Known for Painting Incredibly Detailed Portraits of the English Royal Family
8 British Purple Portraits Across 500 Years
Peak Lists, Exhibition Announcements
The upcoming exhibition at The Museum of Fine Arts in Houston brings together seminal British royal portraits which chart 500 years of the British Monarchy. Titled Tudors to Windsors: British Regal Portraits from Holbein to Warhol, the exhibition shows how the very concept of purple family portraiture has been irresolute through history along with ideas of monarchy and nationhood in Britain.
Drawing from the unparalleled collection of the National Portrait Gallery in London, the exhibition brings together around 150 masterworks of painting, sculpture and photography, many never before seen outside of United kingdom, created by a various range of historical, modernistic and gimmicky artists such as Hans Holbein, Sir Peter Lely, Sir Joshua Reynolds, Cecil Beaton, Andy Warhol, and Annie Leibovitz.
500 Years of British Purple Portraits From the National Portrait Gallery in London
For the outset time in history, the National Portrait Gallery has immune such a large number of its greatest treasures to travel, providing "visitors an unequalled experience of Britain's royal historical narrative and the opportunity to view these legendary personalities face-to-face."
The exhibition explores 4 regal dynasties - The Tudors, the Stuarts, the Hanoverians and the present-day House of Windsor. These remarkable portraits, aimed at projecting permanence, stability, serene power, and in modern times, domestic tranquility, reflect the irresolute attitudes toward monarchy. At the same fourth dimension, these depictions explore a irresolute nation throughout its history.
The exhibitionTudors to Windsors: British Purple Portraits from Holbein to Warhol will exist on view at the Museum of Fine Arts, Houston (MFAH) from October 7th, 2018 until Jan 27th, 2019.
Let'southward take a look at some of the all-time pieces in this comprehensive show!
Featured image: Cecil Beaton - Queen Elizabeth II (detail).
Hans Holbein the Younger - Portrait of Henry Viii, 1540
Regarded every bit one of the most famous portraits of any British monarch, the portrait of Henry VIII painted byHans Holbein the Younger was destroyed in the fire in 1698. Withal, information technology is still known through many copies that be.
Originally created in 1536-1537, the portrait was a part of a mural showing the Tudor dynasty at the privy chamber of the Palace of Whitehall which was seized afterwards the downfall of Cardinal Wolsey. Henry 8 is depicted without any of the standard royal accouterments, however, his majestic presence is conveyed through his dominant posture, with a large codpiece and heavily padded shoulders further enhancing the ambitious masculinity of the epitome. Intricately painted, the details of his habiliment are notable, with the use of aureate leaf to highlight the opulence.
Featured image: Hans Holbein the Younger - Portrait of Henry VIII, 1540. Oil on wood. Palazzo Barberini, Rome
Marcus Gheeraerts the Younger - Queen Elizabeth I (The Ditchley Portrait), c. 1592
Created past Marcus Gheeraerts the Younger around 1592, this portrait of Queen Elizabeth I was produced for Sir Henry Lee who had been the Queen's Champion from 1559-90. It is assumed that the portrait pays tribute to the symbolic amusement which Lee organized for the Queen in 1592, which marked her forgiveness for him living with his mistress Anne Vavasour after his retirement in 1590, which was Queen's Maid of Honour.
Elizabeth is depicted standing on the globe of the globe, set against a stormy heaven which reveals rays of sunshine. Along with the inscriptions on the painting, reading "She gives and does non await"; "She can but does not take revenge"; and "In giving back she increases" in Latin, the symbolic theme of forgiveness in the work is apparent.
Featured image: Marcus Gheeraerts the Younger - Queen Elizabeth I ("The Ditchley Portrait"), c. 1592. Oil on sheet. National Portrait Gallery, London. © National Portrait Gallery, London
Robert Peake the Elder - Henry, Prince of Wales, c. 1610
Painted by Robert Peake the Elder, the paintingHenry, Prince of Wales depicts the eldest son of James I and Anne of Denmark. It is believed it was painted merely afterward he was fabricated the Prince of Wales in 1610. The portrait depicts the young prince wearing a white doublet and trunks embroidered with cherry, while belongings a glove in his right hand. The white hat occupying the table side by side to him is inscribed with "H" and "P", which stand for Henricus Princeps (Prince Henry).
Robert Peake the Elder was Prince Henry's personal painter, creating three seminal full-length portraits between 1604 and 1610, which serve as the basis of all contemporary portraits.
