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respective moral illnesses. He pours "Wisdome and
Understanding" down the throat of an ignorant rustic and smokes the brain of the "gallant" (courtier) in an oven to burn away the vanity in it (represented by various images going up in smoke). Two other figures wait to have their own brains smoked. Inset are other designs referring to the religious controversy of the era over
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asserted what became the majority view, that the younger Martin
Droeshout was the more likely candidate. In 1991 historian Mary Edmund argued that his uncle, Martin Droeshout the Elder, may have been both a painter and engraver, and that there was no evidence that the younger Droeshout ever worked as
125:
Because of the multiple family members, including his uncle with the same name, it is difficult to separate out the younger Martin's biography from surviving information. There is little doubt that a number of engravings were made by the same individual, on stylistic grounds and the similarities of
114:
Droeshout was a member of a
Flemish family of engravers who had migrated to England to avoid persecution for their Protestant beliefs. His father, Michael Droeshout, was a well established engraver, and his older brother, John, was also a member of the profession. His mother, Dominique Verrike, was
207:
Some time between 1632 and 1635 Droeshout emigrated to Spain, settling in Madrid. This is known because he produced a number of signed engravings there from 1635 to 1640. Art historian
Christiaan Schuckman believes that Droeshout's move to Spain must have been caused by, or led to, a conversion to
211:
While in Spain
Droeshout also seems to have anglicised his name to "Droeswoode" ("hout" being Dutch for "wood"), possibly because of negative attitudes to the Dutch in Spain at the time. There are no known records of Droeshout after 1640. Martin is not mentioned in his brother's will, dated 1651,
366:
Droeshout's most complex independent print is "Doctor
Panurgus", an allegory of the follies of modern life, depicting figures representing Country, Town and Court life being treated by the doctor. The design "has a complicated ancestry", being an adaptation of an earlier print by Greuter, which
105:
Droeshout's artistic abilities are typically regarded as limited. The
Shakespeare portrait shares many clumsy features with Droeshout's work as a whole. Benjamin Roland Lewis notes that "virtually all of Droeshout's work shows the same artistic defects. He was an engraver after the conventional
239:
Droeshout would have been beginning his career as an engraver when he was commissioned to create the portrait of
Shakespeare, who had died when Martin was fifteen years old. He was 21 when he received the commission. The engraving is probably based on a pre-existing painting or drawing. Since
371:
designs. Droeshout, or perhaps an unknown person who designed it, seems to have made a number of specific elaborations of the image, including extensive text, adding extra characters and
English and Latin phrases, notably verses explaining how the doctor is purging the three figures of their
389:. Stylistically the engravings remain very similar. The portrait of Francisco de la Peña is similar in its modelling and the drawing of head-shape to the Shakespeare print. His earliest Spanish work depicted the coat of arms of leading Counter-Reformation Spanish statesman
384:
Droeshout's ten known
Spanish engravings are all on subjects with distinctly Catholic significance, differing dramatically in that respect to works he had been producing in Britain up to 1632, one of the last of which was an allegory of the theology of presbyterian Puritan
330:, engraved around the same time as the Shakespeare image. This depicts the devil's army besieging a stronghold held by a "Christian Soldier bold" guarded by figures representing the Christian virtues. It has been proposed that this design may have influenced
248:
argues that the poor drawing and modelling of the doublet and collar suggests that Droeshout was copying a lost drawing or painting that only depicted Shakespeare's head and shoulders. The body was added by the engraver himself, as was common practice.
208:
Catholicism, as many of these works depict Catholic saints and use Catholic symbolism. Martin's namesake, Martin the Elder, is known to have remained in London and was a staunch member of the local Dutch Protestant community throughout his life.
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146:
Ever since the identification of the surviving records of the Droeshout family, there has been uncertainty about whether "Martin Droeshout" the engraver was the brother or the son of Michael Droeshout, though
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129:
Though Droeshout's engraving of Shakespeare is his earliest dated work, there is reason to believe he was already an established engraver, possibly having already produced the allegorical print
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135:. He made at least twenty four engravings in London between 1623 and 1632. These included portraits and more complex allegorical works, the most elaborate of which was
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that the elder Martin may have made the original image, which could explain why his young relation was given the commission for the engraving.
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393:. His most explicitly Catholic design depicts the "Church as Warrior stamping out Heresy, Error and Temerity", a frontispiece to the
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122:), was an established painter. No direct documentation survives about the life of Droeshout beyond the record of his baptism.
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which may mean that he was dead by this date, or that his family had severed links with him due to his Catholicism.
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102:, fellow actors of the Bard. Nevertheless, Droeshout produced other more ambitious designs in his career.
83:
625:
867:
Schlueter, June (2007). "Martin Droeshout Redivivus: Reassessing the Folio Engraving of Shakespeare".
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87:
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Schuckman, Christiaan (1991). "The Engraver of the First Folio Portrait of William Shakespeare".
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376:. The whole is filled with boxed passages of satirical moral verse of unknown authorship.
340:. It appears to have been reprinted in 1697 in the wake of the success of Bunyan's books.
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896:
824:
The Shakespeare documents: facsimiles, transliterations, translations, & commentary
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617:
609:
245:
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95:
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reaffirms the traditional attribution of the engravings to the younger Droeshout.
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should all be attributed to the elder Martin. Her views were asserted in the new
702:
Printmaking in Britain: a general history from its beginnings to the present day
368:
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Martin's uncle of the same name was an established painter, it was suggested by
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Works by Martin Droeshout the Younger at the National Portrait Gallery, London
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his father's second wife. His uncle, also called Martin Droeshout (1560s-
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313:
75:
17:
779:
Jones, Malcolm (2002). "The English Print". In Hattaway, Michael (ed.).
