Adam Eaker - Böcker

A fascinating new look at the artistic legacy of the Tudors, revealing the dynasty’s influence on the arts in Renaissance England and beyondRuling successively from 1485 through 1603, the five Tudor monarchs changed England indelibly, using the visual arts to both legitimize and glorify their tumultuous rule—from Henry VII’s bloody rise to power, through Henry VIII’s breach with the Roman Catholic Church, to the reign of the “virgin queen” Elizabeth I. With incisive scholarship and sumptuous new photography, the book explores the politics and personalities of the Tudors, and how they used art in their diplomacy at home and abroad.  Tudor courts were truly cosmopolitan, attracting artists and artisans from across Europe, including Hans Holbein the Younger (1497/8–1543), Jean Clouet (ca. 1485–1540), and Benedetto da Rovezzano (1474–1552). At the same time, the Tudors nurtured local talent such as Isaac Oliver (ca. 1565–1617) and Nicholas Hilliard (ca. 1547–1619) and gave rise to a distinctly English aesthetic that now defines the visual legacy of the dynasty. This book reveals the true history behind a family that has long captured the public imagination, bringing to life the extravagant and politically precarious world of the Tudors through the exquisite paintings, lush textiles, gleaming metalwork, and countless luxury objects that adorned their spectacular courts.Published by The Metropolitan Museum of Art/Distributed by Yale University PressExhibition Schedule:The Metropolitan Museum of Art, New York(October 10, 2022–January 8, 2023)  The Cleveland Museum of Art(February 26–May 14, 2023)  Fine Arts Museums of San Francisco(June 24–September 24, 2023)

Gesina ter Borch (1631-1690) was a Dutch watercolourist and draughtswoman whose work survives primarily in the form of three albums of watercolours and calligraphy, now held at the Rijksmuseum. Despite the fact that her oeuvre is securely attributed and thoroughly catalogued, Ter Borch has surprisingly never been the subject of a dedicated monograph, until now. For the first time, this book highlights Ter Borch’s watercolours and calligraphy in their own right, as well as her work as an art teacher, an archivist, and an artist’s model, and questions a historiography of women’s art that frequently values oil painting over other media, and work for the market over 'amateur' production.Adam Eaker revisits Gesina ter Borch’s role in the genesis of Dutch 'high-life' genre painting and its construction of gender and social class, comparing her art with that of her brother Gerard, and in so doing allows for a more nuanced understanding of the ideologies and achievements of Dutch genre painting.