exquisite jigsaw puzzle from Media Storehouse. This challenging puzzle features the Portrait of John Bridgeman, Bishop of Chester (1577-1652), an oil on canvas masterpiece by Paul van Somer. Bring the captivating details of this 16th century portrait to life as you piece together the rich history and intricate brushstrokes. A perfect activity for history enthusiasts and puzzle lovers alike.
MADE IN AUSTRALIA
Safe Shipping with 30 Day Money Back Guarantee
FREE PERSONALISATION*
We are proud to offer a range of customisation features including Personalised Captions, Color Filters and Picture Zoom Tools
SECURE PAYMENTS
We happily accept a wide range of payment options so you can pay for the things you need in the way that is most convenient for you
* Options may vary by product and licensing agreement. Zoomed Pictures can be adjusted in the Basket.
Collections
|
Subsets and Splits
No community queries yet
The top public SQL queries from the community will appear here once available.