The execution of Lady Jane Gray is an oil painting by Paul Delaroche, completed in 1833, now in the National Gallery in London. It was very popular in the decades after being painted, but in the paintings the realist history of the 20th century fell out of critical aid and stored in storage for decades, most of which are considered missing. Recovered and displayed again since 1975, soon once again become a very popular job, especially with younger visitors.
The painting depicts, incorrectly in some respects, moments before the death of Lady Jane Gray, who on July 10, 1553 was proclaimed as the Queen of England, only to be deposed nine days later and executed in 1554. Jane is sometimes referred to as the "Nine Days" Queen 'because of the shortness of his government.
Video The Execution of Lady Jane Grey
Subject
Lady Jane Gray is Henry VII's great-grandson of England and first cousin after being transferred to her grandson, the short-lived Edward VI. After Edward's death, he was proclaimed as queen, given precedent over the daughters of Henry VIII, Mary Tudor and Elizabeth. Two weeks after the death of her brother, Mary, who had the support of the British, claimed the throne, which Jane released, after reigning only nine days. Jane, her husband, Lord Guilford Dudley, and her father, were imprisoned in the Tower of London for alleged high treason. Jane's trial was conducted in November, but the death sentence given to him was temporarily suspended. In February 1554, Jane's father, who had been released, was one of the rebel leaders in the Wyatt uprising. On Friday 12 February, Mary had Jane, then 16, and her husband was beheaded. His father followed two days later.
Maps The Execution of Lady Jane Grey
Treatment
Delaroche painted the subject of Lady Jane's execution in 1833, nearly 300 years after the event, drawing on contemporary historical sources to help him portray it accurately. Delaroche has built his reputation in a Parisian salon with a great and realistic portrayal of famous events from centuries earlier. Apart from the artist's familiarity with historical narrative paintings, there are aspects of painting that are not accurate.
The painting depicts the moment Jane, eyes closed, is being helped to put her head on the block for executioners. His outstretched hand reaches the uncertainty of finding the block. He was assisted by a man identified as John Brydges, 1st Baron Chandos. Chandos was a Lieutenant Tower at the time of Jane's execution. While in jail in the Tower, Jane is attended by the women in waiting, one of whom is a baby sitter. Two women in wait were portrayed in the painting, showing their sadness at the event that was about to take place.
The execution was actually done in the open air, in part of the base of the Tower of London known as the Green Tower, and where the wives of Henry VIII Anne Boleyn and Catherine Howard had been executed. The painting shows that Delaroche is not familiar with this aspect of the show and has built the location according to his historical knowledge of such other events, or that he chose to take on many artistic licenses.
In the picture, the execution takes place on a raised wooden platform similar to the one in which the execution of royalty and nobility had taken place in the French Revolution. The edges of this platform can be seen, covered with a black cloth, on the front of the image. Behind the drawing room, the banister was down, and the top of the two guns indicated the presence of the guard. Delaroche seemed to realize that the Tower of London was founded by William of Normandy. In the painting, two thick Norman columns with pillow capitals, blind arcades, and large circles of circles create a background that signifies the beauty of the site. However, the buildings within the Tower of London reach the reign of many kings. In fact, the execution takes place outside of St. Peter's Chapel Vincula, which was built not during the time of William the Conqueror but on the orders of Henry VIII, and therefore in a style which states that the architecture in the paintings is almost 500 years old.
It is difficult to ascertain by setting and lighting whether it is the artist's intention to create the impression that the scene took place outside the building or in the interior. The architectural features shown can occur in the interior and exterior of Norman buildings. The top darkness of the painting is suggestive of the interior, while the light bathing the central figure is daylight. Ghislaine Kenyon, Head of Education at the National Gallery, commented on the feeling of premonition that the darkness was meant to create.
The very dark areas that occupy most of the surface of the paintings play a huge role in the drama. Not only the upper shadow of black painting, so did the cloth covering the platform, the dress of one of the women, the Baron Chandos robe and the executioner's arm. Three outfits formed warm accents, a brown dress from one of the women, an orange fleece from the Lieutenant's collar and a red hose of executioner blood. Lady Jane's red gold hair color is taken on the straw under the beam. Against the darkness, Lady Jane, with her pale flesh, the white corset and her satin skirt, made a splash of light. The artist caught the eye of the observer by placing the most intense white patches in Jane's blindfold and her skirt only between her outstretched hand and the sharp edge of the block.
Delaroche has used many small details to tell stories and improve dramatic and emotional painting qualities. The numbers play their parts like actors through the expressions and gestures of despair and despair of two women, the almost paternal tenderness with which the Lieutenant of the Tower helps the blindfolded girl to take the necessary positions and displeasure in the face of the executioner in the tasks that confront her. Other narrative details include a ring on the block with a strap that strikes it to the floor, and a sharpened but worn edge to the ax. Kenyon points out that a clean straw, usually placed near the execution site to absorb blood, and a white dress is a tool used by artists to make observers think what will happen to them next.
Provenance
The painting was made after the July Revolution of 1830 that overthrew Charles X of France, the last of the French Bourbon monarchy. Charles X's brother is Louis XVI of France whose throne was captured and executed during the French Revolution. It is also flexible from the execution of Marie-Antoinette. Not surprisingly, the emotive painting caused something sensational. The painting was very popular in Paris salons when it was first exhibited there in 1834.
It was originally bought by Anatole Demidov, 1st prince of San Donato as part of the Demidov collection. From there, in 1870 to Henry Eaton, 1st Baron Cheylesmore after his death in 1891, he realized Ã, Â £ 1,575 (lot 78) on sale at Christie's the following year, less than a quarter of the price of a sales star, The Monarch of the Glen (lot 42, Ã, Â £ 7,245) by Sir Edwin Landseer, one of the most famous paintings of our time. It was bought by his son, William Eaton, 2 Baron Cheylesmore, who left him to the National Gallery, London in 1902, with four other paintings, including two other Landseers from his father's collection.
The painting was allegedly destroyed in the 1928 Tate Gallery flood during the flood of Thames 1928, and was rediscovered in 1973 by Tate Gallery curator Christopher Johnstone. He is writing a book about the English painter John Martin and goes through the damaged canvas left over from the flood to find paintings lost by artists. He found Martin's Destruction of Pompeii and Herculaneum, though in very bad condition, rolled over in a perfect Delaroche painting and transferred to the National Gallery where it should go when the national art collection was rationalized after the formation of Tate.
See also
- Lady Jane Gray Preparing for Execution
Note
Further reading
- Historical Painting: Delaroche and Lady Jane Gray , 2010, National Gallery of Publication
- Potterton, Homan. National Gallery . Thames and Hudson, 1977. p.Ã, 155.
Source of the article : Wikipedia
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