In a New Light: 500 Years of British Art (Yale Center for British Art, 2025-04-01 - 2026-01-30)
Publications:
British Art at Yale, Apollo, vol.105, April 1977, pp. 239-240, fig. 4, N1 .A54 + OVERSIZE (YCBA)Malcolm Cormack, Concise Catalogue of Paintings in the Yale Center for British Art, Yale Center for British Art, New Haven, CT, 1985, pp. 140-141, N590.2 .A83 (YCBA)Roy C. Strong, The English icon : Elizabethan & Jacobean portraiture, , Paul Mellon Foundation for British Art, London New York, 1969, p. 327, no. 349, ND1314 S77 + (YCBA)Ian Tyers, The tree-ring analysis of 23 panel paintings from the Yale Center for British Art , New Haven : dendrochronological consultancy report 470, , Yale Center for British Art, New Haven, 2011, p. 78, fig. 46, CC78.3 .T94 2011 (YCBA)Ellis Waterhouse, An Impressive Panorama of British Portraiture, Apollo, v. 105, no. 182, April 1977, pp. 239-40, fig. 4, N1 A54 + (YCBA) Another copy of this article may be found in a separately bound and catalogued copy of this issue located on the Mellon Shelf [call number : N5220 M552 A7 1977 + (YCBA)]
Gallery Label:
Larkin portrays these men in the mirrored poses typically reserved for a husband and wife, capturing the intensity of male friendship in seventeenth-century England. The oval frames recall those of the portrait miniatures commonly exchanged as gifts between intimates. The men are similarly dressed: both wear high-necked silk doublets and standing linen collars, the impressive spans of which were achieved through heavy starching and the use of the supports that can be seen beneath the lace. Pope, on the left, was both Brydges’s neighbor and his nephew by marriage. Often participating in performances at court, