Robert Peake the Elder | references

References

  1. ^ Strong, Roy C. "Elizabethan Painting: An Approach Through Inscriptions, 1: Robert Peake the Elder", The Burlington Magazine, Vol. 105, No. 719 (February 1963), 53–57 (retrieved 12 January 2008).
  2. ^ In the accounts for Prince Henry's funeral, Robert Peake is called "Mr Peake the elder painter" and William Peake "Mr Peake the younger painter". Edmond, Hilliard & Oliver, 155.
    • Peake’s grandson Sir Robert Peake (sometimes wrongly called his son) was knighted by King Charles I during the English Civil War. The Parliamentarians captured him after their siege of Basing House, which was under his command. Walpole, Anecdotes of Painting, 221.
  3. ^ "There is nothing like them in contemporary European painting". Waterhouse, Painting in Britain, 41.
  4. ^ a b Waterhouse, Painting in Britain, 41.
  5. ^ a b Hearn, Dynasties, 186.
  6. ^ a b Edmond, Hilliard & Oliver, 153.
  7. ^ "The Key" would have been a sign, identifying Woodham's shop and house, as was usual before street-numbering.
  8. ^ It was once assumed that Peake was much younger than Hilliard: in 1969, art historian Roy Strong called him Hilliard’s "most important follower among the younger generation" (The English Icon, 19). Edmond, "New Light on Jacobean Painters", 74.
  9. ^ Edmond, Hilliard & Oliver, 153.
  10. ^ a b c d Waterhouse, Painting in Britain, 43.
  11. ^ Weiss (2001 and 2006) judges Peake's earliest attributed works to be the portraits of Arthur, Lord Grey de Wilton, and Humphrey Wingfield, dated 1587, following Strong's English Icon of 1969. The portrait of Anne Knollys attributed to Peake in the Berger Collection at the Denver Art Museum, however, bears Peake's characteristic inscription and is dated 1582.
  12. ^ Strong, English Icon, 225.
  13. ^ a b Strong, "An Approach Through Inscriptions", 53.
  14. ^ Fryer had been serjeant-painter since 1595.
  15. ^ a b Gaunt, Court Painting in England, 53.
  16. ^ Perrin, W. G., The Autobiography of Phineas Petit, NRS (1918), p.77, & Appendix v., pp.207-210, painting account
  17. ^ Edmond, Hilliard & Oliver, 153. In April 1509, the prince paid £8 for tennis balls, in May £7.10s.0d., and in June £8.14s.0d .
  18. ^ Letter writer John Chamberlain (1553–1628) recorded: "It was verily thought that the disease was no other than the ordinary ague that had reigned and raged all over England. . . . The extremity of the disease seemed to lie in his head, for remedy whereof they shaved him and applied warm cocks and pigeons newly killed, but with no success". Letter to Dudley Carleton, 12 November 1612. Chamberlain Letters, 67–68.
    • Historian Alan Stewart notes that latter-day experts have suggested enteric fever, typhoid fever, or porphyria, but that poison was the most popular explanation at the time. Stewart, Cradle King, 248.
  19. ^ Edmond, Hilliard & Oliver, 154. The relatively high price for the two pictures of the prince in arms (armour) may have been due to the use of gold or silver on the details.
  20. ^ Edmond, Hilliard & Oliver, 155.
  21. ^ Edmond, Hilliard & Oliver, 174.
  22. ^ a b Hearn, Dynasties, 189.
  23. ^ Edmond, Hilliard & Oliver, 170, 212.
  24. ^ Edmond, "New Light on Jacobean Painters", 74. Artist William Larkin’s records were burned at the same time.
  25. ^ Edmond, Hilliard & Oliver, 170.
  26. ^ Quoted by Edmond, "New Light on Jacobean Painters", 74.
  27. ^ See Strong, "An Approach Through Inscriptions", 53–7, and The English Icon, 225–54.
  28. ^ Waterhouse, Painting in Britain, 42–3.
  29. ^ a b Strong, Cult of Elizabeth, 17.
  30. ^ Vertue's Notebooks, quoted by Strong, Cult of Elizabeth, 20.
  31. ^ Strong, Cult of Elizabeth, 23–30.
  32. ^ Strong, Cult of Elizabeth, 41. The castles alluded to are Chepstow and Raglan on the Welsh borders.
  33. ^ For a detailed analysis, see Strong, "The Queen: Eliza Triumphans", in The Cult of Elizabeth, 17–55.
