#The Execution of Lady Jane Grey

[ravenart357]

Title: The Cardinal’s Promotion Day

After almost five months and at least 150 hours later, I have finally finished this oil painting of Ghost based off of “The Execution of Lady Jane Grey” by Paul Delaroche. This has been such a challenge and adventure for me and I am beyond thrilled for everyone who has followed this through with me. You all are the best and I hope Tobias is able to see this one day. Thank you all!!

[7pleiades7]

The Execution of Lady Jane Grey (1833), (detail), by Paul Delaroche (French, 1797-1856), oil on canvas, 246 cm × 297 cm, The National Gallery, London

[beguilingcorpse]

top five paintings :)

AHH THIS IS SUCH A CUTE ASK!!!! these are just the first five that came to mind lol this is not a definitive list!!

5. The Red Boy (Master Lambton) by Thomas Lawrence

saw this in london and became OBSESSED with it. it’s hard to impart on a phone screen but the red color is soooo bright in person and the kid looks so sassy and authentic lol. it just pops off the wall

4. Woman with a Parasol - Madame Monet and Her Son by Claude Monet

UNDERRATED MONET PAINTING!!!! i love love love the perspective and lighting here - it’s so different from most of monet’s other work but it’s so striking!! one of my faves ever

3. Bar Boy by Salman Toor

toor is a contemporary artist (this was done in 2019!) and i am such a huge fan. i love the way his work plays with light + color, and how he depicts loneliness, community, queerness, sex, emotion, etc etc etc. also a big fan of his fag puddle series

2. The Execution of Lady Jane Grey by Paul Delaroche

yet another one i saw for the first time in the national gallery. so beautiful and haunting. you have to turn a corner to see it and it takes up a wall to itself and it just gut punched me. incredible use of composition as emotion

1. The Meeting on the Turret Stairs by Frederic William Burton

OK PERHAPS YOU WILL THINK THIS IS A BASIC CHOICE BUT i am keeping it as my number one because (a) you never know who could be part of today’s lucky 10,000 and (b) i am astonished every time i see this painting. the longing. the tenderness. the rich and compelling narrative told by a single still image. AND ALL OF THIS IS WATERCOLOR. THE DEEP BLUE OF HER DRESS. THE DETAIL IN THEIR EXPRESSIONS. THE CHAIN MAIL……. literally and genuinely a masterpiece.

(ask me my top 5 of anything!)

[muiments]

old wip :3

[taylorswiftarthistories]

The Execution of Lady Jane Grey by Paul Delaroche, 1833 / "Castles Crumbling" by Taylor Swift

[annemarart]

the execution of lady jane grey

context  ⋆.˚ ᡣ𐭩 .𖥔˚

the execution of lady jane grey (1833) by paul delaroche, a french painter. the oil painting is now held in the london national gallery.

lady jane grey, nicknamed "nine days' queen", was proclaimed queen of england on 10 july 1553 and deposed only nine days later and executed on 12 Febuary 1554.

painting details ⋆.˚ ᡣ𐭩 .𖥔˚

༉‧₊˚. you can see that lady grey couldn't find the execution block, where she should've laid her head down, so she is guided towards it by sir john brydges, lieutenant of the tower, as the executioner waits off to the right.

༉‧₊˚. the ladies in waiting on the right are depicted as inconsolable: one slumped to the ground in misery and another turned away as to not see what is going to happen. 

༉‧₊˚.the lady in waiting on the ground holds lady grey's outer clothing and jewels on her lap. 

༉‧₊˚.both ladies are positioned so that their neck is highlighted, foreshadowing the execution waiting to happen.

༉‧₊˚. in actuality, the event took place outside but delaroche provides a dark background to emphasise the gloom of the event taking place. this also makes her dress stand out.

༉‧₊˚.  when executed, the condemned would wear black clothes and lady grey would wear that in history but she is presented with a white dress in the painting to represent her innocence and peace.

[royalty-nobility]

The Execution of Lady Jane Grey

Artist: Paul Delaroche (French, 1797-1856)

Date: 1833

Medium: Oil on canvas

Collection: The National Gallery, London

Description

Lady Jane Grey reigned for just nine days as Queen of England following the death of Edward VI in July 1553: she was deposed by the faction supporting Edward’s half-sister and heir, the Catholic Mary Tudor. Tried for treason, the 17-year-old Lady Jane was beheaded at Tower Hill on 12 February 1554.

In the catalogue for the 1834 Salon, where the painting was first exhibited, Delaroche quoted from a text about Protestant martyrs, Martyrologe des protestants, which was published in 1558. Describing her final moments, the excerpt tells how the blindfolded Lady Jane pleaded, ‘What shall I do? Where is the block?’ It is this moment that the painting shows, as the helpless Lady Jane is guided to the execution block by Sir John Brydges, Lieutenant of the Tower. Her outer clothing has already been removed and is gathered in the lap of a lady-in-waiting, who has slumped to the ground. Behind her, a second lady-in-waiting stands facing the wall, unable to watch. To the right, a fifth figure, the executioner, stands waiting.

Delaroche uses a dark monochrome background of Romanesque architecture as a foil for the illuminated life-size figures – in particular the group in the centre-right – and the rich reds, browns and blacks of their clothing. Lady Jane is the visual focus of the painting, as the bright sheen of her satin petticoat (its radiant whiteness symbolising her innocence), pale skin and gleam of her wedding ring stand out from the oppressive gloom. No one in the picture looks at us, and nothing, except for the brightly-lit straw laid down to soak up the blood, comes between us and what is about to happen. The smooth finish of the paint and its lack of visible brushwork further enhance the illusion.

