Art historian with an interest in visual messages
Henry VIII’s court, particularly through the lens of Anne Boleyn and the Devonshire Manuscript, reflects a fascinating interplay of power, poetry, and sedition. Compiled by Boleyn's courtiers in the 1520s, the manuscript’s ambiguous verses provide insights into the dynamics of court life, ambition, and the eventual downfalls of key figures associated with Anne.
The author recounts their discovery of Levina Teerlinc, a significant 16th-century woman artist, while researching for their MA. They analyze a portrait by Nicholas Hilliard, suggesting it depicts Teerlinc as the Unknown Lady. Teerlinc's status as Elizabeth I's official painter raises her profile in the male-dominated art world of the period.
Jacob Burkhardt revolutionized art and cultural history in the 19th century, emphasizing the importance of art in understanding societal contexts. Misattributions and unknown subjects in historical portraits persist, complicating scholarship. Modern technology aids in analysis, yet many identities remain elusive, highlighting the depth of art history beyond mere aesthetics.
For those not familiar with the genre of the portrait miniature, let us first consider why and when these portraits became popular in England, and the various artists creating these images for the Tudor court. The half millennium saw a marked change from the religious themes of the medieval period to secular subjects inspired by… Continue reading The origins of the Tudor portrait miniature
Nicholas Hilliard was England’s first English artist to become internationally famous. His self portrait (© Victoria & Albert Museum, London) is a mere 41mm in diameter (1.6 inches) and it is for these exquisitely delicate and miniature images of Elizabeth I and her court that he becomes famous. I fell in love with Hilliard’s miniatures… Continue reading Nicholas Hilliard (1547-1619) & Isaac Oliver (1565-1617): Painters to the Elizabethan and Jacobean courts
Melanie V Taylor 