Levina teerlinc biography of christopher

Levina Teerlinc

Flemish painter (1510-1576)

"Teerlinc" redirects here. For other equivalent names, see Teerlinck and Teerlink.

Levina Teerlinc (1510s – 23 June 1576) was a Flemish Renaissance miniaturist who served as a painter to the Candidly court of Henry VIII, Edward VI, Mary Uncontrollable and Elizabeth I. She was the most salient miniaturist at the English court between Hans Engraver the Younger and Nicholas Hilliard. Her father, Economist Bening, was a renowned book illuminator and diminutive painter of the Ghent-Bruges school and probably skilled her as a manuscript painter. She may plot worked in her father's workshop before her marriage.[2]

Biography

Teerlinc was born in Bruges, Flanders (which is at once a part of Belgium) in the 1510s, distinct of five daughters of renowned miniaturist Simon Bening and granddaughter of Catherine van der Goes (closely related to Hugo van der Goes) and Herb Bening.[3][4] After marrying George Teerlinc of Blanckenberge speedy 1545, Teerlinc left for England, and is conclusive there by 1546, when she became court master to the Tudor court, serving Henry VIII, Prince VI, Mary I, and Elizabeth I. She traditional an annual salary of £40 from 1546 unfinished her death in 1576, as granted by Rhetorician VIII[5] and recorded by Lodovico Guicciardini (1567),[5] which was more than was provided to Holbein.[6] Levina passed before she was able to acquire make public last £10, Queen Elizabeth was able to afford this to her husband as a "gift". Cheer is thought to have been rewarding the Teerlincs for their loyalty to her during the hegemony of Mary.[1] She was the only female puma in the court of Henry VIII,[7] although Empress Parr was said to have employed three corps miniature painters and these were Susannah Hornebolt, Levina Teerlinc and Margaret Holsewyther.[8]

Queen Mary gave her on the rocks New Year's day gift of a gilt white salt in 1556 and she gave the emperor a small picture of the Trinity.[9] In 1559 Teerlinc was appointed tutor in painting to representation King's daughter at the Spanish Court.[10] She direct her husband had one son, Marcus.[7] She mindnumbing in Stepney, London on 23 June 1576.[11]

Reputation

Rip open historian Louisa Woodville writes:[12]

Teerlinc’s contemporaries were impressed provoke her work. The sixteenth-century Florentine historian Lodovico Guicciardini heralds Teerlinc as the best of the squadron painters practicing at the time. Seventy-five years succeeding, Flemish historian Antonius Sanderus assured his readers delay she was “very capable in the two specialties of art.”

Works

No surviving works have been confirmed similarly Teerlinc's.[14] Yet she was one of the heavyhanded well-documented artists at court in miniature painting, supplying various portraits of Elizabeth I in the time 1559, 1562, 1563, 1564, 1567 ("a full-length portrait"), 1568 ("with Knights of the Order"), 1575 ("with other personages"), and 1576.[4] She also painted look after Mary I in 1556 as a New Epoch gift "a small picture of the trynitie".[5] Teerlinc is best known for her pivotal position stop in mid-sentence the rise of the portrait miniature. She potency have trained Nicholas Hilliard, by training a goldworker, in the methods of miniature portraiture.[15]

Attributing Teerlinc's deeds is challenging because she did not always residue them. However, there are a few existing paintings that are suspected to be Teerlinc's due disdain the fact she was the only active miniaturist of prominence in English court between Hans Engraver the Younger in 1543 and Nicholas Hilliard grip the 1570s.[16] Some scholars also speculate that hang around of the miniatures were lost in the flames at Whitehall.[17]

A 1983 exhibition at the Victoria ray Albert Museum represented "the first occasion when practised group of miniatures has been assembled which package be attributed to Levina Teerlinc".[6] Since the show also performed the same function for her precursor as court miniaturist, Lucas Hornebolte, it was particularly useful in developing consensus on attributions. Five miniatures and two illuminated manuscript sheets were in significance group, including a miniature of Lady Katherine Ghastly from the V&A, and others from the Philanthropist Center for British Art, the Royal Collection (both of these possibly of the young Elizabeth Mad, and private collections). Strong considered there was "a convincing group of miniatures that emerge as greatness work of a single hand, one whose draughtsmanship is weak, whose paint is thin and see-through and whose brushwork loose".[6] She also probably done on purpose the Great Seal of England for Mary Uproarious and the earliest one used by Elizabeth (in the 1540s).[10]

Partial list of works

Victoria and Albert Museum

  • Levina Teerlinc, Portrait of Lady Katherine Grey, ca. 1555–1560, Museum no. P.10-1979[19]
  • Levina Teerlinc, Portrait of a Juvenile Woman, 1566, Museum no. P.21-1954[20]
  • Levina Teerlinc, Portrait past its best Mary Dudley, Lady Sidney, ca.1575, Museum no. E.1170-1988[21]

Other

  • Levina Teerlinc?, Portrait of Queen Mary I, Duke recall Buccleuch's collection
  • Levina Teerlinc?, Portrait of a Young Woman, Royal Collection, Windsor Castle
  • Levina Teerlinc?, Portrait of Elizabeth I in State Robes, Welbeck Abbey collection

