Portrait of Queen Elizabeth I (1533-1603), painting of the British School, c. 1595. Fig. This image could have imperfections as it’s either historical or reportage. An early portrait of the queen2. Your Lightboxes will appear here when you have created some. 29: Detail of the armillary sphere depicted on Sir Henry Lee’s sleeve in NPG 2095. 8: Digitally recoloured image showing how the fabric may originally have appeared. 3 and 4: Digital reconstruction to show how the inscription would originally have stood out against the background. For example, the embroidery on the queen’s dress would have appeared far richer and the edges of the golden brown pattern may have originally been a reddish purple. Research undertaken as part of the Making Art in Tudor Britain project has uncovered new information about the original appearance of some of these surviving paintings and identified changes in appearance that have occurred as a result of environmental effects or interventions by later owners. Sorry your purchase has been declined because your account is on hold. Sitemap. Multiple versions of this portrait were probably painted at this early date in the queen’s reign, and other surviving versions include the ‘Clopton’ portrait … You cannot download or purchase for any new licenses. In the painting, Elizabeth is dressed in a lavish gown with puffed sleeves, bows, and an enormous ruff surrounding her neck. All contributions are moderated. 5: Infrared reflectogram mosaic showing the underdrawing in the face, which is particularly evident in the nose. The eyes dart from side to side, creating the impression of fear and uncertainty, and contrasting with Elizabeth’s impassive expression and steadfast gaze in the Armada Portrait. The crown and the sceptre on the table behind are later additions by another, less competent, artist and may have been included at the request of the patron. Recent research has shown the colours have faded. The oranges and browns would have been crimson red in Elizabeth's time. Copyright complaints  ~   The 'Darnley Portrait' of Elizabeth I of England. Sir Roy Strong argued that the picture may have been originally in the collection of the Viscounts Montague at Cowdray House. Fig. Sometimes we have not recorded the date of a portrait. Select from the license options below to get a price. By George Vicat Cole (1833-1893). Collishaw’s installation invites the viewer to look again at this iconic queen and to explore the “other face” of Elizabeth – a vulnerable woman in a dangerous, patriarchal world, in which her safety was guaranteed only as long as she continued to sustain a visual discourse of royal power. The ‘Armada portrait’6. The serpent emblem was part of the original design and would have appeared mainly black with green and yellow scales. However, in the Christian tradition, serpents or snakes have been used to signify Satan and original sin. On becoming queen, Elizabeth I surrounded herself with able advisors, and together they brought about the re-establishment of the Church of England. Courtesy the artist and BlainSouthern. While the artist is unrecorded, the sophisticated and swiftly rendered paint suggests a talented Continental painter, possibly from the Netherlands. The paint in this portrait has become more transparent over time, which has revealed that Elizabeth was originally painted holding a serpent, the outline of which has now become visible. It is known as the 'Darnley portrait' after a previous owner. Elizabeth I, the last Tudor monarch, succeeded to the throne in 1558, her long reign characterised by relative peace and prosperity. Alamy and its logo are trademarks of Alamy Ltd. and are registered in certain countries. The Gallery holds the most extensive collection of portraits in the world. The wood used for the panel was felled in the early seventeenth century and the picture may have been repainted because of damage to the original portrait. Fig. It shows her looking cold, haughty and imperious, wearing a rather masculine doublet with a lace ruff collar, a double string of pearls looped around her neck, and carrying an ostrich-feather fan. Copyright © 10/10/2020 Alamy Ltd. All rights reserved. Search over 215,000 works, 150,000 of which are illustrated from the 16th Century to the present day. In Collishaw’s animatronic we see Elizabeth’s wrinkles, scars, and even a little facial hair. It shows Elizabeth looking cold, haughty and imperious, wearing a rather masculine doublet with a lace ruff collar, a double string of pearls looped around her neck and carrying an ostrich-feather fan. This costume was particularly fashionable in the 1590s but would have been considered rather odd over a hundred years later and was painted out. 13: Detail showing how the serpent is now visible through the upper paint layers, Fig. Her auburn hair is studded with pearls. Fig. The masculinity of the queen’s Polish-style doublet in this portrait helps to create an image of a woman equal to her male counterparts in other European countries. Queen Elizabeth Iby Unknown artist1580s-1590sNPG 200. Figs. Elizabeth is shown wearing the Lesser George, the medal signifying membership of the Order of the Garter, on a ribbon around her neck. 19: Photomicrograph showing red underpaint marking the position of the fan. The mouth opens and closes, but there is no voice, emphasizing Elizabeth’s lack of individual agency in her role. In her later years, Elizabeth wore a thick layer of makeup to cover her facial scars, the result of a brush with smallpox in 1562. ? This conjectural dating for the panel supports the interpretation from the composition that the work was painted to memorialise the Armada, perhaps shortly after 1588. The resulting pattern was used for the remainder of the Queen’s reign, suggesting that she approved of the likeness. Darnley stage 3. It is known as the 'Darnley portrait' after a previous owner. . It has previously been bought for a multiple re-use license which is still valid. This alternative mask shows Elizabeth without her wig, her eyes dark and slightly sunken, and her face without makeup. According to the Telegraph, Collishaw wanted to challenge this “mask” of power and authority. However, x-radiography revealed that Elizabeth was originally depicted wearing a veil with large decorative ‘wings’ wired behind her back.

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