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The iconography of Elizabeth I

The visual images of Queen Elizabeth I displayed in contemporary portraits and perpetuated and developed in more recent media, such as film and television, make her one of the most familiar and popular of all British monarchs. This book is a collection of essays that examine the diversity of the queen's extensive iconographical repertoire, focusing on both visual and textual representations of Elizabeth, in portraiture, literature, contemporary sermons, speeches and alchemical treatises. It falls into three sections. The first part looks at the diverse range of religious and quasi-religious images that were employed by and about Elizabeth, such as the Prophetesse Deborah, the suggestive parallel with Joan of Arc, and finally Lady Alchymia, the female deity in alchemical treatises. When Queen Elizabeth I, the first female Protestant monarch, was enthroned in 1558, male poets, artists, theologians, and statesmen struggled to represent this new phenomenon. The second part turns to one of the major enterprises of the Elizabethan era, the attempt to colonise the New World, during which the eastern seaboard of America was renamed Virginia in celebration of the Virgin Queen. The last part focuses on the ways in which the classical world was plundered for modes of imaging and figuring the queen. Finally, the book summarises the enormously wide range of Elizabeth's iconographical repertoire of its appeal, and provides a fitting end to a book which ranges so widely across the allegorical personae of the queen.

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Annaliese Connolly
Lisa Hopkins

apparently commands, the Elizabeth of film is a thin shadow of her historical self, reduced to a pitifully small range of roles and poses. The chapters in this book, in contrast, address the full range of the queen’s extraordinary iconographical repertoire, focusing specifically on its development during Elizabeth’s forty-five-year reign. The most familiar representations of Elizabeth

in Goddesses and Queens
Michel Summer

Finally, die-impressed foils could also feature ‘non-military’ images. Depictions of figures guiding or fighting animals form part of the iconographic repertoire of early medieval helmets. 31 Rather than referring to mythological topics, they seem to tie in with antique depictions of games held in the circus. 32 This short overview shows that the images’ archaeological contexts are diverse. The corpus of ‘warrior’ images is moreover

in Early medieval militarisation
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Enviromateriality and ingenuity in Albrecht Dürer’s material world
Stefan Hanß

posthumous publication, came to shape ‘the ornamental grotesque’ of Renaissance Germany. 8 Dürer’s Knots contributed to the expansion of metalworkers’ iconographic repertoire of vegetal decorations. As a goldsmith apprentice, Dürer had trained his hand in the elaborate, symmetrical floral designs of metalwork which he also applied to the Knots . 9 By introducing vegetal elements to the arrangement, Dürer made Leonardo’s knots accessible to the vibrant craft cultures of entrepreneurial Nuremberg artisans. Goldsmiths like

in Albrecht Dürer’s material world
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Tricontinental genealogies of ’68
Paula Barreiro López

monde nouveau!!! ’ (Three continents, one common enemy, a unified struggle, a new world!!!). Adapting from the Tricontinental, ideological and iconographic repertoires, the Sorbonne poster did not just entrench the Parisian ’68 within an internationalist decolonising horizon, it also rehabilitated the role of visuality within political struggle. Debates on the militant role of images were part of the

in Transnational solidarity