Height: 44.2 cm Panel, Width: 31.6 cm Panel, Height: 54 cm Frame, Width: 43 cm Frame, Depth: 6 mm Panel. Journal In her essay for Painting in Britain 1500-1630 (2016) Catherine Daunt writes that “these served to celebrate the lineage of the reigning monarch, as well as to proclaim the owner’s loyalty to the Crown”. It has previously been suggested that the V&A portrait and the version held by the National Portrait Gallery, dated c.1546, may have been by the same artist.

The painting materials (with gold and silver leaf evident in the micro details on the left) probably reflect the materials in the actual fabric worn by Edward. As such, the painting is one of the later known examples of the second group of portraits.

He is shown in distorted perspective (anamorphosis), a technique designed to display the virtuosity of the painter and amaze the spectator. Please confirm you are using these images within the following terms and conditions, by acknowledging each of the following key points: Maximum 4000 copies, or 5 years digital use, No book jacket, or homepage lead image use, Images must be credited © Victoria and Albert Museum, London. This technique of tree-ring dating can be used to help date panel paintings on wood.

We can see from the x-rays that at an early stage of painting, a window was painted in at the left of the portrait. Edward himself on his death-bed had opposed Mary’s succession, not only on religious grounds but also on those of legitimacy and male inheritance, (which also applied to Elizabeth). These kingly profiles represented one of the earliest incursions of the If you wish to read about another painting that passed through The Weiss Gallery, then you can catch up via with a very popular article: The Human Face of Elizabeth I via the hyperlink. no. This type (sometimes in half length format) became one of the most popular ways to represent Edward in the Elizabethan and Jacobean period. The frontal portrait (NPG 1132), shows Edward as a very young prince and was probably painted around 1542. It is plausible that all of the known profile portraits of Edward VI relate back to a ‘pattern’ or design by Scrots, who was first recoded as the King’s Painter in 1545-46. Private Research
His father was delighted with him; as a baby, in May 1538, Henry was seen ‘dallying with him in his arms…and so holding him in a window to the sight and great comfort of the people.’[3] The earliest portrait of the young Prince was developed by Holbein, who had painted celebrated portraits of both Henry VIII and Jane Seymour, and who executed a drawing of Edward VI in circa 1539 – 1540, when he was only two years old (The Royal Collection, Windsor). This week’s guest blog accompanies November’s Tudor Travel Show and is written by Florence Evans, Director of The Weiss Gallery in London.

Despite his brief reign of only six years, a relatively large number of portraits of Edward survive, reflecting his importance as the long-awaited legitimate male heir of Henry VIII. King Edward VIafter Hans Holbein the Youngercirca 1542NPG 1132. The first group relate to a drawing formerly attributed to Hans Holbein in the Royal Collection at Windsor (RCIN 912202), extended to half-length with the right hand holding a flower.

Both the profile portrait and a full length portrait (NPG 5511) were shown to have been painted in the King's lifetime. However the different versions are by various artists and are not apparently identical with the autograph Scrots anamorphosis.



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