Jacobean Style
Term loosely used to describe British art and architecture produced during the reign (1603–25) of James I of England (James VI of Scotland). Portraiture dominated both miniature and easel painting in this period, during which the decorative and jewel-like manner of the Elizabethan era was carried to an extreme. John de Critz, Robert Peake, William Larkin and other court artists were much in demand for their iconic depictions of sitters, in which clothes, jewellery and
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Jacobean Style
Term loosely used to describe British art and architecture produced during the reign (1603–25) of James I of England (James VI of Scotland). Portraiture dominated both miniature and easel painting in this period, during which the decorative and jewel-like manner of the Elizabethan era was carried to an extreme. John de Critz, Robert Peake, William Larkin and other court artists were much in demand for their iconic depictions of sitters, in which clothes, jewellery and heraldic insignia are minutely detailed. In the work of Daniel Mijtens I and Paul van Somer, there emerges a greater interest in the physical setting; this can be seen, for example, in Mijtens’s use of a gallery and distant garden for the background to his pendant portraits of Thomas Howard, 2nd Earl of Arundel and Alathea, Countess of Arundel (both 1618; Arundel Castle, W. Sussex) and in van Somer’s Queen Anne at Oatlands (1618; Windsor Castle, Berks, Royal Col.), whose background includes Inigo Jones’s fashionable Serlian gate for Oatlands Palace, Surrey (destr.).
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