Threads and Veins... Tudor Portraiture.

There is something about Tudor portraiture that serves as a powerful antidote to all the ugliness, sleaziness and general indolence that appear to be swamping every aspect of life today, be that concrete reality or its virtual, screen-based version. I would say that simply visiting a museum or art gallery is akin to entering a haven, but that is not entirely the case any more as all that I wish to escape is seeping into the sanctuary, tainting everything in its passage. And therefore the earnest representations of the centuries-old sitters, shown in the glory of their attire is somehow uplifting, regardless as to whether these characters were actually decent individuals. The enigmatic smile of the beautiful young woman above - Lady Darcy of Chiche - painted in 1590 is just as captivating as that of da Vinci's Mona Lisa, as she looks out at us, literally framed by her finery.

We can see a faint, delicate blush on her cheeks that is offset by the painstaking detail of her clothing, where each thread is rendered with incredible accuracy. This work was painted a few years before her separation from her husband and intriguingly, the French inscription Jamais déréchef (Never again) is included!

The hands are strangely inexpressive, however, and look like those of a porcelain doll, hanging down in limp fashion, curiously lifeless despite the accessories she holds onto. The same could be said of the c.1605-10 portrait above, of a certain Mary Clerke standing in an uncomfortable, stiff pose. With her arms stretched out at an odd angle, she draws attention to the book published by her husband. Mary's hands almost look like white gloves!

The following portrait of an unknown pregnant lady, c.1595 by the famous Flemish painter Marcus Gheeraerts is joyous, with the delicate smile, expressive hands and, of course, the stunning dress...

We can imagine every stitch and thread of the white diaphanous clothing and count all the cultured pearls that adorn it, whilst her tender hands bare veins that are perhaps an indication to the life within her...

The somewhat icy expression displayed by the future Lady Morton in her grand portrait c.1620 is belied by the warm blood that we see in her veined hands that delicately grip onto her elegant accessories of fan and lacy handkerchief...

Although her dark beady eyes stare out at us in a challenging, smug manner, without any desire to charm, her clothes and those oddly gentle hands surely win over her public. The embroidery on her gown is simply exquisite, set against the sheen of the satin material and as for the lace, well, what can you say?

The young girl of 21 years clasps her hands as she gazes out from her framed portrait, the delicate colouring of her complexion contrasting with the dark background that brings out the pretty flowered gown and the carnation flower tucked behind her ear. Apparently she later went on to marry an elderly marquis but here we see her in the bloom of youth preserved forever in this portrait of 1569, in all her beauty. I wonder what kind of life she lived?

There is a similar striking contrast between background and portrait in the c.1565 painting of another unnamed lady of status, seen here clasping a beautiful cameo bearing a symbolic image of Prudence. Perhaps it was out of prudent discretion that she slightly averts her gaze.

All these paintings are visible in the Tate London.