Examines the portrait of Mary Tudor, 1554 (Madrid, Prado) and versions, by Antonis Mor, in light of Hapsburg patronage and as a case study of ways in which mid-16th c. European ruler and court portraits held significance for their viewers. Seeks to expose the use of visual precedents to naturalize the power of the ruling elite and to create exemplars for the rest of the population. Includes documentary evidence suggesting that Philip II was the patron.
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