Concetti Chiave
- English painting remained isolated from the artistic and cultural revolution during the Renaissance, unlike English poetry and drama.
- Portraits of Elizabeth I by Gower exemplify Elizabethan artists' tendency towards archaism and stylisation.
- The portraits aimed to portray Elizabeth I as a formidable, untouchable icon of power and majesty.
- Elizabeth I was sensitive about her image, instituting a law requiring official approval of her portraits.
- Most surviving portraits of Elizabeth I are based on officially approved images.
Isolation of English Painting
The portraits of Elizabeth I by Gower show how English painting,unlike English poetry and dramma,remained more or less isolated from the artistic and cultural revolution which was spreading over Europe during the time of the renaissance. They stand as an exstreme example of how Elizabethan artist tended towards archaism and stylisation.
The aim of these portraits was to exalt her as a formidable,untouchable icon of power and majesty. Elizabeth was apparently very sensitive about her immage and passed a law forbidding representation of her until an official portrait had been approved.This would then become a pattern for subsequence artist to follow. Most of the surviving portrait of the queen can be traced back to one of these approved portraits
Domande da interrogazione
- How did English painting during the Elizabethan era differ from other European art movements of the Renaissance?
- What was the primary purpose of Elizabeth I's portraits during her reign?
- How did Elizabeth I control her representation in art?
English painting, unlike English poetry and drama, remained isolated from the artistic and cultural revolution of the Renaissance in Europe. It tended towards archaism and stylization, as exemplified by the portraits of Elizabeth I by Gower.
The portraits aimed to exalt Elizabeth I as a formidable, untouchable icon of power and majesty, reflecting her sensitivity about her image.
Elizabeth I passed a law forbidding any representation of her until an official portrait had been approved, which then served as a pattern for subsequent artists to follow. Most surviving portraits of the queen trace back to these approved versions.
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