Portal de Periódicos da CAPES

Stuartporträtten på Håtunaholm

1936; Taylor & Francis; Volume: 5; Issue: 1-4 Linguagem: Inglês

10.1080/00233603608603228

1651-2294

August Hahr,

Historical Influence and Diplomacy

Summary A collection of Stuart portraits at Håtunaholm by Professor August Hahr. — At Håtunaholm Manor in Uppland the present owner, Bo Montgomery, Ph. Doc., has founded an important art collection, which includes a series of Royal Stuart portraits. The first number in the series is a half–length portrait of Mary Queen of Scots (fig. 1), painted in 1571 during her imprisonment in Tutbury Castle. The Dutch painter — the attribution of the portrait to Lucas de Heere (1534–84) must be regarded as very uncertain — has shown great skill, especially in the execution of the face and the hands, and with fine psychological insight has given individual life to the facial expression. Another portrait (fig. 2), which is somewhat stiff in its composition but warm and harmonious in its colour–tones, shows her son, James I, painted by Daniel Mijtens (1590–1656). Charles I (fig. 3) is painted by Anthony van Dyck (1599–1641). It is a typical late product of the master, somewhat effeminate and coquettish, and is not altogether the work of his own hands. Sir Peter Lely (1617–1680) contributes two pictures of Charles II, the one (fig. 4) a bust–portrait with harness and a large dark wig, the other (fig. 5) a magnificent half–length portrait of the Monarch in his Royal robes seated on a gilded throne. Through the window in the wall behind is seen a view of Windsor Castle. The composition, the colour scheme and the excellent painting of the dress are reminiscent of Van Dyck. The portrayal of the features, however, contrasts with the noble air of the picture as a whole. It is a rather crude and cynical face and the painter has evidently done nothing to idealize his model. The half–length portrait of James II (fig. 6) by Sir Godfrey Kneller (1646–1723) is influenced by the official contemporary French portrait painting. The same cannot be said of the portrait of William III (fig. 7) by John Riley (1646–91), a very good picture indeed of the democratic, gifted and simple–minded king. The last, somewhat official, portrait of the series represents Queen Anne (fig. 8) and is painted either by the Swedish born Michael Dahl (1656–1743) or by Sir Godfrey Kneller.