- Moscow State University, Art History, Graduate Studentadd
- Fourteenth-Century History, Illuminated manuscripts, 15th Century Netherlandish Art, Tombs (Medieval Studies), Medieval illuminated manuscripts, Medieval Portraiture, and 28 moreArs nova, Portraiture and the Problematic of Representation, Early Netherlandish Painting, Michel Sittow, Hans Holbein the Younger, Identity and Identification, Identification and re-identification of noble portraits ca. 1600-1800, identification portraits, Late medieval and renaissance art in northern europe, Claus Sluter, Art at the courts of France c. 1400, Medieval Studies, Medieval History, Ivory Carving, Medieval Sculpture (XIII-XVth Century), 15th Century Burgundy, Medieval Art, Art History, Collecting and Collections, Early Modern History, Women's History, Iconography, Women's Studies, Medieval Europe, Renaissance Studies, Queenship in Medieval and Early Modern Europe, Tudor/Stuart Britain, and Hans Holbeinedit
- Research area: Middle Ages • Medieval Portraiture • History of Portraiture •
English Art • Ars Nova • Hans Holbein the Younger • Michel Sittow • identificationedit
Research Interests:
Research Interests:
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The victory of the Earl of Richmond (the future Henry VII) over Richard III marked the beginning of the new era. The reign of the first member of the Tudor's dynasty was a transitional step between the Middle Ages and Early New... more
The victory of the Earl of Richmond (the future Henry VII) over Richard III marked the beginning of the new era. The reign of the first member of the Tudor's dynasty was a transitional step between the Middle Ages and Early New Age. The crucial moment has allowed England to re-open to foreign artists who attached art of the country to European Renaissance culture. Events of English history always had reflected on pages of manuscripts during the Middle Ages. In XVIth century portrait painting was also reflecting the sociopolitical life of the country. A great number of members of noble families died in the struggle for the throne. And when the Tudors took the power, they had to “tell things” about themselves and the portrait was perfect for this purpose. Despite the many different circumstances, Henry VII obtained the English throne. That's why he tried to prove the legitimacy of his presence on the English throne all his life. The deification of the monarch was paralleled with attempts to describe his personal features. First mentioning about his appearance belongs to contemporaries like Polydore, Virgil and Bernard André. It is noteworthy that these descriptions are very reliable – we can verify this just by looking at the many portraits of the king.
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A tender and touching children’s portrait in the Hermitage was created by the Scottish artist Christina Robertson during her stay in Russia and dates to 1850 (fig. 1). Although Robertson’s customers were wealthy nobles—we can identify... more
A tender and touching children’s portrait in the Hermitage was created by the Scottish artist Christina Robertson during her stay in Russia and dates to 1850 (fig. 1). Although Robertson’s customers were wealthy nobles—we can identify them by name in many of her signed works—this portrait of children unfortunately still keeps a major secret. The lack of information about the sitters does not detract from the value of the painting, but nevertheless, researchers and art lovers are always interested in knowing who is depicted in the portrait. In this article, I will make an attempt to identify the children depicted by Robertson so that there will be one less mystery in the history of art.
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A tender and touching children’s portrait in the Hermitage was created by the Scottish artist Christina Robertson during her stay in Russia and dates to 1850 (fig. 1). Although Robertson’s customers were wealthy nobles—we can identify... more
A tender and touching children’s portrait in the Hermitage was created by the Scottish artist Christina Robertson during her stay in Russia and dates to 1850 (fig. 1). Although Robertson’s customers were wealthy nobles—we can identify them by name in many of her signed works—this portrait of children unfortunately still keeps a major secret. The lack of information about the sitters does not detract from the value of the painting, but nevertheless, researchers and art lovers are always interested in knowing who is depicted in the portrait. In this article, I will make an attempt to identify the children depicted by Robertson so that there will be one less mystery in the history of art.
Research Interests:
Research Interests:
Research Interests:
Michael Sittow was a unique and outstanding artist, who was active during the second half of the XV to the first third of the XVI century. He was born in Reval, in a family closely related to art, so his future was predestined already... more
Michael Sittow was a unique and outstanding artist, who was active during the second half of the XV to the first third of the XVI century. He was born in Reval, in a family closely related to art, so his future was predestined already from his childhood. In his youth, Sittow went to study in Bruges under the famous painter Hans Memling, who formed the taste for art and portrait vision of the young master. Although Sittow worked at the court of many European monarchs and left behind a sufficient number of portraits, his name was forgotten in art history for a very long time.
