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| You are in National Portrait Gallery | Research | Making Art in Tudor Britain | |||||||||
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Making Art in Tudor Britain: Introduction
In April 2007 we began a major
research project that will help to transform understanding of
early painting practice and the production of portraits in the
Tudor and Jacobean periods. The project will involve a detailed
and comprehensive scientific survey of over 80 of the most important
portraits from the Gallery's Collection in the period 1500-1620.
We anticipate some important results. The majority of early pictures in the Gallery's care are by unknown artists, and fundamental questions such as when, where and why they were painted still remain to be answered. Through the application of scientific methods, this project has the potential to unlock key evidence that will allow us to determine answers to these questions. Based in the Gallery's Conservation Studio, researchers will use a combination of the latest scientific techniques, such as X-ray and Infra-red reflectography, in order to reveal new information about individual paintings and piece together a map of the different artistic practices, techniques and styles in use by artists working in Britain during the period. What will we achieve? |
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| Scientific Techniques | ||
 The Conservation Studio at the National Portrait Gallery |
Are new scientific techniques the answer to unlocking the secrets of Tudor portraits? Infrared reflectography |
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The first year of the project in 2007-8 will look at the period 1500-1540 and include works such as the Gallery's earliest portrait, an enigmatic portrait of Henry VII painted from life, while the following four years research will look at the Elizabethan and Jacobean portraits. |
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 Mary, Queen of Scots before conservation |
Previously thought to be an eighteenth-century copy, this small panel painting of Mary, Queen of Scots (1542-87) had been obscured by later over painting. The picture was first acquired in 1916 but was no longer on public display. As part of an initial trial of different scientific techniques the picture was examined using dendrochronology (a technique for dating wooden panels by counting tree rings). The results indicated that the picture was painted between 1560-92, making it almost certain that the portrait dates from Mary's lifetime or just after her death. |
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 Mary, Queen of Scots by Unknown artist © National Portrait Gallery, London |
Subsequent conservation and removal of the later over paint revealed an oval surround and inscription, 'MARIA SCOTIAE'. These spectacular findings were published in the national papers in August 2006 and after nearly forty years in storage the painting is now on display in the Tudor Galleries. | |
 Queen Elizabeth I by Unknown artist © National Portrait Gallery, London |
During her long reign, many portraits of Elizabeth I were produced, however she rarely sat for portraits from life. This painting is known as the 'Darnley Portrait', after a previous owner, and is one of the most accomplished portraits of Queen Elizabeth in existence. | |
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Infrared photography (left) revealed considerable freehand under-drawing around the hands and face. The highly sketchy quality of this drawing, and the energy and vigour behind the marks, indicate that this portrait may have been painted form life, probably by an artist trained outside England, perhaps from Italy. | |
 Robert Dudley, Earl of Leicester by Unknown artist |
Leicester was Elizabeth I's only serious English suitor, and he remained her favourite throughout his life. A number of contemporary portraits of Leicester still exist, and he was particularly interested in his own image. He is shown here in a brilliant red suit wearing the badge of the Order of the Garter. | |
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The results of infrared photography (left) showed significant under-drawing across the face and hands. There is also evidence that this painting has been cut down from a larger panel, possibly a full or three-quarter-length picture. More research and further technical analysis may help to reveal the exact date and provide a better indication of authorship. | |
| Research Team and Collaboration The project will be lead by Dr Tarnya Cooper, Sixteenth Century Curator working with Sophie Plender in our Conservation department. The project team will include a body of scientists, independent painting conservators, art historians and other academics who will provide advice on the methodology and assist with the interpretation of results throughout the course of the project. Our advisory body includes specialist staff at the National Gallery, the Courtauld Institute of Art, the University of Sussex, University College London and the Institute Collectie Nederland (ICN), Amsterdam. |
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Funding The total cost of the project will be over £500,000 over 5 years. We have funding in place to examine 20 portraits in the first year of this project. In order to develop comparative findings we need to continue the research over a further 4-year period. The Gallery is able to commit £100,000 to the project and we have received over £100,000 in donations so far. Further contributions at all levels are now sought from individuals, companies, trusts and foundations. Our appeal target is £375,000 (larger donations may be spread over a period of up to 5 years). If you would like to support the project, request further details or arrange a meeting, please contact Susie Holden or Catherine Yexley. Contact details are given below. Contact details Susie Holden Telephone: 020 7312 2454 We are grateful to the following charitable trusts, foundations and organisations for supporting the first important stages of this project: Arts and Humanities Research
Council National Portrait Gallery |
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All images and text are subject to copyright
protection. 22 November 2008 |
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