Latest news with #CourtauldInstituteofArt
Yahoo
7 days ago
- Entertainment
- Yahoo
Queen Elizabeth's cousin Flora Vesterberg reveals autism diagnosis at 30
Flora Vesterberg, granddaughter of the late Queen Elizabeth II's cousin, Princess Alexandra, has revealed her autism diagnosis in a powerful new essay. Currently 62nd in line to the British throne, Vesterberg is the thrice-great-granddaughter of Queen Victoria and Prince Albert. The 30-year-old art historian and broadcaster opened up about her neurodiversity in an article for Vogue published Sunday. 'Earlier this year, I was diagnosed with autism. I've struggled quietly with the challenges of my neurodiversity since childhood, but am now also able to perceive its strengths,' she began the essay. 'Like many women, I only recently felt compelled to pursue a clinical assessment. It followed an urgent need for clarity ahead of beginning my PhD at The Courtauld Institute of Art. As a result of the diagnosis, I feel empowered by having a framework with which to understand my experiences and sensitivities. It brings a sense of relief as well as validation. I know that this will not only help me to be kinder to myself, but also help my community to support me effectively.' Flora, who married private equity investor Timothy Vesterberg in 2020, said she was told by her psychiatrist: 'Nearly 80 per cent of autistic women remain undiagnosed by age 18, a vast number of women on the spectrum are hiding in plain sight.' Vesterberg said she was choosing to reflect on her diagnosis during Autism Awareness Month 'in the hope that I can contribute to advocating for a shift in that statistic over time.' The young royal added that it had given her 'the confidence to seek the right support' as she begins her PhD at the Courtauld Institute of Art in London later this year. 'Whilst my journey with autism feels like it only truly began with my diagnosis, I feel relieved to now have a clearer understanding of my emotional needs as well as the strengths that I should lean into.' Vesterberg already holds a philanthropic role at the Courtauld on the Campaign Board. She is also co-chair of the Young Patrons' Circle of the Victoria & Albert Museum and supports the non-profit Art History Link-Up. Her father, James Ogilvy — the elder child and only son of Princess Alexandra and Sir Angus Ogilvy — reshared a link to his daughter's Vogue piece on Instagram, writing: 'Very proud of you beautiful daughter.'
Washington Post
08-03-2025
- Entertainment
- Washington Post
Portrait could shed new light on England's executed nine-day queen
She was Queen of England for just nine days before being executed at age 17, marking the shortest reign in British history. Now new research suggests a portrait that has gone on display in Britain could be the only image of Lady Jane Grey painted in her lifetime, according to conservation group English Heritage. The findings could shed new light on the story of the young queen, who reigned from July 10 to 19, 1553. The identity of the sitter in the image, which was painted by an unknown artist, has previously been subject to debate. English Heritage's senior collections conservator, Rachel Turnbull, said expert analysis carried out in conjunction with a dendrochronologist, Ian Tyers, and the Courtauld Institute of Art is not conclusive but provides a 'compelling argument' it could be the young queen. 'From the newly discovered evidence of a once perhaps more elaborate costume and the dating of the wooden panel from within her lifetime, to the deliberate scratching of her eyes, it is possible that we are looking at the shadows of a once more royal portrait of Lady Jane Grey, toned down into subdued, Protestant martyrdom after her death,' she said. Lady Jane was born in 1537, as the eldest daughter of Lady Frances and Henry Grey and was directly linked to King Henry VIII through her grandmother. She was named Queen of England following the death of Edward VI, who was the son of Henry VIII, in a bid to prevent the rise of her Catholic cousin, Mary Tudor, to the throne, according to English Heritage. She arrived at the Tower of London for her coronation but was soon taken as the prisoner of Mary I, who claimed the throne for herself. She was executed at the Tower of London on Feb. 12, 1554, at 17 years old, according to Britain's Historic Royal Palaces. One of the most famous images of Lady Jane is Paul Delaroche's 'The Execution of Lady Jane Grey' which is in Britain's National Gallery. It shows her dressed in white and blindfolded in front of an execution block, while a man stands to her side with an ax; however, it was painted centuries after her death and exhibited in 1834. The newly analyzed painting has previously been part of the historical collection at Wrest Park country estate, where it went on display Friday. The 1830s property that contains an orangery and vast formal gardens has served as a filming location for Netflix shows 'Bridgerton' and 'The Crown.' The English Heritage research team found that dendrochronological analysis (a wood-dating technique) of the painted wooden panel suggests it dates to between 1539 and about 1571. The back also displays a mark identical to that used on a royal portrait of King Edward VI, the team said. Infrared reflectography shows the costume of the person painted was changed significantly after it was completed, researchers said, adding that this may have been done to obscure a more decorative outfit underneath and that it matches outfits worn by Lady Jane in other images. The linen cap on the sitter's hair has also been altered, as have the eyes, analysis shows. 'At some point in the painting's lifetime, the eyes, mouth and ears were also deliberately scratched out,' researchers said, in what they believe is likely to have been a religious or politically motivated attack. However, J. Stephan Edwards, an independent researcher specializing in Lady Jane and her portraiture, said that although the findings are interesting, 'I don't believe any of it is compelling evidence that the sitter could be Jane Grey.' He previously argued the sitter was Mary Neville Fiennes, Lady Dacre, in a 2013 article published in the British Art Journal. 