7.28.2010

Bronzino, Portrait of Cosimo de'Medici in Armor (1543)


Bronzino, Portrait of Cosimo de’Medici in Armor (1543). Tempera on panel, 71 x 57 cm. Galleria degli Uffizi, Florence.

Some recurring themes seem to be emerging this week in paintings of art patrons through the ages that were not originally meant but reflect on my tastes all the same. You may have noticed that two of these works reside in the Uffizi Gallery in Florence. My interest in works from Florence should be obvious, I spent a lot of time drooling in front of them during my time there (I went to the Uffizi on average twice a week for the better part of nine months). I have long been interested in both Northern art and early modern Italian art and these two works come out of artistic moments that hold great appeal to me. Though my introduction to my own areas of study may allude to a specialty in Venetian art, the majority of my study has been into the lives, art and patronage of the Italian Mannerists, of which Bronzino is one of the most important. The artistic lineage of the Mannerists, from Andrea del Sarto to Pontormo to Bronzino to Alessandro Allori and obviously including the early influence of Guilio Romano, and Michelangelo and the involvement of Rosso Fiorentino and Parmigianino, is an epoch that has always fascinated me and is what led me to study in Florence in the first place. Phew, now that I have explained away any strange coincidences of repetition (because I can’t stay away from the Mannerists and the Portinari Altarpiece is just too perfect to pass up), back to the artwork.

Cosimo de’Medici was first Grand Duke of Tuscany. He came to power at the very tender age of 17 when the Duke Alessandro de’Medici was assassinated on January 6, 1537. Alessandro was the last member of the most senior branch of the family and had inherited the ducal title hereditarily. When he died with no legitimate heirs the most powerful men in Florence called Cosimo to Florence from the “provinces” to take over the duchy. Though this was initially a ploy to gain a weak leader, Cosimo would turn out to be one the most powerful, both locally and internationally Florentine rulers since Lorenzo the Magnificent (he who patronized Leonardo da Vinci, and Michelangelo years earlier). Cosimo married the well-connected and very wealthy Eleonora di Toledo (she bought the large Pitti Palace, across the Arno from the Palazzo Vecchio, for a residential home for her new family soon after the wedding) in 1539. She is easily recognizably to anyone who has visited the Uffizi from her fantastic portrait with her oldest son (shown below). I will also, hopefully soon, cover the fantastic chapel she commissioned by Bronzino in the Palazzo Vecchio.

Continuing a long Medici tradition of art patronage, Cosimo most often used Agnolo Bronzino for his own portraiture and that of his family. Also often commissioned to paint works meant as gifts for the royal heads of Europe, Bronzino enjoyed unparallel success and patronage at Cosimo’s Florentine court. Other artistic luminaries of the court include the sculptor Bartolomeo Ammanati and his wife, MY FAVORITE, Laura Battiferri (I’m sure you remember her portrait from early on). Bronzino is one of the most commercially successful Mannerists, and this work is a brilliant example of the court patronage of Cosimo and Eleonora. Here, Bronzino demonstrates the early development in his career of the standard type for Cosimo’s portraiture. This type of standardized portrait, in which Cosimo is shown young, strong, controlled, formal and distant, would remain a constant in official portraiture for roughly fifteen years. The same type of posture and formality is seen in the portraits of Eleonora and all their children. These portraits were to show the public face of the first family of Florence. The paintings meant for private are of a very different nature, such as Bronzino’s Cosimo I as Orpheus from 1539 (also shown below), which Cosimo gave to Eleonora as a wedding present (I can only imagine her reaction…).

The public face of a patron can often be far from a realistic depiction of personality, but is always the idealized version that the patron needs projected to others. For Augustus and Cosimo, the powerful leader is shown taciturn and serious while for Portinari piety is the order of the day. The following days of modern and contemporary portraiture of patrons will, undoubtedly, have different motivations.


Bronzino, Portrait of Eleonora of Toledo with her Son Giovanni (1545). Oil on panel, 115 x 96 cm. Galleria degli Uffizi, Florence.



Bronzino, Portrait of Cosimo I as Orpheus (c. 1539). Oil on wood, 93 x 67 cm. Philadelphia Museum of Art.


