A couple of weeks ago, I visited the \u2018Double Take: Versions and Copies of Tudor Portraits\u2019 exhibition at the National Portrait Gallery. The exhibition features five sets of paintings and subjects include, Henry VIII, Anne Boleyn, Archbishop William Warham, Thomas Gresham and Thomas Sackville, 1st Earl of Dorset.<\/p>\n
The exhibition is free and is displayed among the portraits of the Tudor Gallery. The famous portrait of Anne Boleyn is finally back on display after the completion of conservation work. <\/p>\n
\u2018Recent research undertaken as part of the \u2018Making Art in Tudor Britain\u2019 project has used a variety of scientific techniques to analyse the Gallery\u2019s 16th century paintings, and also comparative works from other collections, in order to explore the way in which these versions and copies were produced.\u2019<\/i><\/p>\n
Henry VIII<\/b><\/a> Henry VIII \u2018Two portraits depict Henry in his mid-forties\u2026It is possible that both of these portraits derive from the same English workshop. They show the influence of Netherlandish painting techniques, copied from foreign artists who settled in London. A pattern was used to mark out the King\u2019s likeness, which was copied freehand for the smaller version. Similarities in the technique suggest that parts of the painting may have been by the same person.\u2019<\/i><\/p>\n Anne Boleyn<\/a><\/b> Anne Boleyn<\/b><\/a> \u2018As the mother of Elizabeth I, Anne\u2019s image was often included in portrait sets of English monarchs, however only a few versions survive today.<\/p>\n Although these two portraits vary in quality they are based on the same pattern; demonstrating the way in which established face patterns of prominent individuals could be used for many years\u2026In the (second painting), the artist\u2019s complete reliance on a pattern is demonstrated by the unusual painting technique in which the eyes, lips and eyebrows were painted in full and then the flesh was painted around these features. <\/p>\n By contrast, the (first painting) is far more subtle and accomplished. The portrait\u2026has recently undergone structural conservation following a successful fundraising campaign and the generous support of public donations.\u2019<\/i><\/p>\n You can read detailed analysis of some of the portraits at the National Portrait Gallery website:<\/p>\n Henry VIII Analysis<\/b><\/a><\/p>\n William Warham<\/b><\/a><\/p>\n Thomas Gresham<\/b><\/a><\/p>\n The exhibition runs until 6th September and is well worth a visit to see Anne Boleyn looking her best again!<\/p>\n Italics \u2013 copyright National Portrait Gallery.<\/i><\/p>\n","protected":false},"excerpt":{"rendered":" A couple of weeks ago, I visited the \u2018Double Take: Versions and Copies of Tudor Portraits\u2019 exhibition at the National Portrait Gallery. The exhibition features five sets of paintings and subjects include, Henry VIII, Anne Boleyn, Archbishop William Warham, Thomas … Continue reading
\nUnknown Artist
\nc1535-40, oil on panel<\/p>\n
\nUnknown artist
\nc1535-40, oil on panel
\nLent by the Society of Antiquaries of London<\/p>\n
\nUnknown artist
\nLate 16th century, oil on panel<\/p>\n
\nUnknown artist
\n1590-1610, oil on panel<\/p>\n