Tarnya Cooper | |
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Education | University of Sussex. |
Occupation | National Trust Curatorial & Collections Director. Former National Portrait Gallery Chief Curator. |
Tarnya Cooper is an art historian and author who is currently the National Trust's Curatorial & Collections Director. [1]
She has previously been the Chief Curator and Curatorial Director at the National Portrait Gallery, London. [2] [3]
Cooper received her MA in art history from The Courtauld Institute of Art in 1996 where she studied Dutch and Flemish art. She obtained a D Phil from the University of Sussex in 2002. The title of her thesis (2001) was: Memento mori portraiture: painting, Protestant culture and the patronage of middle elites in England and Wales, 1540 - 1630.
She was Assistant Curator of the College Art Collections and taught art history at University College London.
She moved to the NPG in 2002 to become the 16th Century Curator. She led the seven-year "Making Art in Tudor Britain" project. This project encompassed a detailed and comprehensive scientific survey of Tudor paintings in the NPG. The NPG received a grant from the Getty Foundation to enable her to write Citizen Portrait based in part on her D Phil dissertation together with her research in her role as curator at the NPG. In 2010 she was awarded a senior research fellowship by the Paul Mellon Centre which enabled her to complete the book. [4] [5]
She was appointed Chief Curator at the NPG in 2011 and was elected as a fellow of the Society of Antiquaries of London in June of that year. [6]
In January 2018 she became the National Trust's Curatorial & Collections Director. In this role she will deliver the Trust’s curatorial strategy, including research, engagement, and care for collections and buildings. [1]
During her time at UCL, she curated two exhibitions from the college's collections. She co-curated (with David Starkey) the exhibition Elizabeth I at the National Maritime Museum in 2003 and was a contributor to the catalogue. [7]
She curated Searching for Shakespeare at the National Portrait Gallery in 2006. [8] She was the curator of the exhibition Elizabeth I & her people which was held at the NPG from October 2013 to January 2014. [2] [9] This exhibition included a miniature portrait of Elizabeth I found in a house clearance in 2012, that Cooper described as "a very high quality image by a 16th-century artist". [10]
She also curated the display The Real Tudors at the National Portrait Gallery (12 September 2014 – 1 March 2015), which includes results from the NPG's "Making Art in Tudor Britain" research project. [11] She is co-editor of Painting in Britain 1500 - 1630: Production, Influences, and Patronage, an interdisciplinary survey published by the British Academy and Oxford University Press in 2015. [12]
Hans Eworth was a Flemish painter active in England in the mid-16th century. Along with other exiled Flemings, he made a career in Tudor London, painting allegorical images as well as portraits of the gentry and nobility. About 40 paintings are now attributed to Eworth, among them portraits of Mary I and Elizabeth I. Eworth also executed decorative commissions for Elizabeth's Office of the Revels in the early 1570s.
The National Portrait Gallery (NPG) is an art gallery in London that houses a collection of portraits of historically important and famous British people. When it opened in 1856, it was arguably the first national public gallery in the world that was dedicated to portraits.
The Chandos portrait is the most famous of the portraits that are believed to depict William Shakespeare (1564–1616). Painted between 1600 and 1610, it may have served as the basis for the engraved portrait of Shakespeare used in the First Folio in 1623. It is named after the 3rd Duke of Chandos, who formerly owned the painting. The portrait was given to the National Portrait Gallery, London, on its foundation in 1856, and it is listed as the first work in its collection.
Sir Roy Colin Strong, is an English art historian, museum curator, writer, broadcaster and landscape designer. He has served as director of both the National Portrait Gallery and the Victoria and Albert Museum in London. Strong was knighted in 1982.
Levina Teerlinc was a Flemish Renaissance miniaturist who served as a painter to the English court of Henry VIII, Edward VI, Mary I and Elizabeth I. She was the most important miniaturist at the English court between Hans Holbein the Younger and Nicholas Hilliard. Her father, Simon Bening, was a renowned book illuminator and miniature painter of the Ghent-Bruges school and probably trained her as a manuscript painter. She may have worked in her father's workshop before her marriage.
