Who painted James Ussher, Archbishop of Armagh?

James Ussher, Archbishop of Armagh was painted by Robert Vaughan in 1640.

Where can I see James Ussher, Archbishop of Armagh?

James Ussher, Archbishop of Armagh is held by National Gallery of Art.

What movement is James Ussher, Archbishop of Armagh?

James Ussher, Archbishop of Armagh is associated with Renaissance.

Artwork

James Ussher, Archbishop of Armagh

Robert Vaughan , 1640

James Ussher, Archbishop of Armagh is an ink print by the Renaissance artist Robert Vaughan. It dates from 1640 and is held in the collection of the National Gallery of Art.

About this work

Overview

Robert Vaughan’s 1640 engraving presents James Ussher, the 17th‑century Archbishop of Armagh, in a formal portrait. Rendered in fine line work, the image captures the cleric’s aged visage, white collar, and flowing beard, set against an understated background that directs attention to his contemplative expression.

Subject & Meaning

The portrait depicts Ussher as a learned ecclesiastical figure, emphasizing his authority and intellectual bearing through a composed gaze and dignified attire. The restrained setting underscores his role as a leading churchman in early‑modern Ireland, inviting viewers to consider his theological influence.

Technique & Style

Vaughan employs delicate hatching and precise line engraving to model the folds of the robe and the texture of the collar. The subtle gradations of tone create a sense of volume, while the minimal background avoids distraction, allowing the intricate facial details to dominate the composition.

History & Provenance

Created in 1640, the print has been preserved within institutional collections and is presently held by the National Gallery of Art in Washington, D.C. Its survival in a major museum setting reflects its value as a documentary image of a prominent religious figure.

Context

Ussher’s tenure as Archbishop coincided with significant religious and political shifts in 17th‑century Ireland. Portraits such as Vaughan’s served both as personal commemoration and as visual affirmation of ecclesiastical authority during a period of contested confessional identities.