'It is a discussion, and there are no definitive conclusions,' he said, but he believes his findings are 'more persuasive' than the 'supposed new evidence.' Edwards said the dendrochronological findings are 'noncontributory' to the debate, as he already believed the painting was done around the same time. While reflectography images show changes have been made, he did not think they were significant enough to 'change the identification of the sitter.' Furthermore, the lack of provenance and the simple pearl necklace worn by the sitter is an 'enormous red flag.' 'That total absence of jewels tells me that this is a woman who is not of the same social and economic status as Jane Grey,' Edwards said, adding that the notion that Lady Jane Grey dressed modestly is part of 'modern mythology.' English Heritage's curator at Wrest Park, Peter Moore, said the painting had been acquired by Anthony Grey, 11th Earl of Kent, in 1701 and was regarded as the 'defining image' of Lady Jane Grey until it was called into doubt following the British Art Journal article. 'It is thrilling to have this painting back at Wrest, and the new research provides tantalizing evidence which brings us much closer to the assertion that this could be Lady Jane Grey,' he said.
CNN
07-03-2025
- Entertainment
- CNN
Is this the only known portrait of England's doomed ‘Nine Days Queen'?
Lady Jane Grey, a teenage pawn in the power struggles that plagued the Tudor court, ruled England for just nine days and was later executed for treason. Now, researchers believe they may have identified the only known portrait of the so-called 'Nine Days Queen' painted before her death. Following the death of Edward VI in 1553, unscrupulous politicians propelled the staunchly Protestant young girl to the throne in a bid to prevent her Roman Catholic relative, Mary Tudor, from becoming Queen. The mysterious portrait, on loan to conservation charity English Heritage from a private collection, shows a young woman clad modestly in a white cap and shawl. According to English Heritage, it was acquired by Anthony Grey, 11th Earl of Kent, in 1701, as an image of Lady Jane Grey. It remained 'the defining image' of England's shortest reigning monarch until 21st-century art historians questioned its attribution and rejected its identity. In an attempt to settle the question, English Heritage worked alongside London's Courtauld Institute of Art and dendrochronologist Ian Tyers to conduct a technical analysis of the piece, its senior collections conservator, Rachel Turnbull, said in a statement published Friday. A dendrochronological analysis—a scientific method of dating tree rings—of the painting's panel suggests it was probably used for the artwork between 1539 and around 1571, according to the statement. The panel, which is made of two Baltic oak boards from two different trees, has a merchant or cargo mark on its back that resembles a mark on a portrait of King Edward VI, Jane's predecessor on the throne. Scans using infrared reflectography show significant changes were made to the woman's outfit and face after the completion of the initial portrait, English Heritage said. The white scarf around her shoulders is believed to be a later addition. Bands encircling her right arm under the scarf are thought to be possibly part of a larger decorated sleeve that is now hidden, or a now-gone scarf that was previously draped over her lower arms, like the outfits she is depicted as wearing in portraits painted after her death. The linen cap, or coif, covering her hair also appears significantly altered. A coif with a different shape and potentially even a hood, which is a fancier headpiece worn over a coif, can be seen around her face in the scans. The researchers suggested a veil may even have been present at one point before being painted out. The woman's eyes now look to the left, but they were previously looking right, English Heritage said. In addition to the repainted areas, the subject's eyes, mouth and ears have been scratched out, defacing the artwork for what were probably religious or political reasons, the organization said. It noted that a posthumous depiction of Lady Jane Grey in London's National Portrait Gallery shows similar marks. The changes to the painting may have been made in order to tone it down and present the subject as a demure Protestant martyr, it added. 'While we can't confirm that this is definitely Lady Jane Grey, our results certainly make a compelling argument!' said Turnbull. 'From the newly discovered evidence of a once perhaps more elaborate costume and the dating of the wooden panel from within her lifetime, to the deliberate scratching of her eyes, it is possible that we are looking at the shadows of a once more royal portrait of Lady Jane Grey, toned down into subdued, Protestant martyrdom after her death. Regardless of her identity, the results of our research have been fascinating,' she added. 'This is such an interesting picture posing so many questions, and if this is Jane Grey, a valuable addition to the portraiture of this young heroine, as a woman of character—a powerful challenge to the traditional representation of her as a blindfolded victim,' bestselling historical novelist Philippa Gregory said in the release. Jane spent a lot of time at the royal court after her father was made Duke of Suffolk in October 1551. Her Protestantism made her a candidate for the throne for those who supported the English Reformation, like the powerful Duke of Northumberland, who married her to his son and persuaded a dying King Edward to make her his successor. Edward died on July 6, 1553, and Jane, who had fainted when first presented with the idea of becoming Queen, ascended the throne four days later. However, by July 19, she relinquished her crown to Edward's sister, Mary Tudor, who had the support of the populace, and who was meant to be the heir, according to both the law and Henry VIII's will. Jane was subsequently charged with high treason, to which she pleaded guilty, and was beheaded on February 12, 1554. She was 16 years old. The portrait is on display at Wrest Park in Bedfordshire, England.
