Tudor and Stuart Paintings and Drawings: Works in the Tate Collection
Research is in progress toward a catalogue of all Tate works by artists born up to the end of 1674 who worked in Britain. Covering 108 paintings and more than 200 works on paper, this will act as a survey of painting (and to a lesser extent, drawing) in England over the period circa 1540-circa 1720. It will use leading-edge art-historical methodologies and technical analysis to make the first two centuries of paintings in Tate’s collection accessible to a wide audience.
The earliest work in the Tate collection – the portrait of an Unknown Man in a Black Cap by John Bettes – was painted in 1545, and can be linked to the court of Henry VIII. The Tate paintings from the following 180 years provide a densely woven survey of the key artists, styles and genres of sixteenth- and seventeenth-century art in Britain. Almost every major painter of the period is represented. They include Hans Eworth, George Gower, Marcus Gheeraerts II, Daniel Mytens, Sir Anthony van Dyck, William Dobson, Sir Peter Lely, John Michael Wright, Jan Siberechts and Sir Godfrey Kneller.
  John Bettes active 1531-1570 A Man in a Black Cap 1545 Tate. Purchased 1897 |
![British School 16th century 1500-1599, A Young Lady Aged 21, Possibly Helena Snakenborg, Later Marchioness of Northampton, 1569 [Detail, photographed in raking light]](tudor2.jpg) British School 16th century 1500-1599 A Young Lady Aged 21, Possibly Helena Snakenborg, Later Marchioness of Northampton 1569 [detail, photographed in raking light]. Tate. Presented by the Friends of the Tate Gallery 1961 |
The catalogue will be prefaced by three essays: an overview that sets the Tate works in their historical and cultural context; an account of the critical reception of art during the period; and a discussion of artistic techniques in use during the period. The volume will include: an illustrated catalogue entry for each of the paintings, with notes and a biographical entry on the artist (if known); illustrated catalogue entries on the principal works on paper and listings of the lesser ones; a glossary of technical terms; tables of technical information; bibliography; and an index.
Every painting entry will include technical information and, where possible, an appreciation of its significance. Investigative techniques used include stereo-microscopy, cross-sections, x-radiography, dendrochronology, analysis of pigments and some binding media, and infra-red digital reflectography, which makes it possible to produce detailed images of underdrawing, so crucial to the process of attributing panel paintings from this period.
Research and new writing began in May 2003. Paintings underwent technical examination over the period, May 2003 to October 2005. Other research and writing continues.
Project team:
Karen Hearn, Curator, Tate Collection (coordinator); Rica Jones, Conservator of Paintings (coordinator of conservation research); Tabitha Barber, Curator, Tate Collection; Jacqueline Ridge, Head of Paintings Conservation (up to September 2006); Piers Townshend, Head of Paper Conservation; Joyce Townsend, Senior Conservation Scientist; Natasha Duff, Paintings Conservator (August 2003 to May 2004); Kate Stonor, Paintings Conservator (July 2004 to end of September 2005).
Supported by the Getty Grant Program (2003-5).
Updated October 2006
