Crossroads in History – Constructing the Elizabethan Ideal and its Legacy


Day course

Joanna Cobb

5 March 2020


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During this session we will examine how Elizabeth I strove to refine the Tudor propaganda machine even further through employing some of the most celebrated and accomplished artists of her time, including Nicholas Hilliard, Levina Teerlinc and Marcus Gheeraerts the Younger. This she did through a vast range of media, including portraiture, print, miniature, coinage, the decorative arts, architecture, literature and music, and by employing the most sophisticated of allegorical devices. Through these means Elizabeth sought to place ‘Brand Tudor’ centre stage during a period of religious and political uncertainty, cementing her own status as Supreme Governor over her nation and an embryonic empire, as well as a key player in international diplomacy and war. The session will conclude by examining how this ‘brand’ has endured and been reinvented in subsequent centuries. Includes comprehensive handouts.
Tutor: Joanna Cobb

Thursday 5 March Fee: £33
Morning session with three course lunch

Tutor information

Joanna is an independent art historian, researcher, lecturer, and retired history teacher with over 20 years’ experience up to A level and Oxbridge entrance. She holds a B.Ed. degree and an MA in History of Art with Distinction from Birkbeck, University of London, which included modules on the Northern and Venetian Renaissance, and 18th century British art. Subsequent research towards a PhD has centred on the 18th century London art world. Her article, ‘From Parrots to Princes: Exhibitions of Contemporary Stained Glass in Late Eighteenth-century London’. appeared in the online journal Vidimus, Issue 53, July/August 2011. In keeping with her support for lifelong learning in its fullest sense, she present s her independent series of art history lectures across a range of venues in Somerset and has also taught U3A groups in Glastonbury and Wells, as well lectured sixth formers, parents and teachers at Wells Cathedral School. Future projects include short courses for several branches of the WEA, a special presentation for the Western Front Association to coincide with commemorations of the Armistice in 1918, additional lectures at Wells Cathedral School and a collaboration with Wells Film Centre. Her art historical interests include patronage, display, spectatorship, the changing status of art and artists, and the roles and achievement of women as artists. Central to her approach is an understanding of the context in which works of art were produced and experienced, in order to allow the ‘bigger picture’ surrounding them to emerge and in so doing enrich and enlarge the encounter