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Fine by Wenceslaus Hollar, created in 1641, depicts Queen Henrietta Maria, the wife of King Charles I of England. Based on an original portrait by Sir Anthony van Dyck, the engraving showcases Hollar's meticulous attention to detail and ability to capture the delicate features and regal presence of the queen.
The portrait features Queen Henrietta Maria in a half-length pose, gazing slightly to her left. Her face is framed by soft, delicate curls, meticulously illustrated to convey the texture and volume of her hair. She wears a simple yet elegant necklace of pearls, emphasizing her wealth and status. The work also captures the intricate details of her attire, though the image remains unfinished, suggesting that Hollar intended to add further details to complete the composition.
The inscription beneath the portrait reads: "Ant. van Dyck pinxit, W. Hollar fecit. 1641." Translated, it states: "Painted by Anthony van Dyck, Engraved by W. Hollar. 1641."
Queen Henrietta Maria (1609-1669) was the daughter of Henri IV of France and the wife of King Charles I. Despite her Roman Catholic faith, which alienated many of her Protestant subjects in England, she was a devoted supporter of her husband and played a significant role in the royal court.
Henrietta Maria met Charles I during his travels to Spain for a proposed marriage to Maria Anna, Infanta of Spain. When this plan fell through, Charles married Henrietta Maria by proxy in 1625. Initially, their relationship was strained, but over time, their affections grew, and they had nine children, including future kings Charles II and James II. Henrietta Maria was a patron of the arts, deeply interested in art, sculpture, and design. She played a crucial role in the development of court masques, elaborate performances that combined music, dance, and drama. She frequently participated in these masques, which were held at the Queen's House, a project she oversaw to completion by architect Inigo Jones in 1635.
During the English Civil War (1642-1651), Henrietta Maria moved to France for safety. It was from there that she learned of her husband's execution in 1649. She remained in France until the Restoration in 1660, when her son Charles II became king. Upon her return to England, she briefly resided in the Queen's House from 1662 to 1663, becoming the last queen to live there.
Van Dyck and Henrietta Maria
Sir Anthony van Dyck, a leading court painter, created a famous triple portrait of Charles I, which was sent to Rome for the sculptor Gianlorenzo Bernini to create a marble bust. Henrietta Maria wished to commission a companion bust of herself, and van Dyck painted three heads on separate canvases for this purpose in 1639. However, the bust was never made.
Wenceslaus Hollar, born on July 23, 1607, in Prague, was a prolific and accomplished Bohemian graphic artist of the 17th century.
Known to German speakers as Wenzel Hollar and to Czech speakers as Václav Hollar, he is celebrated for his masterful engravings and etchings. The turmoil of the Thirty Years' War, particularly the Sack of Prague, devastated Hollar's family, leading him to abandon his initial path towards a legal career and instead pursue the arts. His earliest surviving works date back to 1625 and 1626, showcasing the influence of Albrecht Dürer. In 1627, Hollar apprenticed under the esteemed engraver Matthäus Merian in Frankfurt, marking the beginning of his illustrious career.
During the early 1630s, Hollar resided in Strasbourg, Mainz, and Koblenz, capturing the essence of the Middle Rhine Valley through his depictions of towns, castles, and landscapes. In 1633, he moved to Cologne, where his talent began to attract significant attention. It was here, in 1636, that he caught the eye of Thomas Howard, the 21st Earl of Arundel, a renowned nobleman and art collector. Hollar joined Arundel on diplomatic missions to Vienna and Prague, and in 1637, he accompanied the Earl to England.
Upon settling in England, Hollar became part of Arundel's household, though he did not work exclusively for the Earl. He continued to create independently and for various authors and publishers. Following Arundel's death in 1646, Hollar commemorated him with a print designed by Cornelius Schut. Hollar's remarkable "View of Greenwich," published by Peter Stent, exemplified his early work in England and set a precedent for his meticulous and expansive cityscapes.
The English Civil War significantly impacted Hollar's career, although he remained productive. He withstood the siege of Basing House alongside royalist artists like Inigo Jones and William Faithorne. Despite the adversity, Hollar's output was prolific during this period, with numerous plates dated 1643 and 1644. Following his capture and subsequent escape during the siege of Basing House in 1645, Hollar relocated to Antwerp, where he reconnected with Arundel and produced some of his most acclaimed works, including cityscapes, seascapes, and intricate studies of nature.
In 1652, Hollar returned to London, continuing his work with notable publishers and illustrating various significant texts, including Ogilby's Virgil and Homer, Stapylton's Juvenal, and Dugdale's Warwickshire, St Paul's, and Monasticon.
Following the Great Fire of London in 1666, Hollar produced his famous "Views of London," capturing the city's devastation and subsequent rebuilding. In 1668, King Charles II commissioned him to document Tangier's town and forts. His return voyage included a notable naval engagement, which Hollar later etched for Ogilby's Africa. Hollar continued to produce well-regarded works until his death on March 25, 1677, in London, where he was buried at St Margaret's Church, Westminster.
Hollar's legacy endures through an extensive body of work, including some 400 drawings and 3000 etchings. His plates, numbering around 2740, encompass a vast array of subjects, from topographical views and portraits to intricate depictions of nature and architecture.
Collections of Hollar's work are held in prestigious institutions such as the British Museum, Windsor Castle, the National Gallery in Prague, and the Virginia Museum of Fine Arts. His contributions to graphic art are celebrated in catalogues by George Vertue, Gustav Parthey, and Richard Pennington, with a comprehensive catalogue published in the New Hollstein German series. Hollar's work remains accessible through digital collections, notably at the University of Toronto and the Folger Shakespeare Library.
The Wenceslaus Hollar Secondary School of Art in Prague honors his name, ensuring that his artistic legacy continues to inspire future generations.