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The reign of Henry VII, which began in 1485, was preceded by the short reigns of the uncrowned Edward V and of Richard III. The period of turmoil in the country did not contribute to the development of the portrait genre. The local... more
The reign of Henry VII, which began in 1485, was preceded by the short reigns of the uncrowned Edward V and of Richard III. The period of turmoil in the country did not contribute to the development of the portrait genre. The local English school of illuminated manuscripts fell into decay, and the Flemish city of Bruges became the main center of origin for most of the manuscripts in England.
The rise to power of Henry VII and the end of the War of Roses contributed to the cultural upsurge. However, after a relatively long period of instability, the new king needed to consolidate his position on the throne. For this purpose, many manuscripts were produced, which spoke about the rights of Henry to the English throne and his great ancestors, and created manuscripts on astrological topics, which predicted a long reign and prosperity of the monarch.
The article’s main objective is to show, using the example of illustrations of manuscripts, easel portraits, and written testimonies of contemporaries, how exactly the glorification of the power of Henry VII took place.
The rise to power of Henry VII and the end of the War of Roses contributed to the cultural upsurge. However, after a relatively long period of instability, the new king needed to consolidate his position on the throne. For this purpose, many manuscripts were produced, which spoke about the rights of Henry to the English throne and his great ancestors, and created manuscripts on astrological topics, which predicted a long reign and prosperity of the monarch.
The article’s main objective is to show, using the example of illustrations of manuscripts, easel portraits, and written testimonies of contemporaries, how exactly the glorification of the power of Henry VII took place.
Research Interests: Propaganda, Tudor England, Astrology, Politics, Tudor History, and 15 more16th Century (History), Portraiture, Kingship (Medieval History), England, Monarchy, 15th century England, Henry VII, Manuscripts, Henry VIII, Oil painting, Tudor court, Camelot, Arthur Prince of Wales, The Tudors, and English Monarchs
Research Interests:
Research Interests:
Research Interests:
The victory of the Earl of Richmond (the future Henry VII) over Richard III marked the beginning of the new era. The reign of the first member of the Tudor's dynasty was a transitional step between the Middle Ages and Early New Age. The... more
The victory of the Earl of Richmond (the future Henry VII) over Richard III marked the beginning of the new era. The reign of the first member of the Tudor's dynasty was a transitional step between the Middle Ages and Early New Age. The crucial moment has allowed England to re-open to foreign artists who attached art of the country to European Renaissance culture.
Events of English history always had reflected on pages of manuscripts during the Middle Ages. In XVIth century portrait painting was also reflecting the sociopolitical life of the country. A great number of members of noble families died in the struggle for the throne. And when the Tudors took the power, they had to “tell things” about themselves and the portrait was perfect for this purpose.
Despite the many different circumstances, Henry VII obtained the English throne. That's why he tried to prove the legitimacy of his presence on the English throne all his life. The deification of the monarch was paralleled with attempts to describe his personal features. First mentioning about his appearance belongs to contemporaries like Polydore, Virgil and Bernard André. It is noteworthy that these descriptions are very reliable – we can verify this just by looking at the many portraits of the king.
Events of English history always had reflected on pages of manuscripts during the Middle Ages. In XVIth century portrait painting was also reflecting the sociopolitical life of the country. A great number of members of noble families died in the struggle for the throne. And when the Tudors took the power, they had to “tell things” about themselves and the portrait was perfect for this purpose.
Despite the many different circumstances, Henry VII obtained the English throne. That's why he tried to prove the legitimacy of his presence on the English throne all his life. The deification of the monarch was paralleled with attempts to describe his personal features. First mentioning about his appearance belongs to contemporaries like Polydore, Virgil and Bernard André. It is noteworthy that these descriptions are very reliable – we can verify this just by looking at the many portraits of the king.
Research Interests:
This will be an interdisciplinary conference welcoming historians, art historians, archaeologists, literary scholars and sociologists. It will discuss the complex relationships that existed between any of the following elements: (1.)... more
This will be an interdisciplinary conference welcoming historians, art historians, archaeologists, literary scholars and sociologists. It will discuss the complex relationships that existed between any of the following elements: (1.) medieval 'race'-here problematized as constructed variously in relation to biological, ethnic, linguistic or even proto-national elements-; (2.) laws directly or indirectly governing perceived 'racial' or other identity groups; and (3.) the formation and perpetuation of 'racial' or other group identities. The later medieval processes of colonization at the European 'peripheries' (e.g. Wales, Ireland, Prussia, Livonia, reconquest Spain, the Levant, etc.), of increasing legal consciousness and litigiousness, and of growing self-awareness among literary and political communities transformed the social and political landscape of medieval Europe. These changes were reflected in both core and peripheral areas. This conference casts the widest possible net to bring together exciting new perspectives on these processes and their outcomes, broadly conceived. Languages: English.