Sources Used:

Brock, Maurice. Bronzino. Paris: Flammarion, 2002.

For Cosimo in armor: http://upload.wikimedia.org/wikipedia/commons/f/f9/Angelo_Bronzino_036.jpg

For Eleonora: http://www.wga.hu/art/b/bronzino/1/eleonora.jpg

For Cosimo (nude): http://www.philamuseum.org/collections/permanent/52029.html

7.27.2010

Hugo van der Goes, Portinari Altarpiece (1475-76)



Hugo van der Goes, Portinari Altarpiece (1475-76). Oil on panel, 253 cm × 588 cm. Galleria degli Uffizi, Florence.

Moving forward in time, we go next to patrons in the fifteenth century. Though I meant to write on one work from the Northern Renaissance and one from the Italian, I realized that I could not let this work pass just because it crosses boundaries into both of these territories. So this is going to stand in for a more wholly Northern work though the patrons were Italian. The artist, Hugo van der Goes was from Ghent, and the work was commissioned in Bruges and painted there so that's good enough for me!

The altarpiece's central scene is an Adoration of the Holy Family and Shepherds (Luke 2:10-19). Here Mary is shown deep in prayer as she accepts what her child must do during his life to become the salvation of all human souls. Mary's somber countenance is offset by the awestruck wonder of the poor and lowly shepherds. Though many Adoration scenes are that of the Magi, or the Three Kings as they are commonly known, this is a painting that depicts an more humble moment in the infancy of Christ. Crowned heads of state are not here offering gifts to the son of God, here peasants humble themselves before a child who they believe, before anyone, is holy. While many patrons of similar works in terms of size or subject matter might have preferred a more lavish work with themselves shown as one of the Magi or an attendant on a king, depending on one's social standing in real life, here the Portinari are shown as pious supplicants to Christ and Mary, while the altarpiece's size and beauty are left to highlight the wealth and power of the patron and his family.

Tommaso Portinari was a wealthy Italian banker who was the representative of the Medici family of Florence to Bruges. He lived there for over 25 years and during his time in the Netherlands was very successful for both his employer and himself. This work was commissioned to showcase his achievement in Florence and was created for his family chapel at the hospital of Santa Maria Novella in Florence. Tommasso is shown kneeling on the left wing of the altarpiece with his patron saint, Thomas (with spear), and his two sons, Antonio and Pigello, with Antonio's patron saint, Anthony also present. On the right shutter Portinari's wife, Mario Baroncelli and their daughter Margherita are shown with their patron saints, Mary Magdalen (on the far right with her jar of ointment) and Margaret (with holy book and cross). They had another son named Guido who is not shown but was born in 1476.

The artist, Hugo van der Goes, here amalgamates the painting styles of the best of his time. He is able to show the symbolic details and intricate technique of Jan van Eyck while retaining the emotional responsiveness of his subjects to the drama unfolding before them. Here, however, he surpasses van der Weyden in his ability to show the difference in responses in each group of onlookers. The Virgin Mary and St. Joseph (in the shadows on the left of the central panel) watch in a controlled and somber contemplation, while the peasants react to the moment with bigger gestures and emotive facial expressions.

Symbolic details abound in the work and are very evident in the small still-life composition at the bottom center of the central panel. The flowers, irises and scarlet lilies, shown in the intricate vase to the left are symbols, iconographically, of Christ's passon, royal lineage and purity. The flowers, columbines and carnations, in the glass container are common symbols of the Virgin Mary's grief and sorrow at his Passion. The sheaf of wheat and the grapes incised onto the earthen vase allude to the body and blood (wine) that makes up the Eucharist. This small tableau of iconographic objects is a particularly important aspect of the work and is given pride of place in the forefront of the scene.

Other aspects of that make this painting such a masterpiece come in the slanted lighting that illuminates the naked Christ child while throwing into darkness the small barn, and the beasts within, where he was born. The symmetrical composition of the work that revolves around the Virgin and Child is a masterful creation that gives each component of the work a place in the scene unfolding. The Virgin is shown as the bridge between the humble and divine but the angels that kneel in adoration are another way to bridge a gap between the patrons and the Holy Family.

