Renaissance Bodies: The Human Figure in English Culture c.
With essays through John Peacock, Elizabeth Honig, Andrew and Catherine Belsey, Jonathan Sawday, Susan Wiseman, Ellen Chirelstein, Tamsyn Williams, Anna Bryson, Maurice Howard and Nigel Llewellyn.
Renaissance our bodies is a special number of perspectives at the ways that the human photo has been represented within the arts and literature of English Renaissance society. the themes mentioned variety from excessive paintings to pop culture - from images of Elizabeth I to polemical prints mocking spiritual fanaticism - and contain miniatures, manners, anatomy, drama and architectural patronage. The authors, artwork historians and literary critics, replicate varied severe viewpoints, and the seventy eight illustrations current a desirable exhibition of the customarily unusual and haunting photos of the interval.
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Additional resources for Renaissance Bodies: The Human Figure in English Culture c. 1540-1660
22 Such diagrams make a number of claims about the nature of things. First, that since both macrocosm and microcosm were made by God therefore there are important analogies between them. Next, that the human figure, being made in God's image, can to some extent understand the nature and laws of the universe, and even put them to the use and benefit of human life (the implication sometimes being the restoration, as far as is possible on Earth, of the prelapsarian state of perfect knowledge and control).
Peake's portrait of Elizabeth Pope is full-sized, but he has, I think, deliberately evoked many of the formal and associative qualities of the miniature: not only the very different physical relation between viewer and image but also the miniature's courtly origins, its representational function and its expression of 'private' emotion. The miniature originated with the court of Henry VII and remained a distinctly aristocratic fashion. 28 Assuming a familiarity with courtly symbols and references, it involved a distinctly privileged viewing not unlike that demanded of audiences for impresa and emblems.
The Essex rebellion of 1601 was a devastating blow to Elizabeth's confidence. And though it was increasingly apparent that James VI of Scotland was the only possible heir to the English throne, Elizabeth resolutely refused to quell anxiety on this score by naming her successor. 40 The sphere of the state was by no means as unshakeable as Court propaganda implied. The Case diagram awards Elizabeth the familiar title of Queen of England, France and Ireland. The Queen had no authority in France: the last English territory, Calais, fell to the French in 15 58, before she came to the throne.