Date of Award

5-2025

Document Type

Thesis

Degree Name

Master of Arts in Art History and Visual Culture

Department

Art

First Advisor

Piper Hutson

Second Advisor

Esperanca Maria Camara

Third Advisor

Steven Cody

Abstract

This paper explores the intricate relationship between queenship, gender, and political representation as depicted in Hans Holbein’s portraits of Jane Seymour and Anne of Cleves, two wives of Henry VIII. By analyzing these works within the framework of Tudor England's gender dynamics, we can better understand how Holbein’s portraits transcend mere artistic expression to serve as critical commentaries on the roles of women in a predominantly patriarchal society. Recent scholarly trends emphasize the significance of gender in the interpretation of historical art, revealing how these portraits reflect, challenge, and reinforce the societal constructs of their time. This study focuses on Holbein’s portrayal of each queen, illustrating how he not only represents them as individual figures but also frames them as potent symbols within the Tudor legacy. By examining the technical and thematic nuances of Holbein's work, this paper will uncover the layered narratives regarding femininity and power embedded in these portraits. Through a comparative analysis of the expectations placed upon women during the Tudor period, I will decode the implicit messages within their depictions, thereby revealing how Holbein's artistry functions as both a personal and political statement, significantly contributing to the enduring legacy of Henry VIII's wives.

In examining Holbein's portraits of Jane Seymour and Anne of Cleves, it becomes evident that each painting serves not only as a likeness of the subjects but also as a complex commentary on their respective roles within the royal court. Holbein's meticulous attention to detail, from the elaborate costumes to the carefully chosen backgrounds, reflects the societal expectations and political nuances of queenship during the Tudor era.

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