About This Site | Frequent Questions
I am writing a paper for school and I need to cite your website as a source. How do I do it?Each course is going to have differing requirements. However, art history courses typically use MLA or APA style.
Here is an example of MLA Style:
Walker, Hope. "Hans Eworth: List of Pictures." The Hans Eworth Catalogue. 10 January, 2010. Web.
Here is an example of APA Style:
Walker, Hope. (2010). Hans Eworth: List of Pictures. Retrieved from http://www.hanseworth.com
Please note that MLA style no longer requires the URL (web address) of the website you are citing. However, your professor may have different instructions, in spite of this recent change. So, when in doubt, check with your instructor. Also, for more help in writing an art history paper, I highly recommend Dr. Marjorie Munsterberg's Website, Writing Art History; everything from visual analysis to sample research papers are presented in an easy-to-read style. For trouble with terms, see Okanagan University's Words of Art for a glossary of terms.
Shouldn't your catalogue entry read 'Edward, 1st Duke of Somerset' rather than William, Duke of Somerset?What a great question! As you note, Edward Seymour, Duke of Somerset was executed in January 1552 (modern calendar), whereupon the dukedom fell into abeyance (for all practical purposes) until 1660. That year William Somerset, Edward Seymour's grandson, regained the title. For the purposes of the 2009 Picture List, I am including pictures by working titles. In this case, this picture was sold under the title 'William, Duke of Somerset' at a London auction house in 1951.
Indeed, I do not yet know who the sitter of this picture is. I have only basic data on the picture and have not yet viewed it in person. However, you can rest assured that I will do whatever I can to find the picture and learn more about it. From the black/white image I have, it appears to be a stunning portrait and I look forward to learning more about it.
Finally, I should also mention that the Picture List is not the Catalogue but rather a working list of images that I am presently studying. I have little doubt that, as I continue to work, names and identifying data will change; in fact, that has already occurred and the 2010 list looks different than the September 2009 version. However, I was keen to put something up so that interested individuals could take a look at the scope of the project and perhaps crosscheck their own lists against mine. The 2009 Picture List had around 90 works; the 2010 list has 117. One of the remarkable things about working on a catalogue is the fluid nature of the material. As new pictures come in, and others are eliminated through attribution, the work changes shape. In the Catalogue, I will be including all pictures that have ever been linked to Eworth, even if I chose not to attribute them to his body of work. Howewver, as the Catalogue Schema notes, I will not be presenting the final list until after my dissertation is complete, in 2013.
I know a bit about the Tudors. Why haven't I heard of Eworth before now?There are several overlapping reasons for this. In general terms, I believe that the study of Hans Holbein the Younger has overshadowed the study of most other sixteenth-century Tudor artists, and perhaps (to an extent) rightly so. Holbein was an incredible painter and his work changed the face of Tudor portraiture forever. There is also a great deal more known about Holbein than Eworth, so that it appears as though many scholars have avoided working on Eworth--a painter for which (it seems) the general belief is that little more could be known and for which there was an assumed oeuvre that was complete. Also, there is a certain judgment placed upon Eworth, who has been described as a "second-rate" painter by some scholars, when compared to Holbein. This is quite sad as, in my view, such thinking has ignored some of the breathtakingly beautiful (and important!) works Eworth produced. Further, there is no need to apologize for any picture--from a beautiful Holbein or Eworth to some of the less than aesthetically pleasing civic portraits of the period. Each work has something to say and something to contribute to the larger understanding of the arts in the period.
As I have noted elsewhere on the site, there also hasn't been any significant work done on Eworth in nearly thirty years. Although there have been some incredibly important studies on individual pictures, no one has tackled his complete works in a very long time and there has not been an exhibition since 1964. I hope to change both of these circumstances: I am working on his catalogue and am already in discussions with some prominent collections to hold an exhibition sometime in future. Between these efforts (and coupled with others, such as this website), I hope to be able to draw more attention to Eworth and his fellow lesser-known stranger-painters.