  34. ^ Strong, Gloriana, 147.
    • Haigh, Elizabeth I, 153–54.
  35. ^ Strong, Gloriana, 148.
  36. ^ Strong, Gloriana, 155.
  37. ^ Christopher Brown, "The Turn of the Sixteenth Century", in Hearn, Dynasties, 171.
  38. ^ a b c d John Sheeran, Biography of Robert Peake at the Tate Collection (retrieved 1 January 2008)
  39. ^ Kitson, British Painting, 1600–1800, 13.
    • Strong English Icon, 234.
  40. ^ Strong, English Icon, 246.
  41. ^ The coats-of-arms of the principals shown hanging from branches may reflect knowledge of the work of Lucas Cranach the Elder, who frequently used this motif, and painted portraits of Saxon and Habsburg princes hunting.
  42. ^ Hearn, Dynasties, 185. It was the custom for royal children to be raised in the homes of noble families. Elizabeth lived with the Harington family at Coombe Abbey, near Coventry. Lord Harington died at Worms in 1613 on his way back from escorting her to Heidelberg with her new husband Frederick V, Elector Palatine. Lady Harington attended Elizabeth at Heidelberg from 1616 almost until her own death in 1618.
  43. ^ Hearn, Dynasties, 185.
  44. ^ Hearn, Dynasties, 187–88. Maria never married; she entered a Franciscan convent in 1629.
  45. ^ Hearn, Dynasties, 188.
    • Edmond, Hilliard & Oliver, 154.
  46. ^ a b c Hearn, Dynasties, 188.
  47. ^ Caple, Objects, 88–91.
    Knight, Death and the Devil, by Albrecht Dürer, 1513
  48. ^ Caple, Objects, 88–91.
    Unrestored version of Henry, Prince of Wales, on Horseback
  49. ^ Brides of the time are often described as appearing "in their hair". For example, John Chamberlain wrote to Alice Carleton that Frances Carr, Countess of Somerset, was "married in her hair" to her second husband Robert Carr, 1st Earl of Somerset, having recently divorced her first husband, Robert Devereux, 3rd Earl of Essex, on the grounds of his impotence. Letter to Alice Carleton, 13 December 1613. Chamberlain Letters, 116.
    • See also Stewart, Cradle King, 113.
  50. ^ a b Chirelstein, "Lady Elizabeth Pope: The Heraldic Body", in Renaissance Bodies, 36–59.
    • Ribeiro, Fashion and Fiction, 89.
  51. ^ Chirelstein, "Lady Elizabeth Pope: The Heraldic Body", in Renaissance Bodies, 36–59.
  52. ^ He also judged that Nicholas Hilliard and Isaac Oliver were "inferior to none in Christendom for the countenance in small" (miniature portraits). Edmond, Hilliard & Oliver, 168.
  53. ^ Eras of Elegance - the Elizabethan Era
  54. ^ Art Gallery of New South Wales
  55. ^ Tate Britain
  56. ^ Review of The Lost Prince: The Life & Death of Henry Stuart by C D Nesbitt
  57. ^ Edmond, "New Light on Jacobean Painters", 74.
  58. ^ Hearn calls it "a return to the frozen grandeur of mainstream continental court portraiture". Hearn, Dynasties, 188.
  59. ^ The Latin inscription translates: "Charles, we the Muses, since you deigned to agree to both, have both welcomed you as our guest and painted you in humble duty. Visiting the University in the tenth year of his father's reign over England, on 4 March, he was enrolled in the ranks of the Masters and admitted in this Senate House by Valentine Carey Vice-Chancellor". Hearn, Dynasties, 188.
  60. ^ For attribution history, see discussion in A Noble Visage: a Catalogue of Early Portraiture 1545–1660, Weiss Gallery, 2001.
  61. ^ Recorded in Strong, English Icon, 1969, as "Unknown Woman and Child". Auctioned in 1990 as "Portrait of Frances Walsingham, Countess of Essex and her son, 1594" (retrieved 8 February 2009).
  62. ^ Hearn, Dynasties, 185. The portrait was probably commissioned by Elizabeth's guardian, Lord Harington of Exton, as a pendent to Peake's double portrait of her brother, Prince Henry, with Lord Harington's son John.
  63. ^ Gallery notes, Tate Britain (retrieved 29 January 2008).
  64. ^ Gallery notes, Berger Collection (retrieved 19 April 2012).
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