By Christiane Hille
"As the 1st finished examine of Buckingham's patronage of the visible arts, this booklet is worried with the query of the way the painted snapshot of the courtier transferred techniques of social contrast that had originated within the masque to the language of portray. setting up a brand new grammar within the competing rhetorics of physically self-fashioning, this recast thought of portraiture contributed to an epistemological Read more...
summary: "As the 1st accomplished learn of Buckingham's patronage of the visible arts, this ebook is anxious with the query of the way the painted photo of the courtier transferred options of social contrast that had originated within the masque to the language of portray. setting up a brand new grammar within the competing rhetorics of physically self-fashioning, this recast idea of portraiture contributed to an epistemological switch in perceptions of visible illustration on the early sleek English courtroom, during which portray complex to the primary paintings shape within the aesthetics of kingship." (cover - p. four)
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Extra info for Visions of the courtly body : the patronage of George Villiers, First Duke of Buckingham, and the triumph of painting at the Stuart Court
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Note 25); Nevile, Jennifer (2004): The Eloquent Body: Dance and Humanist Culture in Fifteenth-Century Italy, Bloomington: Indiana University Press; Fischer-Lichte, Erika (2004): Ästhetik des Performativen, Frankfurt a. : Surkamp. 36 Introduction With reference to a joint commission of the Duke of Buckingham and Charles I, namely Honthorst’s The Liberal Arts presented to King Charles and Queen HenriettaMaria from 1628, I suggest that Buckingham’s patronage of painting strongly influenced the artistic taste of England’s second Stuart king.
185–205; eadem (2009): Die Körper des Königs. Effigies, Bildpolitik und Heiligkeit, Munich: Fink. Indispensable for all these studies, including Kantorowicz, still is: Schlosser, Julius von (1911): ‘Geschichte der Portraitbildnerei in Wachs. Ein Versuch’, in: Jahrbuch der Kunsthistorischen Sammlung des Allerhöchsten Kaisers, vol. XXIX, no. 3, pp. 171–258. 33 Introduction mobile and lifeless simulation of his likeness in the two-dimensional sphere of the picture-plane. The doctrine of the king’s two bodies was invented in order to locate the source of sovereign power in the king’s body natural after the ideological hegemony of empire and papacy had declined and the hollowness of feudal authority had become increasingly apparent.
For the historic account of Hymenæi, see: Orgel, Stephen and Roy Strong (1973): Inigo Jones: The Theatre of the Stuart Court. , pp. 41 ONE | Spatial Representations of the Royal Body at Court: The Masques of James I nificence and inventive fancy, forming an indispensable component in the celebration of any major event at the Jacobean court of Whitehall. Shaped by classical myth and Renaissance iconography, the genre produced celebratory narratives that evolved around the principal theme of royal creativity and power, and as such provided the king and his courtiers with a heroic mould that gave higher meaning to the realities of their political actions.