Abstract

For 500 years, the work of the Horenbout family of Flemish artists at the Tudor court (fl. 1522–1548) has played a supporting role in art histories. Foundational in the creation of the English miniature tradition and initiators of repetitive portraiture employed as a political tool, they have taken a back seat in the literature both to contemporaries like Hans Holbein and to those who came after. Yet the Horenbouts—paterfamilias Gheraert, daughter Susanna, son Lucas, daughter-in-law Margaret—were principal players in the visual campaigns of propaganda and self-promotion undertaken by Henry VIII, his successive queens, Cardinal Wolsey and the 5^th Earl of Northumberland. Creators of many of the images and symbols that became the common currency of Tudor identity, the Horenbouts were the starting point for the emerging mask of royalty, the way in which the Tudor monarchy presented itself visually to the world. By analyzing and contextualizing a set of diverse works, some attributed to the hand of “Horenbout”, others that should be added to the catalogue, this paper examines how the family workshop created representational change, moving Tudor art from the medieval to the modern, and in the process identifying a broader pool of patrons than has yet been recognized.

摘要

500 年来，都铎宫廷（佛罗里达州 1522-1548 年）的佛兰芒艺术家霍伦布特家族的作品在艺术史上扮演着重要的角色。在英国微型传统的创造和重复肖像画的发起者被用作政治工具方面的基础上，他们在文学中退居次要地位，无论是汉斯·霍尔拜因 (Hans Holbein) 等同时代人还是后来的人。然而，Horenbouts- paterfamilias Gheraert，女儿苏珊娜，儿子卢卡斯，女儿女婿玛格丽特是在亨利八世，他连续皇后，沃尔西红衣主教进行宣传和自我宣传的视觉活动主要球员和5^次诺森伯兰伯爵。许多图像和符号的创造者成为都铎身份的共同货币，Horenbouts 是新兴皇室面具的起点，都铎王朝君主制向世界展示自己的方式。通过分析和背景化一系列不同的作品，其中一些归因于“Horenbout”之手，另一些应该添加到目录中，本文探讨了家庭作坊如何创造代表性变化，将都铎艺术从中世纪转移到现代，并在此过程中确定了比尚未认识到的更广泛的顾客群。