Cornelius Johnson or Cornelis Janssens van Ceulen was an English painter of portraits of Dutch or Flemish parentage. He was active in England, from at least 1618 to 1643, when he moved to Middelburg in the Netherlands to escape the English Civil War. Between 1646 and 1652 he lived in Amsterdam, before settling in Utrecht, where he died.
Eileen Cooper is a British artist, known primarily as a painter and printmaker.
Rowland Lockey was an English painter and goldsmith, and was the son of Leonard Lockey, a crossbow maker of the parish of St Bride's, Fleet Street, London. Lockey was apprenticed to Queen Elizabeth's miniaturist and goldsmith Nicholas Hilliard for eight years beginning Michaelmas 1581 and was made a freeman or master of the Worshipful Company of Goldsmiths by 1600.
George Gower was an English portrait painter who became Serjeant Painter to Queen Elizabeth I in 1581.
The Armada Portrait of Elizabeth I of England is the name of any of three surviving versions of an allegorical panel painting depicting the Tudor queen surrounded by symbols of royal majesty against a backdrop representing the defeat of the Spanish Armada in 1588.
Steven van der Meulen was a Flemish artist active c. 1543–1563. He gained prominence in England in the first decade of the reign of Elizabeth I as one of many Flemish artists active at the Tudor court.
The portraiture of Queen Elizabeth I (1533–1603) spans the evolution of English royal portraits in the early modern period (1400/1500-1800), from the earliest representations of simple likenesses to the later complex imagery used to convey the power and aspirations of the state, as well as of the monarch at its head.
The Cobbe portrait is an early Jacobean panel painting of a gentleman which has been argued to be a life portrait of William Shakespeare. It is displayed at Hatchlands Park in Surrey, a National Trust property, and the portrait is so-called because of its ownership by Charles Cobbe, Church of Ireland (Anglican) Archbishop of Dublin (1686–1765). There are numerous early copies of the painting, most of which were once identified as Shakespeare.
The "Streatham" portrait is an oil painting on panel from the 1590s believed to be a later copy of an earlier portrait of the English noblewoman Lady Jane Grey. It shows a three-quarter-length depiction of a young woman in Tudor-period dress holding a prayer book, with the faded inscription "Lady Jayne" or "Lady Iayne" in the upper-left corner. It is in poor condition and damaged, as if it has been attacked. As of January 2015 the portrait is in Room 3 of the National Portrait Gallery in London.
Sir Thomas More and Family is a lost painting by Hans Holbein the Younger, painted circa 1527 and known from a number of surviving copies.
Ralph Symons was an English mason and architect known for his work at the University of Cambridge in the reign of Elizabeth I.
Judith Emilie Egerton was an Australian-born British art historian and curator. She specialised in eighteenth-century British art and, particularly, the work of George Stubbs.
Meynnart Wewyck or Maynard Vewicke was a Netherlandish painter, active c. 1502 to 1525 in England and Scotland, where he was known as "Maynard" and "Mynours". Wewyck was employed as an artist at the court of Henry VII of England and, after his death, by his son Henry VIII. He also spent a brief period at the court of James IV of Scotland. Surviving documentation associates Wewyck with portraits of several members of the royal family, and with drawings for the tomb of Lady Margaret Beaufort, mother of Henry VII, at Westminster Abbey. New research published in 2019 has identified a portrait of Lady Margaret Beaufort in the Master's Lodge at St John's College, Cambridge as by Wewyck, and also attributes a painting of Henry VII at the Society of Antiquaries of London to his hand. In follow-on work, a group of researchers suggests that four surviving portraits of Henry VIII and two of his mother, Elizabeth of York, should also be attributed to Wewyck.
Charlotte Bolland is senior curator for sixteenth century collections at the National Portrait Gallery, London.
Karen Hearn is a British art historian and curator. She has Master's degrees from the University of Cambridge and the University of London. She is an Honorary Professor in the Department of English Language and Literature at the University College London. From 1992 to 2012 Hearn was the Curator of 16th & 17th Century British Art at the Tate where she curated major exhibitions on Tudor and Jacobean paintings, Anthony van Dyck, and Rubens. She was co-curator of Royalist Refugees at The Rubenshuis in Antwerp. She has also curated recent exhibitions at The National Portrait Gallery in London, The Harley Gallery, and The Foundling Museum. She was elected as a Fellow of the Society of Antiquaries of London on 1 January 2005.