CNN
07-03-2025
- Entertainment
- CNN
Is this the only known portrait of England's doomed ‘Nine Days Queen'?
Lady Jane Grey, a teenage pawn in the power struggles that plagued the Tudor court, ruled England for just nine days and was later executed for treason. Now, researchers believe they may have identified the only known portrait of the so-called 'Nine Days Queen' painted before her death. Following the death of Edward VI in 1553, unscrupulous politicians propelled the staunchly Protestant young girl to the throne in a bid to prevent her Roman Catholic relative, Mary Tudor, from becoming Queen. The mysterious portrait, on loan to conservation charity English Heritage from a private collection, shows a young woman clad modestly in a white cap and shawl. According to English Heritage, it was acquired by Anthony Grey, 11th Earl of Kent, in 1701, as an image of Lady Jane Grey. It remained 'the defining image' of England's shortest reigning monarch until 21st-century art historians questioned its attribution and rejected its identity. In an attempt to settle the question, English Heritage worked alongside London's Courtauld Institute of Art and dendrochronologist Ian Tyers to conduct a technical analysis of the piece, its senior collections conservator, Rachel Turnbull, said in a statement published Friday. A dendrochronological analysis—a scientific method of dating tree rings—of the painting's panel suggests it was probably used for the artwork between 1539 and around 1571, according to the statement. The panel, which is made of two Baltic oak boards from two different trees, has a merchant or cargo mark on its back that resembles a mark on a portrait of King Edward VI, Jane's predecessor on the throne. Scans using infrared reflectography show significant changes were made to the woman's outfit and face after the completion of the initial portrait, English Heritage said. The white scarf around her shoulders is believed to be a later addition. Bands encircling her right arm under the scarf are thought to be possibly part of a larger decorated sleeve that is now hidden, or a now-gone scarf that was previously draped over her lower arms, like the outfits she is depicted as wearing in portraits painted after her death. The linen cap, or coif, covering her hair also appears significantly altered. A coif with a different shape and potentially even a hood, which is a fancier headpiece worn over a coif, can be seen around her face in the scans. The researchers suggested a veil may even have been present at one point before being painted out. The woman's eyes now look to the left, but they were previously looking right, English Heritage said. In addition to the repainted areas, the subject's eyes, mouth and ears have been scratched out, defacing the artwork for what were probably religious or political reasons, the organization said. It noted that a posthumous depiction of Lady Jane Grey in London's National Portrait Gallery shows similar marks. The changes to the painting may have been made in order to tone it down and present the subject as a demure Protestant martyr, it added. 'While we can't confirm that this is definitely Lady Jane Grey, our results certainly make a compelling argument!' said Turnbull. 'From the newly discovered evidence of a once perhaps more elaborate costume and the dating of the wooden panel from within her lifetime, to the deliberate scratching of her eyes, it is possible that we are looking at the shadows of a once more royal portrait of Lady Jane Grey, toned down into subdued, Protestant martyrdom after her death. Regardless of her identity, the results of our research have been fascinating,' she added. 'This is such an interesting picture posing so many questions, and if this is Jane Grey, a valuable addition to the portraiture of this young heroine, as a woman of character—a powerful challenge to the traditional representation of her as a blindfolded victim,' bestselling historical novelist Philippa Gregory said in the release. Jane spent a lot of time at the royal court after her father was made Duke of Suffolk in October 1551. Her Protestantism made her a candidate for the throne for those who supported the English Reformation, like the powerful Duke of Northumberland, who married her to his son and persuaded a dying King Edward to make her his successor. Edward died on July 6, 1553, and Jane, who had fainted when first presented with the idea of becoming Queen, ascended the throne four days later. However, by July 19, she relinquished her crown to Edward's sister, Mary Tudor, who had the support of the populace, and who was meant to be the heir, according to both the law and Henry VIII's will. Jane was subsequently charged with high treason, to which she pleaded guilty, and was beheaded on February 12, 1554. She was 16 years old. The portrait is on display at Wrest Park in Bedfordshire, England.