The Portinari Altarpiece arrived in Florence in 1483 and was widely admired by court persons and artists alike. There are many instances of artists of the time attempting to emulate the wonder and awestruck expressions shown on the realistic depictions of the humble peasants. Though the altarpiece was well-received, it was one of Hugo van der Goes last major works. He retreated to the sanctuary of the monastery of the Roode Klooster between the years of 1476 and 1478.

Tommaso Portinari remained an avid patron of the arts and there are two famous portraits of himself and his wife by Hans Memling from around the same period (shown below).



Hans Memling, Tommaso di Folco Portinari & Maria Portinari, probably 1470. Oil on wood, Tommaso overall 17 3/8 x 13 1/4 in. Maria overall 17 3/8 x 13 3/8 in.

Sources Used:

Snyder, James. Northern Renaissance Art: Painting, Sculpture, the Graphic Arts from 1350 to 1575. Upper Saddle River: Pearson Education, Inc., 2005.

Image source for Portinari Altarpiece: http://upload.wikimedia.org/wikipedia/commons/6/69/Hugo_van_der_Goes_004.jpg

Image Source for Hans Memling, Tommaso di Folco Portinari (1428-1501); Maria Portinari (Maria Maddalena Baroncelli, 1456-?) (14.40.626-27) Heilbrunn Timeline of Art History at the Metropolitan Museum of Art

7.26.2010

Augustus of Prima Porta, early first century AD




Augustus of Prima Porta, early first century AD. Painted Carrara marble, 6' 8''. Musei Vaticani, Rome.

This week I will be working with portraits of patrons. Usually commissioned from a favorite artist, patron portraiture is always commissioned with a mind to have a very specific message and meaning depicted. I decided to start with one of the early, and most prolific, patrons of portraiture, the Roman Emperor Augustus.

The Prima Porta Augustus, from early in the first century AD, is a beautiful example of how portraiture can be propaganda for the patron. It can showcase wealth, education, power, social standing or more subtle nuances like refinement while alluding to historical moments the subject wishes to be associated with. This statue in particular is a piece of Roman propaganda from the highest echelons of power.

This statue was found in the villa of Augustus' wife, Livia, and is called the Prima Porta Augustus because the villa was situated near an ancient archway to the north of Rome. This work contains many of the key aspects of Augustus' larger propaganda program. Though this copy of an earlier bronze statue was probably commissioned by Augustus' adopted son, Tiberius, the original work, it can be very safely assumed, was commissioned by Augustus himself upon the triumph over the Parthians. The body of the emperor himself begins the subtle suggestive tone of the larger work. From his bare feet, which allude to his heroic actions (Roman mythological heroes are always shown barefoot), to the small figure at his left of Cupid and a dolphin, which are direct comments on the Julio-Claudian family's claim of ancestral descent from the goddess Venus through Augustus' adopted father, Julius Caesar. However, the most important aspect of this work, and its desired message, comes on Augustus' detailed breastplate.

Beginning on the shoulders, the gods of the sun and the moon grace the top part of the plate. Below them a Parthian barbarian, shown by his baggy uniform and shaggy hair, returns a military standard to a Roman legionary. This episode helps to date the work to being a later marble copy of a bronze statue commissioned after Augustus' victory over the Parthians in 20 BC. The allegory of the sky and Mother Earth, holding a cornucopia as well as the gods Apollo and Diana show the peace that encompasses all of the Roman empire now that Augustus has triumphed and protected it against their enemies.

This statue is a beautiful example of how Augustus used personal portraiture as a key aspect of his propaganda program in spreading his message of authority and peace. The symbolic allusions to peace on the breastplate, the small figures that support his claim to power and the idealized form of a powerful young emperor all combine to create a message of calm control and absolute power. This is probably the most famous statue of Augustus but there are legions of them, and those are only the ones that survived. This type of portraiture was the way that Augustus was able to reach to the far corners of his empire. He called on his ancestral lineage to confirm the validity of his claims, but also to showcase his own personal achievements. Many of the rural communities that lay far from Rome would never have laid eyes on the emperor himself, but this idealized image of authority and its message of peace would have been a powerful weapon spreading his message and in controlling the far-flung areas of the empire.


