150:'s poems on her death, such as "An Anatomy of the World". Van Somer may have painted the portrait several years after Elizabeth's death, or possibly during her visit to the continent with her parents shortly before she died. The portrait is noteworthy in that the subject is depicted in a semi-recumbent position—unusual for a non-nude of the period— which may, as H.L.Meakin points out, be intended as a sign of a philosophical or melancholy character, as in
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119:, van Somer lived between 1612–1614 in the house of Steven de Gheyn in Leiden, during 1616 in Brussels, and after that moved to London, where he became court painter. He occupied an important position as one of James and Anne's favourite painters and can be seen as a forerunner of the more famous Flemish and Dutch artists, in particular
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as follows: "Like Daniel Mytens, who had settled in London from the
Netherlands by 1618 and was Van Somer’s neighbour in St Martin’s Lane, Van Somer brought a new grandeur, fluency and naturalism to British court portraiture." Opinion of van Somer's work has, however, been divided:
127:, who followed in his footsteps as leading court painters. (In fact, one of van Dyck's first tasks was to copy van Somer's royal portraits, a duty he did not enjoy.) Van Somer arrived in England as a mature artist, having travelled widely in northern Europe:
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Copies of van Somer's royal portraits were often commissioned, particularly as James disliked sitting for painters, to be sent as gifts overseas. Many variants also exist in printed form. Van Somer is said to have introduced
211:, sent measurements for portraits to Van Somer. He replied in December 1618, via Edward Norgate, that the suggested sizes were too narrow. A standard full length portrait of usual proportions would cost £30 or £25.
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which may be the jewel known as the "Mirror of France". When she died in 1619 she owed him £170, and he joined her funeral procession as her "picture maker" with the artists Marcus
Gheeraerts and
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after he returned from Italy. Van Mander does not mention whether Paul had accompanied his brother to Italy or not, and only remarked that he was still a bachelor. According to the
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refers in her diary to being painted by him on 30 August 1619. A curiosity of van Somer's oeuvre is his portrait of
Elizabeth Drury (1596–1610), a girl made famous by
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Some of van Somer's work can still be seen today. He completed a much-reproduced portrait of James I in 1616 and one of Queen Anne in hunting attire with her
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suggested that "Paulus van Somer had gifts and one of them was for the perception of character"; on the other hand, art critic Sir
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Paul van Somer is in some ways an elusive figure: not much is known about him, and his art is rarely written about;. According to
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and became one of the leading painters of the royal court. He painted a number of portraits both of James and his consort, Queen
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names the year of his arrival as 1606, but H.L.Meakin notes that he did not settle permanently in the country until after 1616.
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Articulating
British Classicism: New Approaches to Eighteenth-Century Architecture,
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paid him £26 for portraits in 1618, and £37 for pictures of King James and
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Images of Rule: Art and
Politics in the English Renaissance, 1485-1649
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Van Somer received additional commissions from non-royal sources. The
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Anna of
Denmark: The Material and Visual Culture of the Stuart Courts
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Van Somer's achievement is described in the gallery notes at the
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Elizabeth Grey, countess of Kent, c.1619, by Paul van Somer.
472:"An Anatomy of the World" by John Donne at PoemHunter.com.
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thought one of his portraits as fine as a Van Dyck, and
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Some Old
Portraits: A Book About Art and Human Beings
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195:condemned van Somer's work as dull and heavy.
218:, horse, and hunting dogs, in the grounds of
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449:Barbara Arciszewska and Elizabeth McKellar,
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580:(Manchester, 2020), pp. 168-172: Image at
418:John Donne's Articulations of the Feminine
230:. Another portrait of Anne of Denmark, at
586:Anne of Denmark, 1617, by Paul van Somer
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85:Elizabeth Stanley, Countess of Huntingdon
621:56 artworks by or after Paul van Somer I
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379:, Eyre & Spottiswoode, 1953, p. 78;
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117:Netherlands Institute for Art History
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313:Digital library for Dutch literature
545:An Introduction to English Painting
522:Artist details at Royal Collection.
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164:Ludovic Stewart, 2nd Duke of Lennox
158:. Other portraits include those of
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67:artist who arrived in England from
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377:A History of British Painting
228:Marcus Gheeraerts the Younger
187:, in his psychological study
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547:, I.B.Tauris, 2001 edition,
59:1577 – 1621), also known as
40:by Paul van Somer I (1617),
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189:King James in Faded Paint
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671:English male painters
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366:Tarkington, pp 15–17.
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253:Notes and references
205:Order of the Garter
144:Lady Anne Clifford
109:Barend van Someren
89:Lady Anne Clifford
73:James I of England
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42:Palace on the Isle
402:Tarkington, p 15.
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142:in 1619.
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