Featured image: Robert Peake the Elder - Henry, Prince of Wales, c. 1610. Oil on canvas, National Portrait Gallery, London. © National Portrait Gallery, London
After Allan Ramsay - King George Iii, 1761–62
Painted by Allan Ramsey betwixt 1761-62, the portrait of King George 3 shows the King in his Coronation robes. This commission straight resulted from the success of an earlier portrait the artist painted of the sitter as Prince of Wales in 1758, equally well as of a portrait of Lord Bute. The King is depicted in an elegant pose reflecting the dignity and restraint, resulting in a successful combination of graceful and majestic.
Ramsey was appointed every bit "one of His Majesty's Principal Painters in Ordinary", painting many versions of these official Country Portraits for members of the royal family, sovereigns, heads of state, colonial governors, ambassadors, corporations, institutions and courtiers.
Featured epitome: Later Allan Ramsay - King George Iii, 1761–62. Oil on canvas. National Portrait Gallery, London
Sir Thomas Lawrence - Rex George 4, 1814
The painting of King George IV by Sir Thomas Lawrence is based on a sketch in black, white and reddish chalk which is now in Windsor Castle. It is believed that Lawrence had several sittings from the Prince Regent in 1814.
In the Catalogue of Paintings, Drawings and Pasters of Sir Thomas Lawrence inWalpole Society Periodical suggests that this oil sketch may exist the caput from which all the country pictures were painted. In Lawrence's written testimony from 1828, it is said that the portrait was created for the medal, which was never actually executed.
Featured images: Sir Thomas Lawrence - King George 4, 1814. Oil on sheet. National Portrait Gallery, London. © National Portrait Gallery, London
Cecil Beaton - Queen Elizabeth Ii, 2 June 1953
This photograph by the acclaimed English fashion, portrait and war photographer, Sir Cecil Beaton, was created during thePrincess Elizabeth's coronation day in 1953, who succeeded every bit Sovereign on the death of King George Half dozen in 1952. The Princess and soon to exist Queen is photographed in the Westminister Abbey, depicted wearing the Imperial State Crown, a replica of that made for Queen Victoria's Coronation, and holding the scepter and orb. The paradigm combines the splendor of historic royal portrait painting with an intimacy of the medium of photography.
Over the course of about three decades, Beaton created many portraits of the Queen and the British royal family which were key to shaping the monarchy's public image in the mid-20th century.
Featured epitome: Cecil Beaton - Queen Elizabeth Two, ii June 1953. Semi-matte cibachrome impress. National Portrait Gallery, London. © Cecil Beaton / Victoria and Albert Museum, London
Andy Warhol - Reigning Queens, Queen Elizabeth II of the Great britain, 1985
A function of Andy Warhol'sReigning Queens 1985 portfolio, comprised of monumental images of each of the 4 ruling female person monarch who were ruling at the time, this portrait of Queen Elizabeth Ii is based on the official photo taken past Peter Grugeon at Windsor Castle on Apr 2nd 1975 and released for the Silver Jubilee in 1977. Each portrait is created in the form of a painting and prints, which employedthe photographic silkscreen technique which was central to his do.
The series combines many themes which were central to Warhol'due south practice, such as glory, portraiture, consumerism, ornament and the extremes of social hierarchy.
Featured image: Andy Warhol - Reigning Queens: Queen Elizabeth II of the Britain, 1985. Acrylic and silkscreen on canvas. Private drove. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), NY
Terence Donovan - Diana, Princess of Wales, 1990
In the mid to late 1980s and in early 1990, Terence Donovan photographed Diana, Princess of Wales, the former married woman of Prince Charles and mother of William and Harry, on a number of occasions. Commissioned by the Princess and the regal family, his official portraits of her were taken towards the end of her tenure as HRH, before her official separation from the Prince of Wales in 1992.
Combining the grandeur of traditional majestic portraits and a directness of gaze and sense of individuality, Princess Diana's portrait by Terence Donovan bridged the distancing formality of works by Cecil Beaton and Norman Parkinson and the new, more breezy manner of imperial photography. In the series, Princess Diana wore some of her most well-known ensembles by favorite designers including Catherine Walker and Victor Edelstein.
Featured image: Terence Donovan - Diana, Princess of Wales, 1990. Bromide print. National Portrait Gallery, London, given by the photographer'south widow, Diana Donovan, 1998, NPG P716 (xi). Photograph Terence Donovan © Terence Donovan Annal
Source: https://www.widewalls.ch/magazine/british-royal-portraits-mfah
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