The Tudors Art And Majesty In Renaissance England

This fascinating new look at the artistic legacy of the Tudors reveals the dynasty’s enduring influence on the arts of Renaissance England and beyond. Ruling successively from 1485 through 1603, the five Tudor monarchs brought seismic changes to England that reverberated throughout Europe. They used the arts to legitimize and glorify their tumultuous rule, from Henry VII’s bloody rise to power, through Henry VIII’s breach with the Roman Catholic Church, to the reign of the “Virgin Queen” Elizabeth I. With incisive scholarship and sumptuous new photography, this book explores the extreme politics and outsize personalities of the Tudors, and how they used art in their diplomacy at home and abroad. Tudor courts were truly cosmopolitan, attracting top artists and artisans from across Europe. At the same time, the Tudors nurtured local talent and gave rise to a distinctly English aesthetic, one that is forever connected to the myth and visual legacy of their dynasty. The Tudors reveals the true history behind a family that has long captured the public imagination, bringing to life their extravagant and politically precarious world through the exquisite paintings, lush textiles, gleaming metalwork, and countless luxury objects that adorned their spectacular courts.

This catalogue, published annually by The Metropolitan Museum of Art, announces the Museum's publications for that year. It also features notable backlist titles and provide a complete list of books available in print at the time of publication.

Discover the captivating rise and fall of William Paget, as he emerges from obscurity to become one of Henry VIII's most influential advisors, navigating court intrigues, imprisonment, and political machinations as he goes on to shape and define Tudor history. Like Cromwell and Wolsey before him, William Paget came from nowhere to become one of Henry VIII's most powerful 'new men'. After serving as ambassador to the Court of Francis I of France, he became Henry's most influential foreign policy advisor and developed a close relationship with Emperor Charles V. He had the king's ear in Henry's later years, was the key player in drafting his will ( was it a forgery?) and in enabling Somerset to become Lord Protector in the reign of the boy king, Edward VI. For a while, he was Somerset's 'right-hand man'. When Somerset fell, Paget was imprisoned in the Tower and nearly executed. But he survived and regained power. He had a major role in delivering the Crown to the Catholic queen, Mary, and in arranging her marriage to Philip II of Spain, whom he then advised on English politics. He kept in with the Protestant princess Elizabeth and survived to have influence when she came to the throne. William was the founder of the aristocratic Paget family - Barons of Beaudesert, Earls of Uxbridge and Marquesses of Anglesey. From records of the mansion that he built on a site next to today's Heathrow Airport, a picture has been created of how life was actually lived in a Tudor household at the personal family level. The story is partly told from previously unexamined family letters. It is an exciting narrative of dramatic ups and downs: from rags to riches, plague to plenty, and prison to peerage. Court intrigues, conspiracies, rebellions and coups, follow one after the other. William is usually in the thick of it, the power behind the throne.

Art in England fills a void in the scholarship of both English and medieval art by offering the first single volume overview of artistic movements in Medieval and Early Renaissance England. Grounded in history and using the chronology of the reign of monarchs as a structure, it is contextual and comprehensive, revealing unobserved threads of continuity, patterns of intention and unique qualities that run through English art of the medieval millennium. By placing the English movement in a European context, this book brings to light many ingenious innovations that focused studies tend not to recognize and offers a fresh look at the movement as a whole. The media studied include architecture and related sculpture, both ecclesiastical and secular; tomb monuments; murals, panel paintings, altarpieces, and portraits; manuscript illuminations; textiles; and art by English artists and by foreign artists commissioned by English patrons.

"Campbell sheds light on Tudor political and artistic culture and the court's response to Renaissance aesthetic ideals. He challenges the predominantly text-driven histories of the period and offers a fresh perspective on the life of Henry VIII"--OCLC

Many small Renaissance portraits were richly adorned with covers or backs bearing allegorical figures, mythological scenes, or emblems that celebrated the sitter and invited the viewer to decipher their meaning. Hidden Faces includes seventy objects, ranging in format from covered paintings to miniature boxes, that illuminate the symbiotic relationship between the portrait and its pair. Texts by thirteen distinguished scholars vividly illustrate that the other “faces” of these portraits represent some of the most innovative images of the Renaissance, created by masters such as Hans Memling and Titian. Uniting works that have in some cases been separated for centuries, this fascinating volume shows how the multifaceted format unveiled the sitter’s identity, both by physically revealing the portrait and reading the significance behind its cover.

This catalogue, published annually by The Metropolitan Museum of Art, announces the Museum's publications for that year. It also features notable backlist titles and provides a complete list of books available in print at the time of publication.

This catalogue, published annually by The Metropolitan Museum of Art, announces the Museum's publications for that year. It also features notable backlist titles and provide a complete list of books available in print at the time of publication.

This book originated in a conference, entitled "Henrici-Medici: Artistic Links between the Early Tudor Courts and Medicean Florence," that took place on September 19-21, 2007, at Villa I Tatti, the Harvard University Center for Italian Renaissance Studies in Florence.

An accessible introduction to the life of the seventeenth-century's most celebrated women artists, now in paperback. Artemisia Gentileschi is by far the most famous woman artist of the premodern era. Her art addressed issues that resonate today, such as sexual violence and women’s problematic relationship to political power. Her powerful paintings with vigorous female protagonists chime with modern audiences, and she is celebrated by feminist critics and scholars. This book breaks new ground by placing Gentileschi in the context of women’s political history. Mary D. Garrard, noted Gentileschi scholar, shows that the artist most likely knew or knew about contemporary writers such as the Venetian feminists Lucrezia Marinella and Arcangela Tarabotti. She discusses recently discovered paintings, offers fresh perspectives on known works, and examines the artist anew in the context of feminist history. This beautifully illustrated book gives for the first time a full portrait of a strong woman artist who fought back through her art.