Henrietta Maria at the English court of Charles I Stuart: “The language of artistic patronage” and communication networks

Abstract

Art collecting became an important part of the political culture of the early Modern era. In the second half of the 16th century England was isolated from European countries and from new continental trends due to the war with Spain and the break with Rome. When the Stuarts came to the English throne and the peace treaty with Spain was concluded, Baroque tastes began to penetrate the country. The art collection of Queen Anne of Denmark, the Renaissance court of Prince Henry (1594–1612), Charles Stuart’s acquaintance with the collection of the Spanish Habsburgs during his personal visit to Madrid in 1623 became crucial factors in creating the famous royal collection of Charles I. Another important factor in the development of the king’s artistic tastes and communication network in the art market was his marriage to the French Princess Henrietta Maria. Having grown up at the sophisticated Bourbon court, Henrietta understood the importance of visual representation in shaping the image of the monarch and his family. The article will discuss the artistic tastes of the Queen and show the importance of her patronage networks in the framework of the acquisition of Charles I’s collection. The Queen patronized contemporary artists, commissioned paintings and discovered new names. Henrietta Maria’s special attention to sculpture and architecture contributed to the appearance of a new type of residences with regular garden and park ensembles decorated with sculptural compositions. Her connections with the courts of Europe helped to attract foreign artists and sculptors to London. Thanks to the Queen’s good relations with Pope Urban VIII and Cardinal Barberini a symbolic dialogue between Rome and London was established that enriched the king’s art collection with true masterpieces of the Italian Renaissance.