Who painted James I, King of England?

James I, King of England was painted by Dutch 17th Century in 1650.

Where can I see James I, King of England?

James I, King of England is held by National Gallery of Art.

What movement is James I, King of England?

James I, King of England is associated with Baroque.

Artwork

James I, King of England

Dutch 17th Century , 1650

James I, King of England is an ink print by the Baroque artist Dutch 17th Century. It dates from 1650 and is held in the collection of the National Gallery of Art. The work is a black‑and‑white portrait of a bearded male figure rendered in profile, looking to the left.

About this work

Overview

The work is a black‑and‑white portrait of a bearded male figure rendered in profile, looking to the left. He is depicted with thick, curly hair and a full beard, and wears a ruffled collar typical of early‑17th‑century fashion. The image is set against an unadorned background, while the margins contain inscription and ornamental lines.

Subject & Meaning

The sitter is identified as James I, monarch of England, whose likeness was frequently reproduced for official and commemorative purposes. The profile format follows a long‑standing convention for royal portraiture, emphasizing the sovereign’s dignified bearing and recognizable features.

Technique & Style

The portrait derives from an engraving taken directly from a silver medal, a process that transfers the raised relief of the medal onto a copper plate for printing. This method yields crisp, incised lines that convey fine detail in hair, beard, and clothing, reflecting the precision favored by early modern printmakers.

History & Provenance

Engraved reproductions of medals were common in the 1600s as a means of disseminating royal imagery beyond the limited circulation of the original metal objects. The specific print’s provenance is not recorded, but its production aligns with contemporary practices of circulating royal iconography through printed media.

Context

During James I’s reign, portraiture served both political and propagandistic functions, reinforcing the monarch’s authority across England and Scotland. Medallic portraits, and their printed copies, were part of a broader visual culture that linked sovereign power with classical motifs and the emerging market for collectible prints.