Henrietta Maria: Constructing and Reconstructing Early Modern Royal Motherhood and Confessional Identity
Mots-clés :
Henrietta Maria, Catholicism, Patronage, Motherhood, Heritage(c) Tous droits réservés Amy Saunders 2024
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Résumé
This article examines representations of Henrietta Maria’s (1609-1669) Catholicism and motherhood in a variety of artistic mediums and analyses how these objects are now reinterpreted within heritage sites and museum spaces in England. Henrietta Maria’s patronage, agency, motherhood, pregnancy, and confessional and foreign identity are often omitted from these heritage reconstructions despite the centrality of these themes within the artworks themselves. Her confessional and foreign identity places her in a liminal position within heritage spaces, where she is situated in opposition to Protestant queen regnants and queen consorts who are represented as more admirable or ‘successful’, due to their politics, identities, and activities. Furthermore, this article suggests that the continuation of a Protestant monarchy in England into the twenty-first century has influenced these representations with Henrietta Maria’s narrative not aligning to retrospectively applied ideals of the later royal family.
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Références
Paintings, Prints, and Other Artworks
de Critz, John. Anne of Denmark. c.1606-1608, oil on canvas, 2016 x 1265 mm. National Portrait Gallery, NPG 6918. https://www.npg.org.uk/collections/search/portrait/mw202589/Anne of Denmark?LinkID=mp00110&search=sas&sText=Anne+of+Denmark&role=sit&rNo=0. Accessed September 14, 2023.
Elstracke, Renold. King James I of England and VI of Scotland and Anne of Denmark. Early 17th century, engraving, 155 x 119 mm. National Portrait Gallery, NPG D256686. https://www.npg.org.uk/collections/search/portrait/mw128078/King James I of England and VI of Scotland and Anne of Denmark?LinkID=mp00110&search=sas&sText=Anne+of+Denmark&role=sit&rNo=8. Accessed September 14, 2023.
Gentileschi, Artemisia. Self-Portrait as the Allegory of Painting (La Pittura). c.1638-9, oil on canvas, 98.6 x 75.2 cm. Royal Collection Trust, RCIN 405551. https://www.rct.uk/collection/search#/1/collection/405551/self-portrait-as-the-allegory-of-painting-la-pittura. Accessed September 14, 2023.
Gentileschi, Orazio. The Finding of Moses. Early 1630s, oil on canvas, 257 x 301 cm. The National Gallery, NG6684. https://www.nationalgallery.org.uk/paintings/orazio gentileschi the finding of moses#VideoPlayer95489. Accessed September 14, 2023.
L'ALIANCE DV ROY DE FRANCE AVEC MARIE DE MEDICIS PRINCESSE DE FLORENCE. 1600-10, engraving with hand-colouring, 34.5 x 24.0 cm. Royal Collection Trust, RCIN 616711. https://www.rct.uk/collection/search#/7/collection/616711/laliance-dv-roy-de-france-avec-marie-de-medicis-princesse-de-florence. Accessed September 14, 2023.
Maggi, Giovanni. Henri IV and Marie de Médicis. 1610, etching, 356 x 270 mm. British Museum, 1848,0911.618. https://www.britishmuseum.org/collection/object/P_1848-0911-618. Accessed September 14, 2023.
Mytens, Daniel. Charles I and Henrietta Maria. c.1630-32, oil on canvas, 95.6 x 175.3 cm. Royal Collection Trust, RCIN 405789. https://www.rct.uk/collection/search#/5/collection/405789/charles-i-and-henrietta-maria. Accessed June 30, 2024.
Regnier, Pierre. Medal, Charles I and Henrietta Maria. 1625, silver, 23.5 mm (diameter). British Museum. M.7078. https://www.britishmuseum.org/collection/object/C_M-7078. Accessed September 11, 2023.
Wierix, Johannes. Marie de Médicis. 1600, engraving, 344 x 245 mm. British Museum, R,6.95. https://www.britishmuseum.org/collection/object/P_R 6 95. Accessed September 14, 2023.
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