DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.68073#0361
ENGLISH, EIGHTEENTH CENTURY
335
great reputation as a miniaturist portrait-painter and painted Charles
II, Henrietta Maria, all the celebrities of the Court, and also John
Milton and Oliver Cromwell. Collectors appreciate his works to-day.
Holbein left no School and there was no one to succeed him. Con-
sequently when Antonio Moro (see page 257), came to England from
Spain in 1553 to paint Mary Tudor, he stayed in London for some time
painting celebrities.
In Queen Elizabeth’s time another foreign portrait-painter, Federigo
Zuccaro (or Zucchero) arrived from Italy with a great reputation,
having worked for Pope Gregory XIII and the Cardinal of Lorraine,
and also in Antwerp and Amsterdam. Zuccaro painted Queen Eliza-
beth, Sir Francis Walsingham, Sir Walter Raleigh, the Earl of Leices-
ter, and many other English notables.
Another foreigner, Daniel Mytens (i59o?-i656), arrived in the
reign of James I, became his Court-Painter and continued in the post
in the reign of Charles I, until Van Dyck’s popularity sent him back
to Holland. Mytens painted in the style of Rubens and Van Dyck.
Hampton Court Palace contains many full length portraits by him.
A portrait by Mytens of Jeffrey Hudson (see page 191), holding a
dog by a leash, hangs in Buckingham Palace.
However, in the reign of Charles I, Anthony Van Dyck (see page
181) dominated Painting just as Holbein had in the reign of Henry
VIII. For years after his death every painter tried to follow Van
Dyck’s style; but they all missed his distinction, not having his genius
to start with.
Civil war and Puritanism killed art completely. Consequently
when “Charlie came over the water” and the “King Enjoyed his
Own Again,” there was nobody in the kingdom able to paint an
acceptable portrait. Again a foreigner met the need. This time it
was Peter Lely (1618-1680), who was a Dutchman, born in West-
phalia, Germany, the son of Pieter van der Faes, a captain of infantry,
who had changed his name to Lely. In 1640 young Lely was in Eng-
land, painting landscapes and trying to imitate Van Dyck in por-
traiture. The marriage of Princess Mary to William, Prince of Orange
gave Lely his first opportunity and he painted the Royal couple with
335
great reputation as a miniaturist portrait-painter and painted Charles
II, Henrietta Maria, all the celebrities of the Court, and also John
Milton and Oliver Cromwell. Collectors appreciate his works to-day.
Holbein left no School and there was no one to succeed him. Con-
sequently when Antonio Moro (see page 257), came to England from
Spain in 1553 to paint Mary Tudor, he stayed in London for some time
painting celebrities.
In Queen Elizabeth’s time another foreign portrait-painter, Federigo
Zuccaro (or Zucchero) arrived from Italy with a great reputation,
having worked for Pope Gregory XIII and the Cardinal of Lorraine,
and also in Antwerp and Amsterdam. Zuccaro painted Queen Eliza-
beth, Sir Francis Walsingham, Sir Walter Raleigh, the Earl of Leices-
ter, and many other English notables.
Another foreigner, Daniel Mytens (i59o?-i656), arrived in the
reign of James I, became his Court-Painter and continued in the post
in the reign of Charles I, until Van Dyck’s popularity sent him back
to Holland. Mytens painted in the style of Rubens and Van Dyck.
Hampton Court Palace contains many full length portraits by him.
A portrait by Mytens of Jeffrey Hudson (see page 191), holding a
dog by a leash, hangs in Buckingham Palace.
However, in the reign of Charles I, Anthony Van Dyck (see page
181) dominated Painting just as Holbein had in the reign of Henry
VIII. For years after his death every painter tried to follow Van
Dyck’s style; but they all missed his distinction, not having his genius
to start with.
Civil war and Puritanism killed art completely. Consequently
when “Charlie came over the water” and the “King Enjoyed his
Own Again,” there was nobody in the kingdom able to paint an
acceptable portrait. Again a foreigner met the need. This time it
was Peter Lely (1618-1680), who was a Dutchman, born in West-
phalia, Germany, the son of Pieter van der Faes, a captain of infantry,
who had changed his name to Lely. In 1640 young Lely was in Eng-
land, painting landscapes and trying to imitate Van Dyck in por-
traiture. The marriage of Princess Mary to William, Prince of Orange
gave Lely his first opportunity and he painted the Royal couple with