Hostname: page-component-78c5997874-s2hrs Total loading time: 0 Render date: 2024-11-06T07:22:03.906Z Has data issue: false hasContentIssue false
  • English
  • Français

Dress in Baroque Portraiture: the Flight From Fashion

Published online by Cambridge University Press:  29 November 2011

Diana de Marly
Get access Rights & Permissions [Opens in a new window]

Summary

Baroque artists were so concerned at the changeability of contemporary fashion that they employed Roman, Arcadian and informal dress in portraits in an attempt to be timeless.

Type
Research Article
Information
The Antiquaries Journal , Volume 60 , Issue 2 , September 1980 , pp. 268 - 284
Copyright
Copyright © The Society of Antiquaries of London 1980

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

NOTES

1 Prynne, W., The Unlovelinesse of Love-lockes (1638), p. 1Google Scholar.

2 Peacham, H., The Truth of our Times (1638), p. 73Google Scholar.

3 Brathwaite, R., The English Gentleman and the English Gentlewoman (1641), p. 283Google Scholar.

4 de Marly, D. J., ‘Fashionable suppliers 1660–1700: leading tailors and clothing tradesmen of the Restoration period’, Antiq. J. lviii (1979), 340–1Google Scholar.

5 Bulwer, J., Anthropometamorphosis (1650), p. 263Google Scholar.

6 For an outline of the theories of fashion see de Marly, D. J., The History of Haute Couture (London, 1980), ch. 11Google Scholar.

7 Lindesiana, Bibliotheca, vol. V, A Bibliography of Royal Proclamations of the Tudor and Stuart Sovereigns 1485–1714, with a historical essay by Steele, R. (Oxford, 1910), p. 293Google Scholar.

8 Calendar of State Papers, Domestic Series of the Reign of Charles II, 1665–6, p. 31; Mar. 1675-Feb. 1676, p. 211.

9 Evelyn, J., Tyrannus, or The Mode (1661), p. 11Google Scholar.

10 de Marly, D. J., ‘King Charles II's own fashion: the theatrical origins of the English vest’, Journal of the Warburg and Courtauld Institutes xxxvii (1974), 378–82CrossRefGoogle Scholar.

11 Sanderson, W., Graphice (1658), p. 39Google Scholar.

12 Felibien, A., Entretiens sur les Vies et les Ouvrages des plus Excellens Peintres Anciens et Modernes (1685), pp. 747–9 (author's translation.)Google Scholar

13 Menestrier, P., Des Ballets Anciens et Modernes (1682), p. 250Google Scholar.

14 Boswell, E., The Restoration Court Stage 1660–1702 (1966), pp. 321–2Google Scholar.

15 Peacham, H., The Compleat Gentleman (1661), pp. 354–5Google Scholar.

16 Felibien, A., Seven Conferences held in the King of France's Cabinet of Paintings, between Mr. Le Brun, Mr. De Champaigne, Mr. Perrault & C, trans. Testelin, (1740), pp. 111–13.Google Scholar

17 Du Fresnoy, , De Arte Graphica, trans. Dryden, John (1695), p. 28Google Scholar.

18 de Chambray, R. Fréart. Idee de la Perfection de la Peinture (1662), pp. 55–6Google Scholar.

19 The Diary of Thomas Isham of Lamport, 1671–3, trans. Marlow, Norman, with introduction, notes and appendices by Sir Isham, Gyles Bt. (1971), pp. 21–2Google Scholar.

20 de Courtin, A., Nouveau Traité de la Civilité (1671), pp. 23–5Google Scholar.

21 Marquis de Dangeau, Memoirs of the Court of France 1684–1720 (1825), p. 27.

22 D. J. de Marly, op. cit. in n. 4, 344.

23 The Diary of Samuel Pepys, Latham, R. and Matthews, W. (eds.) (1970), entry for 20th Dec. 1665Google Scholar.

24 Cobbett's Complete Collection of State Trials (1809–1812), vol. ix, p. 149Google Scholar.

25 Talley, M. Kirby, ‘Extracts from the executors’ account-book of Sir Peter Lely, 1679–91: an account of the contents of Sir Peter's studio’, The Burlington Magazine cxx (Nov. 1978), 748Google Scholar.

26 For aesthetic dress see D. J. de Marly, op. cit. in n. 6, ch. iv.