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Anna of DenmarkThe material and visual culture of the Stuart courts, 1589-1619$
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Jemma Field

Print publication date: 2020

Print ISBN-13: 9781526142498

Published to Manchester Scholarship Online: January 2021

DOI: 10.7765/9781526142504

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PRINTED FROM MANCHESTER SCHOLARSHIP ONLINE (www.manchester.universitypressscholarship.com). (c) Copyright Manchester University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in MSO for personal use.date: 23 September 2021

Representation and self-fashioning

Representation and self-fashioning

Chapter:
(p.152) 5 Representation and self-fashioning
Source:
Anna of Denmark
Author(s):

Jemma Field

Publisher:
Manchester University Press
DOI:10.7765/9781526142504.00014

Examining portraits of Anna - both easel and miniature - this chapter tracks the queen’s increasing control over her own image in the development of a highly personalised iconography formed around familial pride, court networks, and personal interests. Patronising European artists - notably Isaac Oliver (1565-1617), Marcus Gheeraerts (1561-1636), and Paul van Somer (1577-1621) - Anna secured a cosmopolitan mode of representation that radically contrasted with the artists and styles supported by James and his court, and those favoured by Queen Elizabeth. In portraiture, as in her building and garden projects, Anna helped establish a new direction for royal patronage, aligning England with its European counterparts, and setting an important precedent for Prince Henry, who was quick to patronise the same artists as his mother and to adopt a comparative manner of presentation.

Keywords:   Portraiture, Miniatures, Self-fashioning

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