Portrait painter 18th century6/20/2023 ![]() He became principal portraitist to James, and in due course to his son, Charles I, who acceded to the throne in 1625. Mytens arrived in London in 1618, and portrayed many leading figures at court. The most successful of this group of Netherlandish immigrants was Daniel Mytens, who was born in Delft around 1590 and was recorded as a freeman at The Hague in 1610. Some years after the accession of King James VI of Scotland as James I of England in 1603, Dutch painters began to arrive in England for professional advancement, rather than for religious reasons. The younger Gheeraerts was thus a second generation immigrant. He became the principal artist to the elderly Elizabeth I (reigned 1558-1603) and subsequently to James I’s consort, Queen Anne of Denmark. However, his son, who presumably trained in London, subsequently made his entire career there. The elder Gheeraerts became a member of the Dutch Reformed group there, before returning to the Netherlands in the late 1580s. Marcus Gheeraerts I was a member of the Protestant community in Bruges until the Duke of Alva’s campaign there forced him into exile in London in 1567 or 1568, with his young son Marcus II (1561/2-1636). Other painters settled there only for a few years. Holbein had died in 1543, and Eworth was to become a leading court painter in England, as the principal painter to the Catholic Queen Mary I, and later also worked for her successor, Elizabeth I. “Hans Eworth” – who was originally Jan Eeuwouts of Antwerp (active c. Some settled there, gaining naturalization. They served a range of practical purposes, and also seem to have been acceptable even in a Calvinist Protestant culture that was anxious about the Second Commandment's prohibition of images.įollowing the re-imposition of Catholic Habsburg rule in the Netherlands in 1567, Protestant England became a refuge for Netherlandish members of the Reformed religion, including artists. In sixteenth-century England and Scotland the demand was mainly for portraits. Thus, from about 1500 up to around 1700, royal and aristocratic patrons there who sought high-quality and fashionable portraits usually chose to be portrayed by foreign-trained artists. ![]() In some periods they came because of their personal religious beliefs at other times their incentives were purely economic. Their motives differed, at differing times. Indeed, throughout most of the sixteenth and seventeenth centuries, numerous craftspeople – including painters and sculptors – travelled from the Continent, and especially from the Northern and Southern Netherlands, to work in England and Scotland (which until 1603 were two distinct nations). ” The leading court painter to King Henry VIII was, of course, the German, Hans Holbein II, whom Elyot, too, chose to portray himself and his wife. In 1531, the English courtier and writer Sir Thomas Elyot commented that his countrymen felt compelled “if we wyll have any thinge well paynted, kerved, or embrawdred, to abandon our own countraymen and resorte unto straungers. Curator's Project Netherlandish Painters Active in Britain in the 16th and 17th Centuries
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