Delaroche’s extensive preparatory drawings reveal how he reduced the composition to its core elements, trying out a variety of poses. These include seated, standing, kneeling and leaning figures who are variously presented frontally, half-turning or else fully turned away, displaying a range of emotional responses – horror, fear and pity. The drawings show how Delaroche was particularly preoccupied with Lady Jane and the executioner. Taking his cue from the historical source he cited in the catalogue, Delaroche specifically focuses on Lady Jane’s moment of faltering hesitation as, ‘crying piteously,’ she tentatively searches for the block, her outstretched arms gently guided by Sir John’s hands. Hands play an important role in the picture, as Delacroche uses expressive gestures to give insight into the psychological state of each character. In a highly finished watercolour sketch of 1832, a stockier version of the executioner, who holds a large broadsword, stands to the side, as if merely waiting to complete his task. However, in the painting the sword has been replaced by an axe, and the figure of brute state authority had evolved into one whose pose and facial expression suggest some degree of compassion.

[reaganlovesslushies]

8am start time isn’t going to work for me

.*˚✦..  ˚˚ . ⋆. ˚ .*. ✦˚ ˚ .˚* ˚ .*˚✦..  ˚˚ . ⋆. ˚ .*.

[xpuigc-bloc]

Paul Delaroche

The Execution of Lady Jane Grey

1833

Collection of the National Gallery, London.

[museen]

THE EXECUTION OF LADY JANE GREY by Paul Delaroche

Painted in the glory days of 1833, The Execution of Lady Jane Grey exemplifies the qualities of historical painting. It’s dramatic, technically exquisite, and a bit wrong on the factual details. These elements made history paintings popular in the 19th century and then passé soon after. [...] We see that in Delaroche’s painting The Execution of Lady Jane Grey. It has all the drama of Lady Jane’s tragic story but tells little truth of the matter. When Jane was 15 years old she was the Queen of England. But this only lasted nine days. A short time later, when she was still only 16 years old, the new Crown executed Lady Jane Grey. The details of how all this went down are confused in the Paul Delaroche depiction. Artistic license like this was a common flaw in history painting. Delaroche gives us a glorious portrait in oil, largely thanks to the intensity of his lights and darks. But that contrast wasn’t likely possible in the actual setting of Jane Grey’s execution ― outside. Delaroche seems to have set the scene in the Tower of London. This marks a significant setting throughout the story because Lady Jane stayed in the Tower while readying for her coronation; and then returned as a prisoner soon after. [...] The pure white silk of Jane Grey’s dress gleams with her innocence along with her porcelain skin. Her martyrdom thus punctuates the center of the otherwise shadowy canvas. It feels operatic thanks to dramatic facial expressions and gestures on the three women present. Lady Jane spreads her hands at her sides with an awkward pose so that her fingers appear to tremble. Her face holds the sad spectre of resignation. While Jane’s maids show much more emotion. One throws herself against the wall in agonizing grief while the other closes her eyes and lifts her face as if she can’t bear the weight of the situation. ©

[pmamtraveller]

THE EXECUTION OF LADY JANE GREY (1833) by PAUL DELAROCHE

In the painting she is illuminated and vulnerable in a bright white petticoat, guided towards an execution block by an advisor as distraught ladies in waiting collapse around her and her executioner watches on.

Her fragility seeps through the canvas in a voyeuristic representation of a woman in pain. Her white undergarments stand as a stark contrast to the darkness of the people around her, revealing her innocence to the viewer.

The poor courtesy of her reaching out her hands to help her killer bring her to the block creates an unpleasant image of girlhood that the women of the painting can’t look at, leaving only the male executioners as witnesses.

It makes me think of all the girls and women who have been put on a pedestal, become the face of a movement, only to be martyred as they suffer at the hands of incompetent advisors or apathetic men – for example MARIE ANTIONETTE, whose death inspired DELAROCHE to paint this piece.

However, as we look at this painting in the twenty-first century, I believe we should not see her through this male gaze as a pitiful, naive pawn blindly stumbling to her death. In the time of GRETA THUNBERG and MALALA, it is evident that teenage girls are not passive but stand as the face of movements with agency, cause and passion.

[mysterious-secret-garden]

George Cruikshank - The execution of Lady Jane Grey, 1554 1840.

[dxrlinggxd]

the butcher and the hunter-turned-prey: the execution of lady jane grey // shauna shipman and nat scatorccio, yellowjackets

[blush-and-books]

I don't normally post personal pics on here but I saw this painting for the first time today in person, and I started to tear up before I got extremely self conscious about crying in a public gallery. But I stood and stared, and then I sat and stared, for a long time. People walked by and took photos and then walked away. A girl sat on the opposite side of the bench from me, drawing this in her sketchbook. This photo doesn't do it justice, it's really beautiful and awful. When I finally left, my mom asked "how long were you going to sit and look at that thing?" like it was nothing. I could have stayed longer.

[stigmatam4rtyr]

Fabric Details from The Execution of Lady Jane Grey (1833, oil on canvas) | Paul Delaroche

[finalgoddess]

The Execution of Lady Jane Grey is an oil painting by Paul Delaroche, completed in 1833, which is now in the National Gallery in London. It was enormously popular in the decades after it was painted, but in the 20th century realist historical paintings fell from critical favour and it was kept in storage for many decades, for much of which it was thought lost. Restored and displayed again since 1975, it immediately became a highly popular work once again, especially with younger visitors.