Sources Used:


Ramage, Nancy H. and Andrew Ramage. Roman Art: Romulus to Constantine. Upper Saddle River: Pearson Education, Inc., 2005.

Images taken from: http://mv.vatican.va/4_ES/pages/z-Patrons/MV_Patrons_04_03.html

7.23.2010

Apologies and Technical Troubles


El Greco, Portrait of a Cardinal, Probably Cardinal Don Fernando NiƱo de Guevara (ca. 1600). Oil on canvas, 170.8 x 108 cm. Metropolitan Museum of Art, New York.


Hi All!

So its Friday night and I am finally back in San Francisco after a rather long and arduous day of traveling, but I am writing now to apologize for my lack of posting in the latter half of this week. I was once again in New York staying with a friend, this time for job interviews, and once again the wireless at the apartment where I stay was down. As I ran around the city going to interview (nerve-wracking!) and apartment hunting (terrifying!) I just did not have the energy to lug my computer around to coffee shops to post. I will make it up to you in the coming week though! 5 full-blown, single artwork posts are on the way. Ranging from Ancient to Renaissance to Modern to Contemporary, I really hope everyone finds something they like!

I am also running low on the list that readers gave me a few weeks ago when I issued an open call for suggestions so if you have any... please let me know! I live only to please you :)

All my best,
Lydia

Including image of one of favorite works of art I saw in New York. I can't seem to stay away from the Old Masters in the Metropolitan... and who can blame me? Have glasses ever looked so dashing on anyone? Especially a Cardinal? I think not.

7.20.2010

Art Newspaper: Ownership of Egon Schiele's Portrait of Wally Finally Settled




The beautiful painting by Egon Schiele which has been at the center of a restitution law suit disputing the ownership of the work between the Leopold Foundation and the heirs to a Jewish art dealer forced to flee from the Nazi regime is finally settled. It has been decided the Leopold will pay the heirs $19million to keep the painting. To read more on the Art Newspaper, click on the Title of this post!

7.19.2010

New York, New York


So I am in New York, on rather short notice, and am just now getting around to figuring out what is up at all the museums and what I am going to see this week. Thought I would share the information for anyone in the area or anyone who might be visiting soon.

Metropolitian Museum of Art
An Italian Journey: Drawings from the Tobey Collection, Correggio to Tiepolo
American Woman: Fashioning a National Identity

Frick Collection (one of the best, I always go even if only to see the permanent collection)
From Mansion to Museum: The Frick Collection Celebrates bSeventy-Five Years

Guggenheim

Broken Forms: European Modernism from the Guggenheim Collection
The Geometry of Kandinsky and Malevich

Museum of Modern Art
Matisse: Radical Invention, 1913-1917 (which I saw in Chicago at the Art Institute but I NEED to see the Portrait of Yvonne Landsberg (above) again!)

And if there is time....

Neue Galerie
Otto Dix (yes I am going to see it again!)

Cooper-Hewitt, National Design Museum
National Design Triennal

7.16.2010

Quotes About Art (from the menus of Natt Spil)

So, as I have mentioned before, I recently moved out of Madison, Wisconsin back to San Francisco (for the time being). One of my last nights in Madison I went to my favorite restaurant, Natt Spil (211 King Street Madison, WI 53703 (608) 258-8787, this phone number is for the restaurant next door because Natt Spil is so cool and hip they do not have a telephone... Makes things difficult but it is always worth it!). The menus at this restaurant never change in terms of the food on them but the covers are always decorated with funny quotes. It happened by lovely chance that my last night at my favorite place would coincide with the week that their menus were decorated with truly fantastic quotes about art by artists and famous cultural luminaries. I hope you enjoy them now as much as I did then. Looking at this menu has brought a tear to my eye.


