Artwork
James I, King of England
James I, King of England is an ink print by the Renaissance artist Simon van de Passe. It dates from 1621 and is held in the collection of the National Gallery of Art.
About this work
Overview
This 1621 engraving presents a portrait of James I, King of England, rendered in black and white on slightly yellowed paper. The image is confined within a circular frame, showing the monarch with curly hair, a full beard, and a formal ruff collar. The expression is solemn, conveying the dignified bearing typical of early‑seventeenth‑century royal portraiture.
Subject & Meaning
The work depicts James I, who ruled England and Scotland from 1603 to 1625, emphasizing his authority through the regal attire and composed demeanor. The careful rendering of facial features and attire underscores the king’s status and the political stability he sought to project during a period of religious and dynastic tension.
Technique & Style
Simon van de Passe employed a fine‑line engraving technique, incising delicate strokes into a metal plate to achieve subtle shading and texture. The method, derived from a silver medal, allows for precise rendering of hair, beard, and the intricate ruff, creating a nuanced tonal range despite the monochrome medium.
History & Provenance
Created by the Dutch engraver Simon van de Passe in 1621, the print was produced from a silver medal bearing the king’s likeness. It circulated as a collectible image of the monarch, reflecting the demand for portable, reproducible portraits among courtiers and collectors in early modern Europe.
Context
The engraving belongs to a broader tradition of portrait medals and prints used to disseminate royal iconography across the kingdom. Van de Passe, active in England and the Dutch Republic, contributed to the visual culture of the Stuart court, where such images reinforced monarchical presence beyond official portraits.
Legacy
While not a unique artwork, the engraving illustrates the technical skill of early modern printmakers and the role of reproduced portraiture in shaping public perception of sovereigns. It remains a valuable reference for scholars studying Stuart iconography and the cross‑national networks of artists like van de Passe.
Artist & collection