Yahoo
07-03-2025
- Entertainment
- Yahoo
Is this the only known portrait of England's doomed ‘Nine Days Queen'?
Lady Jane Grey, a teenage pawn in the power struggles that plagued the Tudor court, ruled England for just nine days and was later executed for treason. Now, researchers believe they may have identified the only known portrait of the so-called 'Nine Days Queen' painted before her death. Following the death of Edward VI in 1553, unscrupulous politicians propelled the staunchly Protestant young girl to the throne in a bid to prevent her Roman Catholic relative, Mary Tudor, from becoming Queen. The mysterious portrait, on loan to conservation charity English Heritage from a private collection, shows a young woman clad modestly in a white cap and shawl. According to English Heritage, it was acquired by Anthony Grey, 11th Earl of Kent, in 1701, as an image of Lady Jane Grey. It remained 'the defining image' of England's shortest reigning monarch until 21st-century art historians questioned its attribution and rejected its identity. In an attempt to settle the question, English Heritage worked alongside London's Courtauld Institute of Art and dendrochronologist Ian Tyers to conduct a technical analysis of the piece, its senior collections conservator, Rachel Turnbull, said in a statement published Friday. A dendrochronological analysis—a scientific method of dating tree rings—of the painting's panel suggests it was probably used for the artwork between 1539 and around 1571, according to the statement. The panel, which is made of two Baltic oak boards from two different trees, has a merchant or cargo mark on its back that resembles a mark on a portrait of King Edward VI, Jane's predecessor on the throne. Scans using infrared reflectography show significant changes were made to the woman's outfit and face after the completion of the initial portrait, English Heritage said. The white scarf around her shoulders is believed to be a later addition. Bands encircling her right arm under the scarf are thought to be possibly part of a larger decorated sleeve that is now hidden, or a now-gone scarf that was previously draped over her lower arms, like the outfits she is depicted as wearing in portraits painted after her death. The linen cap, or coif, covering her hair also appears significantly altered. A coif with a different shape and potentially even a hood, which is a fancier headpiece worn over a coif, can be seen around her face in the scans. The researchers suggested a veil may even have been present at one point before being painted out. The woman's eyes now look to the left, but they were previously looking right, English Heritage said. In addition to the repainted areas, the subject's eyes, mouth and ears have been scratched out, defacing the artwork for what were probably religious or political reasons, the organization said. It noted that a posthumous depiction of Lady Jane Grey in London's National Portrait Gallery shows similar marks. The changes to the painting may have been made in order to tone it down and present the subject as a demure Protestant martyr, it added. 'While we can't confirm that this is definitely Lady Jane Grey, our results certainly make a compelling argument!' said Turnbull. 'From the newly discovered evidence of a once perhaps more elaborate costume and the dating of the wooden panel from within her lifetime, to the deliberate scratching of her eyes, it is possible that we are looking at the shadows of a once more royal portrait of Lady Jane Grey, toned down into subdued, Protestant martyrdom after her death. Regardless of her identity, the results of our research have been fascinating,' she added. 'This is such an interesting picture posing so many questions, and if this is Jane Grey, a valuable addition to the portraiture of this young heroine, as a woman of character—a powerful challenge to the traditional representation of her as a blindfolded victim,' bestselling historical novelist Philippa Gregory said in the release. Jane spent a lot of time at the royal court after her father was made Duke of Suffolk in October 1551. Her Protestantism made her a candidate for the throne for those who supported the English Reformation, like the powerful Duke of Northumberland, who married her to his son and persuaded a dying King Edward to make her his successor. Edward died on July 6, 1553, and Jane, who had fainted when first presented with the idea of becoming Queen, ascended the throne four days later. However, by July 19, she relinquished her crown to Edward's sister, Mary Tudor, who had the support of the populace, and who was meant to be the heir, according to both the law and Henry VIII's will. Jane was subsequently charged with high treason, to which she pleaded guilty, and was beheaded on February 12, 1554. She was 16 years old. The portrait is on display at Wrest Park in Bedfordshire, England.
