Seminar Presentation

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Seminar Presentation

• Rochester

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English Painting 1580-1640

• For reasons that no one has satisfactorily
  explained, the system of vanishing-point
  perspective remained a mystery sealed off from
  most English artists until the seventeenth
  century . . .. There are a few
  mid-sixteenth-century pictures in which space is
  treated with some skill they almost all turn out
  to have been executed by travelling artists from
  the Continent. But English artists, and most
  Continental artists who took up residence in
  England, even when skilled in the delineation of
  the human figure, handled space as though their
  heraldic concerns forced them to paint in
  gauntlets.
• David Evett, Literature and the Visual Arts in
  Tudor England, 60)

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ARMADA PORTRAIT
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PORTRAIT OF ROGER UNTON
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• At the very end of the sixteenth century, we find
  Rowland Lockey and Robert Peake exulting in their
  discovery of the rather rudimentary spatial
  devices that had exhilarated Uccello 150 years
  earlier, as if every hack painter in Italy had
  not in the meantime mastered vastly subtler
  tricks of perspective.
• David Evett, Literature and the Visual Arts in
  Tudor England, 60)

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• English painting changes dramatically between
  1550 and 1650
• Biggest developments occur between Accession of
  James 1603 and that of Charles
• -- Elizabethan painting is largely portraiture
• no history painting, few classical themes
• focus on surfaces -- polished surface mimesis

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Sculpture

• Winters tale 5.3 restores Hermione, Leontes
  dead Queen, by re-animating a statue
• Common theatrical trick staged in masques (Lord
  Hays Masque)
• Pageants Jamess entry, Spirit of London
  spoke.

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Tomb of Lady Hoby, All Saints Church, Bisham,
Berks, 1607-9
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Tomb of Sir Roger Aston, St. Dunstan, Cranford
Park, MiddlesexWilliam Cure II, post 1612
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Aston tomb detail
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Mourning Children, Detail
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Monument of Sir George St Pol, Saint Lawrence's
Church, Snarford, Lincolnshire. Date not given
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