page_title: Artists of the Tudor court
section_title: Isolation and iconography
hierarchical_section_title: Artists of the Tudor court / Isolation and iconography
context_page_description: The artists of the Tudor court are the painters and limners engaged by the monarchs of England's Tudor dynasty and their courtiers between 1485 and 1603, from the reign of Henry VII to the death of Elizabeth I.
  Typically managing a group of assistants and apprentices in a workshop or studio, many of these artists produced works across several disciplines, including portrait miniatures, large-scale panel portraits on wood, illuminated manuscripts, heraldric emblems, and elaborate decorative schemes for masques, tournaments, and other events.
context_section_description: The Tudor period was one of unusual isolation from European trends for England.  At the start the Wars of the Roses had greatly disrupted artistic activity, which apart from architecture had reached a very low ebb by 1485.  The Yorkist dynasty overthrown by the Tudors had been very close to their Burgundian allies, and English diplomats had their portraits painted by the finest Early Netherlandish painters - Edward Grimston by Petrus Christus and Sir John Donne by Hans Memling (both National Gallery, London).  However these were both painted abroad.  In the Tudor period foreign artists were recruited and often welcomed lavishly by the English court, as they were in other artistically marginal parts of Europe like Spain or Naples. The Netherlandish painters remained predominant, though French influence was also important on both Lucas Horenbout and Nicholas Hilliard, respectively the founder and the greatest exponent of the distinctively English tradition of the portrait miniature.
  With the virtual extinction of religious painting at the Reformation, and little interest in classical mythology until the very end of the period, the portrait was the most important form of painting for all the artists of the Tudor court, and the only one to have survived in any numbers.  How many of these have also been lost can be seen from Holbein's book (nearly all pages in the Royal Collection) containing preparatory drawings for portraits - of eighty-five drawings, only a handful have surviving Holbein paintings, though often copies have survived.  Portraiture ranged from the informal miniature, almost invariably painted from life in the course of a few days and intended for private contemplation, to the later large-scale portraits of Elizabeth I such as the Rainbow Portrait, filled with symbolic iconography in dress, jewels, background, and inscription.
  Much energy was also expended on decorative painting of fixtures and fittings, often of a very temporary nature.  In theory the "Serjeant Painters" of the King, a lower rank of painter, did most of this, probably to the designs of the more elevated "King's Painters" (or Queen's), but it is clear that they too spent time on this, as did court artists all over Europe (see Royal Entry). There was also the Master of the Revels, whose Office was responsible for festivals and tournaments, and no doubt called upon the artists and Serjeant Painters for assistance.
  Jewellery and metalwork were regarded as extremely important, and far more was spent on them than on painting. Holbein produced many spectacular designs for now-vanished table ornaments in precious metals, and Hilliard was also a practising goldsmith.  The main artistic interests of Henry VIII were music, building palaces and tapestry, of which he had over 2,000 pieces, costing far more than he ever spent on painters.  The Flemish set with the Story of Abraham still at Hampton Court Palace is one grand set from late in his reign.
   
  Elizabeth spent far less, hardly building anything herself, but took a personal interest in painting, keeping her own collection of miniatures locked away, wrapped in paper on which she wrote the names of the sitter. She is reputed to have had paintings of her burnt that did not match the iconic image she wished to be shown.
  The most progressive and spectacular palace of the Tudor period, Nonsuch Palace, begun by Henry VIII in 1538 a little way south of London, was covered inside and out with prodigious quantities of figurative sculpted stucco reliefs - the whole scheme covered over 2,000 square metres (21,000 sq ft).  There was also probably much decorative painting.  As for the similar work at the Château de Fontainebleau, which Nonsuch was certainly intended to compete with, and outshine, Italians were brought in to provide authentic Mannerist work, however much the general plan remains English.  The scattered fragments and images that have survived suggest that the awestruck accounts of visitors were not exaggerated.
caption: Portrait of Jane Seymour by Holbein, 1536–37
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