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Barbara Villiers, Duchess of Cleveland (ca 1641-1709) c. 1663-65 The series was commissioned by Anne Hyde, Duchess of York, probably around 1662-5. Pepys recorded on 21 August 1668 that he ‘did first see the Duke of York’s room of pictures of some Maids of Honour, done by Lilly: Good, but not like.’
19 de ago. de 2015 · Barbara Palmer, 1st Duchess of Cleveland, Countess of Castlemaine (née Barbara Villiers, 27 November [O.S. 17 November] 1640 – 9 October 1709), was an English royal mistress of the Villiers family and perhaps the most notorious of the many mistresses of King Charles II of England, by whom she had five children, all of them acknowledged and subsequently ennobled.
Barbara Villiers was Charles II's principal mistress between 1660 and 1670 and the most powerful woman at court. She devoted much energy to public demonstrations of the king's favour through displays of jewels and wealth. She was painted frequently by Lely, who described her beauty as ‘beyond the compass of art’. Cat. 57
7 de ago. de 2012 · Barbara Villiers was born in 1640, the only child of William Villiers, Lord Grandison, and his young wife Mary. Grandison died in 1643 after being wounded at the battle of Newbury while fighting in the Royalist cause. Barbara had grown up to be a beauty, with long auburn curls and violet-blue eyes.
Barbara Palmer (née Villiers) Duchess of Cleveland, with her son, Charles FitzRoy, as the Virgin and Child By Sir Peter Lely, circa. 1664. Picture: National Portrait Gallery, London. FIVE ‘B ...
18 de nov. de 2022 · Barbara Villiers was effectively his muse, and her heavy-lidded, 'sleepy’ look became the fashionable style of beauty for court women partly as a result of Lely's paintings. Lely depicted her in a wide range of roles: as Minerva, St Catherine, St Barbara, a shepherdess and, here, most audaciously, as the Virgin Mary, with her child - probably her eldest son by the king - as the Christ Child.
4 de abr. de 2020 · Barbara Palmer (née Villiers), Duchess of Cleveland with her son, probably Charles Fitzroy, as the Virgin and Child (c. 1664), Peter Lely. National Portrait Gallery, London Mazarin’s semi-nudity in the Diana portrait – her right breast exposed by the casual folds of her robes – is an important part of the picture’s statement about female power.
