An artwork on Galleree from Minneapolis Institute of Art.
About the artwork
Portrait of a Noblewomanc. 1550
Artist: Unknown , English or Flemish
Portrait of a young woman sitting against a green background. She holds a small psalm book. The book is actually a girdle prayer book, whether it is a psalm book or something else remains to be determined. NW 03/10
30 1/8 x 22 11/16 in. (76.52 x 57.63 cm) (panel)
Oil on panel
Painting
England
16th century
Anonymous gift
In the quiet halls of history, where whispers of the past linger like faded echoes, a portrait captures our attention. The woman in this intricate painting stands as a living testament to a world filled with grandeur and courtly life. Clad in a delicate French hood, her majesty unfolds in the rich hues of her attire, crowned by an elaborate gold brooch that catches the light like a fallen star. This piece of jewelry, not merely an adornment but a symbol of her status, portrays a serene figure seated and playing a lute, accompanied by the inscription, “Praise the Lorde for ever more.” It speaks not just to her elegance but to the quiet prayers that accompanied her every day—intimate moments woven into the fabric of courtly decorum.
Her golden "girdle book," an item reserved for those of high standing, rests carefully by her side—an emblem of both faith and privilege. This portable prayer book, stark against the richness of her velvet sleeves, mirrors the heart of a woman dedicated to both her beliefs and her station in life, poised at the intersection of spirituality and social obligation.
Tradition has long pointed to Hans Holbein the Younger, the celebrated court painter of Henry VIII, as the creator of this artwork. Yet, as scholars delve deeper into the annals of time, they suggest it may have emerged from the hands of another—a descendant artist serving under a later Tudor monarch. The eminent historian, Roy Strong, introduces us to the intriguing "Circle of William Scrots," an artist whose identity intertwines with the legacy of the English court.
Science, too, plays its role in this tale. Dendrochronological studies once dated this piece to the mid-1540s, but the waltz of science and history can be an uncertain dance. The dress of our subject echoes the refined styles of the Tudor court, much like a symphony of fabric that fades and shifts over the eras. The high collar and opulent cuffs mirror the attire worn by Mary I herself in an artwork thought to capture her essence. Yet, despite the similarities, it is clear that this woman is more likely to be a lady-in-waiting, a quiet participant in the grand orchestration of courtly life.
Perhaps she belonged to the esteemed Bodenham family, a name echoing through Tudor history, marking her as a significant figure in an enchanting drama that unfolded long before our time. As we stand before her likeness, we find ourselves drawn into a tale steeped in elegance, reverence, and the intricate web of connections that defined the Tudor court—a narrative that beckons us to ponder the lives of those who walked these halls.
About the artist
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