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321:
363:, for which Droeshout was one of five engravers who created plates.
230:
936:
The Recorder: Newsletter of the International John Bunyan Society
968:
955:"Website Comparing the Three most likely Shakespeare Portraits"
355:. Among his more complex works are several engraved plates for
56:
50:
671:
Edmond, Mary (2008) . "Droeshout, Martin (1565x9–c.1642)".
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Droeshout created an illustration depicting the suicide of
53:
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A Companion to English Renaissance Literature and Culture
612:(2006). "1. William Shakespeare, from the First Folio,
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Novissimus Librorum Prohibitorum et Expurgatorum Index
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Droeshout later created portrait engravings depicting
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550:
351:'s verse translation of the fourth book of Virgil's
59:
47:
44:
1121:
1091:
1070:
1026:
1003:
41:
783:. Blackwell Companions to Literature and Culture.
699:
268:"Doctor Panurgus" curing the folly of his patients
200:Droeshout's signature used in Spain ("Droeswoode")
158:an engraver at all. She stated that the Droeshout
756:Jones, Malcolm (2001). "English Broadsides - I".
186:Droeshout's signature on the Shakespeare portrait
82:descent, who is best known as illustrator of the
29:17th-century English engraver of Flemish descent
666:. Vol. 16. London: Smith, Elder & Co.
980:
8:
1172:Converts to Roman Catholicism from Calvinism
677:(online ed.). Oxford University Press.
235:Droeshout's portrait of William Shakespeare
139:, an adaptation of an earlier engraving by
1088:
1023:
987:
973:
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942:. International John Bunyan Society: 3–4.
929:"Dating The Spiritual Warfare Broadsheet"
580:
505:
482:
434:
391:Gaspar de Guzmán, Count-Duke of Olivares
995:Portraits, sculptures and memorials to
674:Oxford Dictionary of National Biography
568:
412:
307:George Villiers, 1st Duke of Buckingham
165:Oxford Dictionary of National Biography
735:The Print in Stuart Britain: 1603-1689
517:
470:
347:which functioned as a frontispiece to
592:
556:
541:
446:
419:
7:
458:
282:Droeshout's depiction of John Howson
106:manner, and not a creative artist."
529:
361:The Hierarchy of the Blessed Angels
126:the signatures and monograms used.
25:
1061:
873:. 60, Theatres for Shakespeare.
822:Lewis, Benjamin Roland (1969) .
802:Jones, Malcolm (November 2006).
663:Dictionary of National Biography
275:
261:
193:
179:
154:Dictionary of National Biography
37:
1136:Garrick's Temple to Shakespeare
1078:Shakespeare's funerary monument
846:"Martin Droeshout (1601-1650?)"
312:He also created more ambitious
808:British Printed Images to 1700
1:
1083:Heminges and Condell Memorial
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68:
698:Godfrey, Richard T. (1978).
691:UK public library membership
1131:Boydell Shakespeare Gallery
1188:
883:10.1017/CCOL052187839X.018
875:Cambridge University Press
733:Griffiths, Antony (1998).
224:
168:. More recent research by
1059:
851:National Portrait Gallery
708:New York University Press
653:"Droeshout, Martin"
630:National Portrait Gallery
622:Searching for Shakespeare
1104:Leicester Square, London
324:designs. These included
90:'s collected works, the
927:Zinck, Arlette (2007).
1099:Central Park, New York
236:
683:10.1093/ref:odnb/8054
626:Yale University Press
327:The Spiritual Warfare
234:
132:The Spiritual Warfare
67:; April 1601 –
739:British Museum Press
403:Notes and references
309:and other notables.
253:Other English prints
997:William Shakespeare
804:"'Doctor Panurgus'"
387:Alexander Henderson
94:of 1623, edited by
88:William Shakespeare
1034:Ashbourne portrait
1018:Droeshout portrait
870:Shakespeare Survey
648:Cust, Lionel Henry
242:E. A. J. Honigmann
237:
227:Droeshout portrait
1167:English engravers
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794:978-1-4051-0626-9
689:(Subscription or
583:, pp. 146–8.
422:, pp. 553–6.
295:Gustavus Adolphus
141:Matthaeus Greuter
74:) was an English
16:(Redirected from
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895:– via
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856:. Retrieved
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811:. Retrieved
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1162:1650 deaths
1157:1601 births
914:(1): 40–3.
518:Cooper 2006
471:Edmond 2008
369:emblem book
332:John Bunyan
314:allegorical
303:John Howson
221:Shakespeare
149:Lionel Cust
120: 1642
92:First Folio
72: 1650
1151:Categories
1071:Sculptures
877:: 237–51.
737:. London:
693:required.)
616:1623". In
602:References
593:Jones 2006
557:Zinck 2007
542:Jones 2002
447:Jones 2001
420:Lewis 1969
299:John Donne
1123:Memorials
1005:Portraits
920:0265-8305
772:0265-8305
459:Cust 1888
374:pluralism
334:to write
322:satirical
291:John Foxe
18:Droeshout
1027:Disputed
650:(1888).
318:mythical
76:engraver
1092:Statues
726:4529464
660:(ed.).
620:(ed.).
530:NPG n.d
80:Flemish
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353:Aeneid
160:oeuvre
932:(PDF)
854:. n.d
764:XVIII
656:. In
408:Notes
216:Works
916:ISSN
912:VIII
887:ISBN
860:2016
832:ISBN
815:2016
789:ISBN
768:ISSN
743:ISBN
722:OCLC
712:ISBN
634:ISBN
345:Dido
320:and
110:Life
98:and
86:for
879:doi
679:doi
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