In art the best is good enough.
- Johann Wolfgang von Goethe

All that I desire to point out is the general principle that life imitates art far more than art imitates life.
- Oscar Wilde

An artist cannot fail: it is a success to be one.
- Charles Horton Cooley

Art doesn't transform. It just plain forms.
- Roy Lichtenstein

Art is either plagiarism or revolution.
- Paul Gauguin

Art washes away from the soul the dust of everyday life.
- Pablo Picasso

I choose a block of marble and then chop off whatever I don't need.
- Auguste Rodin

Modern art is what happens when painters stop looking at girls and persuade themselves that they have a better idea.
- John Ciardi

7.14.2010

Guest Post: The Tudors (TV, History & Art) by Lauren Fliegelman


Hans Holbein, Henry VIII



Hans Holbein, Jane Seymour



Hans Holbein, Anne of Cleves


****WARNING: Spoiler Alert for the finale of the third season of Showtime's hit show, The Tudors starring Jonathan Rhys-Myers.****

Guest Blogger: Lauren Fliegelman, fourth year Art History/Journalism major at the University of Wisconsin-Madison. Spent a semester studying the Italian Renaissance masters in Rome, 2009. Current area of research: Manet and Japanese Influences. See her previous post on Michelangelo's Florentine Pieta of 1515 or Japonisme.


The Tudors – It is better to have loved, lost, and remarried, than to never have loved at all.

This week, the Showtime series The Tudors has come to an end. Although I feel many will not mourn this loss, a small part of me is sad to see the decadent interiors, luscious costumes, and yes, the overly intimate, often explicit scenes of royal sex and seduction witnessed over the past three years draw to a close. Although the show, more often than not, scarified history for the sake of all things carnal and unscrupulous, the writers may have had it right in that interest in the women Henry VIII loved and married generally supersedes all else.

In the series finale, Henry sits for Hans Holbein the Younger as he paints probably the most iconic image to come out of this reign (I won’t even go into the quasi-Jonathan Rhys Myers/Henry VIII circa 1540 image the show chose to include in the end). Holbein, who was introduced to Henry’s court by Anne Boleyn in the early 1530’s, would continue to paint the king late into his reign. As Henry sits for his portrait, his “ghosts of girlfriends” past visit him with haunting messages of regret and remorse. Apropos of this episode, I thought it timely to brush up on the chronology of wives and the king that, next to his daughter Elizabeth I, is the most memorable monarch in English history.

The Tudors, or as Josephine Ross put it, “England’s Golden Age,” were made up of three kings and two queens. King Henry VII defeated Richard III and became the first Tudor king in 1485. His reign was one of relief as it ended a period of constant battle and turmoil for the British throne. Soon after his marriage to Elizabeth of York, the couple, who would have seven children between 1486 to 1503, welcomed their first son Arthur, then their daughter Margaret and their second son, Henry in 1491. Although their marriage was not necessarily one of great passion, mutual understanding and respect laid the foundations for the most famous succession of royals to rule England.
However, when one thinks “Tudors,” King Henry VIII and his succession of wives come to mind. After the death of his brother Arthur, Henry came to power in 1509 at the age of seventeen. The image of the ideal, albeit Disney prince, Henry was handsome, charming, athletic, and generally well-liked by the public and women alike. Honoring his rather drawn out engagement to Catherine of Aragon (complicated by her pseudo marriage to his brother Arthur), Henry married the princess on June 11, 1509 and the two were swept up in the passion that would mark the outset of many of his subsequent marriages. Early on, the couple suffered two losses when both their first baby girl was a stillborn and their son Henry died seven weeks after his birth. Catherine would suffer several more stillborns and premature deaths of her children until 1515 when she finally delivered a baby girl, Mary, who would live into adulthood. Despite their daughter, Henry began to lose interest in his wife as her pregnancies became fewer and far between. To make matters worse for Catherine, the king flaunted his ability to have sons as he had a healthy baby boy with his mistress Bessie Blount. The judgment of God was surely present in the royal couples inability to produce a legitimate male heir. The Book of Leviticus spelled out plainly in two distinct passages that when one has relations with his brother’s wife, their relationship will end childless. Henry’s religious proof, in conjunction with Catherine's infertility and ageing stature, were all the king needed to begin his lengthy divorce from the queen.

