Portrait of Mary Rogers, Lady Harington by  Marcus  II Gheeraerts

Portrait of Mary Rogers, Lady Harington 1592

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Dimensions: support: 1130 x 851 mm frame: 1340 x 1093 x 80 mm

Copyright: CC-BY-NC-ND 4.0 DEED, Photo: Tate

Curator: Gheeraerts the Younger painted this portrait of Mary Rogers, Lady Harington, sometime during his career. What strikes you first? Editor: It’s the sheer geometric patterning, isn't it? The dress is an intricate grid, offset by the delicate, almost ethereal, lace collar. Curator: Lady Harington was a prominent figure. Her family’s social standing and political connections certainly influenced Gheeraerts' approach. The portrait is a carefully constructed representation of wealth and status. Editor: Absolutely, but consider the contrasting textures. The stiff formality of her attire against the soft light on her face creates an interesting tension. The way her hands are positioned, too. It's all so deliberate. Curator: Court portraiture was very much about conveying power and lineage. Her refined presentation underscores the importance of visual culture in shaping perceptions of nobility. Editor: Yes, the patterns, the colours, the composition… It's a feast for the eyes. Curator: Thinking about it, the painting is a fascinating window into the social and artistic conventions of the era. Editor: Indeed, a masterclass in both visual and cultural expression.

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tate 1 day ago

http://www.tate.org.uk/art/artworks/gheeraerts-portrait-of-mary-rogers-lady-harington-t01872

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tate's Profile Picture
tate 1 day ago

This is one of the earliest known works by Marcus Gheeraerts II. It is dated 1592 (top left). It is thought to show a member of the Harington family of Kelston, near Bath. She may be Mary Rogers, wife of the author and translator Sir John Harington, Elizabeth I’s godson.In her left hand she holds strings of pearls threaded into four knots. These, and the distinctive black and white pattern on her sleeves and bodice, echo the Harington heraldic arms. Her body is defined by her long, slender, stiffened, pointed bodice, evident in many of Gheeraerts’s portraits of the 1590s. Gallery label, May 2007