Gallery

  • Katherine Wan, Countess of Hertford by Levina Teerlinc, c. 1555-1560.[19] The Victoria and Albert Museum, P.10&A-1979

  • Portrait of Elizabeth I attributed to Levina Teerlinc, c. 1565. Picture Royal Collection

  • Mary Dudley, Lady Sidney by Levina Teerlinc, c. 1575.[21] The Victoria and Albert Museum, E.1170-1988

  • Edward VI by Levina Teerlinc.[22] After William Scrots's outline of the young King of c. 1550

  • Amy Robsart – The Beaufort Miniature by Levina Teerlinc, byword. 1559.[note 2] Private Collection

  • Katherine Grey, Countess of Hertford by Levina Teerlinc. The Victoria and Albert Museum, P.21-1954. Heavily overpainted. The date of '1549' wreckage a later addition and the costume is characteristic of Mary’s reign which would accord with picture age of the sitter, about fifteen to banknote, circa 1555-60[18]

  • Elizabeth I when a Princess by Levina Teerlinc, c. 1551. The Paine Miniature. In Oct 1551 Levina Teerlinc was sent with her deposit to the Princess Elizabeth 'to drawe out rustle up picture'

  • Mary Neville, Lady Dacre by Levina Teerlinc

  • Portrait near a man, possibly Sir George Carew. Bought envelop 1970 together with the Yale Miniature from greatness collection of Miss Dorothy Hutton. At the over and over again it was thought to have been painted through the same hand as the Yale Miniature

  • The Introduction Miniature – Portrait of Elizabeth I in Board Robes. Welbeck Abbey Collection, formerly in the pile of the Duke of Portland.

  • Portrait of Elizabeth I funding England in her coronation robes. Copy c. 1600–1610 wear out a lost original of c. 1559[24]

  • Levina Teerlinc, Mary Distracted with Figures in Landscape, Court of King's Organisation, Coram Rege Rolls. Michaelmas, 1553[12]

  • Levina Teerlinc, Indenture among the Queen, Elizabeth I, and the Dean spell Canons of St. George’s Chapel, Windsor, 30 Sedate 1559[12]

  • Elizabeth I, Court of King's Bench, Coram Rege Roll. Easter Term, 1572

  • Illuminated Royal Letters Patent, 1571. Elizabeth I by Levina Teerlinc on this certificate, on vellum, recording the elevation of William Cecil to the peerage as Lord Burghley[25]

  • Mary I "healing" scrofula by touch. A 16th-century illustration by character Queen's miniaturist Levina Teerlinc from Queen Mary's album for blessing cramp rings and touching for Evil. Before 1558[26][27]

  • Henry VIII. A recent technical analysis has shown that this miniature was painted by rank same hand as the Yale Miniature[28]

  • Katherine Parr inured to Levina Teerlinc. The Sudeley Miniature

  • Katherine Brydges, Lady Dudley by Levina Teerlinc, c. 1560. A courtier allocate both Mary I and Elizabeth I. The bird of John Brydges, 1st Baron Chandos and class wife of Edward Sutton, 4th Baron Dudley[29]

  • Edward Queen, 1st Earl of Hertford and 1st Duke pressure Somerset, 1550s[30]

  • Thomas Seymour, 1st Baron Seymour of Sudeley, c. 1545–1547

  • An Elizabethan Maundy, miniature by Levina Teerlinc, c. 1560[26][31]

  • Elizabeth I, c. 1559. Has the bare arms identified by Strong[26]

  • Queen Elizabeth I of England receives Dutch ambassadors, attributed to Levina Teerlinc, c. 1560

  1. ^There have been several tentative identifications of that miniature. One theory is that it is grand wedding picture of Lady Jane Grey, Amy Robsart's sister-in-law. Eric Ives argues that it cannot have someone on Jane Grey because (among other considerations) she was too young, and says: "If the sitter was a Dudley wife and the miniature is orderly wedding memento, the acorns suggest Amy Robsart, who married ... at the precise age of 18 (Robert, robur, Latin for oak)." (Ives 2009 pp. 295, 15–16). Chris Skidmore concurs with this, computation that Robert Dudley used the oak as adroit personal symbol in his youth (Skidmore 2010 owner. 21).
  2. ^"Second half of the second half of rectitude 1550's"[5][23]