Enter Anne Boleyn stage left. Although she isn’t famous for saying, “let them eat cake,” she is partially responsible for dethroning a queen and permanently changing the religion of an entire country so I suppose we should give her some credit. Although her sister was first to share the kings bed (if you haven’t already done so and you are even remotely a fan of salacious historical fiction check out The Other Boleyn Girl for a great read on this rather odd love triangle) Anne made is clear that is was Queen or nothing as she cleaned house of all her enemies at court. In 1528 Anne made a permanent home at court and by 1532 she was pregnant with the kings child. At this point divorce from Queen Catherine was required to secure the legitimacy of the possible male heir Anne was carrying. On May 23 his marriage to Catherine was official dissolved. However Anne and Henry had already secretly married some time before then. Although Anne did not give birth to the boy the entire country had hoped for, on September 7th Princess Elizabeth was born (who would ironically enough far surpass any male heir Henry was ever able produce). Anne scheming flared as she suffered one after another miscarriage. Adding to her troubles, Anne’s former friend and religious reformer Thomas Cromwell began to plot against her, realizing that he better get behind the rising star at court, Jane Seymour. Beginning in 1536, several of her male associates including Mark Smeaton the musician, Sir Henry Norris, and her brother George Boleyn were all taken to the Tower of London and tortured for information regarding such accusations as treason, adultery, incest, and more. The queen herself was imprisoned on May 2nd in the same rooms where she has been prepared for her coronation. All were found guilty of the charges and either hanged, burnt at the stake, or beheaded. On May 19th Anne was beheaded by a master swordsman she had requested. Anne’s body was buried in an unmarked location in the Chapel of St. Peter ad Vincula. Later her remains were identified during renovations of the chapter during the reign of Queen Victoria. Her grave is now indicated by a marker in the marble floor.

Jane Seymour: Jane was brought to court under the reign of Queen Catherine but served as maid to Anne. Beginning in February of 1536 it is clear that Henry began to favor Jane as he love for Anne waned. The exact opposite of Anne lively charisma and temper, Jane was benevolent and unconscious to the political game she had become a pawn in (however this view on her demeanor is somewhat debatable as it has been suggested she was more like the other wives than was projected by Henry who saw her in this favorable manner). Eleven days after Anne’s execution Henry and Jane were married. The weight on Jane’s shoulders to produce an heir was heavier than ever as Henry’s illegitimate son Henry Fitzroy died at 17 leaving the king with no male predecessors. However, in 1537 Jane became pregnant and delivered Henry’s long awaited male heir, Prince Edward. Although Jane attended Edward’s christening on October 15th, she died later that month on the 24th. Jane’s body was placed in the tomb Henry had been preparing for himself, making her the only queen to be buried alongside the king. Henry would consider Anne his first true wife and would always hold her in the highest regard.

Anne of Cleves: It seems after Jane’s death, allowing Henry to marry again for lust was not on the agenda of his associates. A political marriage which created an alliance between England and another power player country. Candidates were selected depending upon both their political and visual appeal. Anne of Cleves, the sister of the Duke of Cleves, was chosen on the chance France and the Holy Roman Empire made amends and moved against England for the religious reformation. Holbein was sent to paint a portrait of Anne of Cleves to bring to the king, upon which time Henry agreed to the marriage. In January of 1540 the two were married although Henry was already dissatisfied with Anne. Calling her a “Flanders Mare,” Henry did not taking a liking to Anne’s domestic upbringing. Furthermore, the political alliance their marriage has secured seemed obsolete as France and Spain continued their hatred of one another and the Duke of Cleves was pressing for a war with Spain Henry had no interest in becoming involved in. Anne cleverly consented to having the marriage dissolved and being appointed sister of the king, stating her marriage to Henry had never been consummated. She was appointed the former estate of Anne Boleyn where she lived in peace till her death.

Kathryn Howard: The mischievous baby queen who got into trouble with the king’s groom Thomas Culpepper was also the first cousin of Anne Boleyn. Kathryn has been brought to court as a lady for Anne of Cleves at the age of 19. Little more than two weeks after his annulment from Anne, at the age of 49, Henry married Kathryn in July of 1540. Although Henry began to suffer many of the maladies that would slowly end his life, Kathryn was able to restore the kings spirits for a short time until talk of adultery began around court. Archbishop Cramer (who had for all intensive purposes replaced Thomas Cromwell upon his execution close to the annulment of Anne of Cleves) investigated the young queen and found her guilty of the aforementioned infidelity as well as former indiscretions with prior to her marriage to the king. Her short life came to an end in February of 1542 when she was beheaded and buried in close proximity to her cousin Anne Boleyn.

Katherine Parr: Coincidently enough, Katherine’s parents, Sir Thomas Parr and Maud Green, had been at court during Henry’s early reign. Maud had served as a lady in waiting to Queen Katharine, Henry’s first wife, and had named her daughter after her. Katharine, whose mother had independently raised and educated her children after the early death of her husband, was a life-long learner, reader, and writer. Katherine was married twice before she wedded Henry. Her second husband, Lord Latimer died in 1543 leaving Katherine a widow for the second time at the age of 31. Although she had secretly proclaimed her love for Thomas Seymour, when the king requested her hand in marriage she had no choice but to oblige. The two were married in July of 1543 beginning a most interesting match for the reign of Henry VIII. Accusations of Katherine’s reformist faith began to swarm as members of the conservative alliance in Henry’s court interrogated and tortured members of the queen’s circle. Anne of Askew, a notorious Protestant preacher was racked however she refused to besmirch the queen or her ladies. Eventually, the king, whose health was failing, famously went to her after Katherine was made aware of a warrant for her arrest. He reprimanded her for her religious outspokenness and reminded her that others had been put to death for similar comments. Katherine was forgiven after she profusely apologized and claimed to only speak of such matters so that the king could teach her the err of her ways. Despite this political stumble, Katherine is famous for becoming the first English Queen to have her book, Prayers or Meditations, published in 1545. Soon after the death of the king Katherine married Thomas Seymour as originally planned. The two moved away from court together where they looked after the upbringing of Princess Elizabeth. However, around 1548 it was proposed that Elizabeth and Thomas Seymour had engaged in an affair and the princess was moved to another home. Katherine became pregnant for the first time at age 37 and gave birth to a daughter. She died shortly thereafter, never recovering form the birth.

Henry died in January of 1547 leaving his son, Edward VI king at age nine. Watched over by his uncle Edward Seymour, the Seymour family would essentially rule via the young king. Edward died in July of 1553 leaving the kingship in question. Shortly before his death Edward convinced to leave his crown to his cousin Jane Grey, avoiding the religious turmoil his sister Mary would bring to England. Eventually Mary would be declared queen July 24th. Along with her Spanish husband, Mary become widely unpopular for the religious persecution of Protestants that had been predicted. The English people looked to Elizabeth as their savior but Mary saw her as a threat. She had her imprisoned in the Tower at which point Mary realize she was pregnant and let her go shortly after because Elizabeth was no longer a threat. The queen, who was forty at this point never gave birth to a child. It is unclear what exactly happened medically, however she died in 1558. Elizabeth become queen upon the death of here sister and would rule until her death in March of 1603.

I have high hopes for the newest historical fiction drama to be released in 2011 by Showtime, The Borgias!

Best, Lauren Fliegelman

7.13.2010

Returning to Full Force Tomorrow


Hello Everyone!

I have finally made it home. What a trip and I was able to see some lovely things along the way thanks to Robbie G. who suggested the Nelson-Atkins Museum in Kansas City. However, sometimes the most beautiful things in the world are the most familiar, and as I walked into the home I grew up in today for the first time in months I was struck by the work of art that hangs in my room.

It is a work by Squeak Carnwath (apologies for the horrific image, iPhones!), and it was the first work of art I ever purchased for myself. I was originally drawn to the horse (of course) but every time I see it now I find something new to love about it.

I will return to full posts tomorrow, apologies for the hiatus but it is hard to blog on the road!

7.12.2010

Brief Hiatus from Important Posts





Hey Everyone!

So due to a lack of planning ahead, I will not be doing large posts for today or tomorrow as I drive across the country on my way home to San Francisco from Madison. I will just be posting small art snippets from my travels. It turns out there is a lot of great art in unexpected places.

For instance, yesterday I went to the fabulous Nelson-Atkins Museum in Kansas City, Missouri and was blown away by the incredible collection that included the beautiful Penitent Magdalen shown above by El Greco (and they have a fantastic Caravaggio! Who knew?! Not me, that's for certain!).

More to come tomorrow!


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