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By the end of the 19th century portraits and statues of Shakespeare were appearing in numerous contexts, and his stereotyped features were being used in advertisements, cartoons, shops, pub signs and buildings. Such images proliferated in the 20th century. In Britain Shakespeare's Head and The Shakespeare Arms became popular names for pubs ...
Proponents of the Shakespeare authorship question, who assert that someone other than Shakespeare was the real author of the plays attributed to him, have claimed to find hidden signs in the portrait pointing to this supposed secret. Indeed, Dover Wilson suggested that the poor quality of the Droeshout and funeral effigy images are the ...
Print/export Download as PDF; Printable version; ... Pages in category "Portraits of William Shakespeare" The following 16 pages are in this category, out of 16 total.
In addition to the Chesterfield portrait, a copy was made at least as early as 1689 by an unknown artist. Many 18th century images used it as a model for portrayals of Shakespeare. The painting was engraved by Gerard Vandergucht for Nicholas Rowe's 1709 edition of Shakespeare's works. Another print was made by Jacobus Houbraken in 1747. [2]
The only surviving image that may depict Anne Hathaway (1555/56 – 6 August 1623), the wife of William Shakespeare, is a portrait line-drawing made by Sir Nathaniel Curzon in 1708, referred to as "Shakespear's Consort". It was probably traced from a lost Elizabethan original.
image already exists as File:William Shakespeare by John Taylor.jpg: 15:57, 31 May 2023: 2,400 × 3,059 (1.88 MB) CactiStaccingCrane: Higher resolution pic, but more importantly important subtle details about the portrait is recovered. Original source: File:William Shakespeare by John Taylor.jpg. I overwrited on this file because everyone else ...
Joshua Reynolds' Puck (1789), painted for Boydell's Shakespeare Gallery, is modelled after Parmigianino's Madonna with St. Zachary, the Magdalen, and St. John [1]. The Boydell Shakespeare Gallery in London, England, was the first stage of a three-part project initiated in November 1786 by engraver and publisher John Boydell in an effort to foster a school of British history painting.
Kingston told Wivell that the design on the book held in the subject's hand was a combination of "the crest of the Shakespeare family and the tragic mask". After examining the work, Wivell enthusiastically endorsed it. [6] 19th-century print based on the Ashbourne portrait, when the sitter was presumed to be William Shakespeare