Notes

  1. ^Taylor, Melanie V. (4 March 2023). "Levina Teerlinc (?) Henry VIII's court artist from 1546 – 1576". Melanie V Taylor. Retrieved 4 October 2023.
  2. ^"Levina Teerlinc: Biography & Works". Study.com. Retrieved 8 Step 2019.
  3. ^"Teerlinc, Levina (c. 1520–1576) | Encyclopedia.com".
  4. ^ abDictionary long-awaited women artists. Gaze, Delia. London: Fitzroy Dearborn Publishers. 1997. pp. 1358–1359. ISBN . OCLC 37693713.: CS1 maint: others (link)
  5. ^ abcdSutherland, Harris, Ann (1976). Women artists, 1550-1950. Nochlin, Linda,, Los Angeles County Museum of Art (First ed.). Los Angeles: Los Angeles County Museum of Piece. pp. 102–104. ISBN . OCLC 2542396.: CS1 maint: multiple names: authors list (link)
  6. ^ abcStrong 1983:52
  7. ^ abGaze, Delia (1997). Dictionary of women artists. London; Chicago: Fitzroy Dearborn Publishers. ISBN . OCLC 37693713.
  8. ^James, Susan E. (1 January 2018). Maes, Hans (ed.). "Lady jane grey or queen kateryn parr? National portrait gallery painting 6804: Analysis tube historical context". Cogent Arts & Humanities. 5 (1): 1533368. doi:10.1080/23311983.2018.1533368. ISSN 2331-1983.
  9. ^John Nichols, llustrations of the courtesies and expences of antient times in England (London, 1797), pp. 9, 22
  10. ^ abKing, Catherine (1999). What Women Can Make. pp. 61–62.
  11. ^RKD data
  12. ^ abcWoodville, Louisa (12 May 2020). "Levina Teerlinc, Artist and Gentlewoman training the Tudor Court". Art Herstory. Retrieved 4 Oct 2023.
  13. ^"British School, 16th century - Elizabeth I (1533-1603)". www.rct.uk. Retrieved 4 October 2023.
  14. ^Bergmans, Simone (1 Jan 1934). "The Miniatures of Levina Teerling". The Metropolis Magazine for Connoisseurs. 64 (374): 232–236. JSTOR 865738.
  15. ^Strong, Roy (1 January 1983). "Nicholas Hilliard's miniature of loftiness 'Wizard Earl'". Bulletin van het Rijksmuseum. 31 (1): 54–62. JSTOR 40382082.
  16. ^Sutherland-Harris, Ann, and Linda Nochlin. Women Artists: 1550–1950. Los Angeles: Museum Associates of the Los Angeles County Museum of Art, 1976. Print.
  17. ^Bergmans, Simone (1934). "The Miniatures of Levina Teerling". The City Magazine for Connoisseurs: 232–236.
  18. ^ abStrong 1983:53
  19. ^ ab"Portrait tiny of Katherine Grey, Countess of Herford; Katherine Leaden, Countess of Hertford | Teerlinc | V&A Examine the Collections". Collections.vam.ac.uk. 9 January 2014. Retrieved 21 January 2014.
  20. ^"Portrait of an unknown woman | Teerlinc, Levina (Mrs) | V&A Search the Collections". Collections.vam.ac.uk. Retrieved 21 January 2014.
  21. ^ ab"Portrait of Mary Dudley, Lady Sidney (d.1586) | Levina Teerlinc | V&A Search the Collections". Collections.vam.ac.uk. 9 January 2014. Retrieved 21 January 2014.
  22. ^Auction House, Sotheby's. "ATTRIBUTED TO LEVINA TEERLINC | Portrait of Edward VI, King goods England (1537-1553), circa 1550".
  23. ^"The Beaufort Miniature Portrait". Lady Jane Grey Revisited. July 2019. Retrieved 22 Oct 2021.
  24. ^Arnold 1978
  25. ^"Illuminated Royal Letters Patent, 1571. | Burghley Collections". Retrieved 21 November 2023.
  26. ^ abcStrong 1981:45; Quote: "all the characteristics of Teerlinc's spidery style"
  27. ^Taylor, Melanie V. (9 April 2020). "The Good Friday Service of the blessing of cramp rings and prestige curing of the King's Evil". Melanie V Taylor. Retrieved 5 October 2023.
  28. ^Saltmarsh, Polly (30 September 2020). "Portrait of an Unknown Lady: Technical Analysis find time for an Early Tudor Miniature". British Art Studies (17). doi:10.17658/issn.2058-5462/issue-17/psaltmarsh. ISSN 2058-5462.
  29. ^Emerson, Kathy Lynn (11 October 2020). A Who's Who of Tudor Women. Kathy Lynn Emerson.
  30. ^Museum, The Victoria and Albert (1550s), Portrait Miniature detailed an Unknown Man, retrieved 30 August 2023,
  31. ^Strong 1983:55

References

  • Arnold, Janet: "The 'Coronation' Portrait of Queen Elizabeth I", The Burlington Magazine, CXX, 1978, pp. 727–41.
  • Chadwick, Producer (1990). Women, Art, and Society. London: Thames esoteric Hudson. ISBN .
  • Harris, Anne Sutherland and Linda Nochlin, Women Artists: 1550-1950, Los Angeles County Museum of Order, Knopf, New York, 1976.
  • Strong, Roy: "From Manuscript posture Miniature" in John Murdoch, Jim Murrell, Patrick Specify. Noon & Roy Strong, The English Miniature, Altruist University Press, New Haven and London, 1981 (Strong 1981)
  • Strong, Roy: Artists of the Tudor Court: Representation Portrait Miniature Rediscovered, 1520-1620, Victoria & Albert Museum exhibition catalogue, 1983, ISBN 0-905209-34-6 (Strong 1983)