'A Portrait Of Mary Queen of Scots' - A study, 2010
Oil and acrylic on panel
93cm (36.6 inches) x 183cm (72 inches)
Oil and acrylic on panel
93cm (36.6 inches) x 183cm (72 inches)
Oil and acrylic on panel
93cm (36.6 inches) x 183cm (72 inches)
Commissioned by The Manor Lodge Estate, this painting can be seen on display in the The Tower House.
I was asked to keep the overall style close to the original painting apart from the face, which in the original was painted 10 years [edit - Not 10 years. The painting was painted many years after Mary's death in 1587. Commissioned by her son James I of England (James VI of Scotland) around 1610 - 1615] after Mary's beheading so was heavily stylized. I was asked to try and bring a bit of personality and humanity into the painting to make her more identifiable with. A bit of a tall task but I gave it a go. I was very lucky to be asked to paint this as the Tudor and early Stuart era of British portrait painting is one of my favourite eras of painting.
The original painting will have been painted so to fit in a specific space with a light source coming from the top left hand side of the painting so the illusion of light in the painting would be increased.
The carpet when seen from a distance appears distorted, however if you (the viewer) stands about 3 foot away from the painting ( essentially where the original painter would have stood) the carpet appears correct.
For more information about Mary’s tumultuous life see this Wikipedia article … link
Mary touches the red velvet table cloth. At this time the colour red was very much associated with martyrdom. Apparently on the day of Mary's beheading she wore bright scarlet undergarments which would be seen as she knealt at the chopping block.
Here we see Mary’s prayer beads.
The Stuart, ‘S’, is on all 4 parts of the cross.
The words ‘Angustia Undique’, are latin, and when translated become ‘beseiged from all sides.
The very small enamel picture in the middle depicts the bible story of Suzanna and the Elders. The story describes how a virtuous Hebrew woman named Susanna (the central, naked figure) was falsely accused of adultery by two lecherous elders (stood on either side). While bathing in her garden, they spied on her and demanded sexual favours. When she refused, they threatened to ruin her reputation, leading to her trial for a capital offense.
MARIA … Mary
D G [Dei gratia] … By the Grace of God
SCOTIAE PIISSIMA REGINA … Dutiful Queen of Scotland
FRANCIAE DOTARIA … and of France
ANNO … Time of life
AETATIS REGNIQ … at age of reign
36 ….. 36 years old
ANGLICAE CAPTVIT … captive in England
10 … for 10 years (??)
S H [Secundus Heres] … Was next in line to the throne
1578 … 1578 (is this depicting Mary how she looked in 1578?)
An interesting fact is that the painting was painted many years after Mary's death in 1587. Commissioned by her son James I of England (James VI of Scotland) around 1610 - 1615. He had several versions painted with elements varying between each painting all referencing a miniature painting by Nicholas Hilliard. We think that the date is supposed to suggest that this is what Mary looked like in 1578, and the facts mentioned relate to this date also.
Of note: Mary’s third husband, James Hepburn, 4th Earl of Bothwell, died in 1578, having been imprisoned at Dragsholm Castle, near Copenhagen. The last time he saw Mary was in 1567. Read more on Wikipedia here … link
Unusually, Mary’s ruff is displayed undone, is this a suggestion that it needed to be undone for her to be beheaded? The edging of the lace appears to have a cathedral like gothic arch motif, possibly referencing Mary’s Catholicism.
Mary’s face is incredibly pale, but at this point in time very pale skin was seen as indicative of wealth. Often, white lead pigment would have been used for its pale luminance. It was not known at this time just how toxic lead was.
My signature by the side of the golden fringe of the table cloth.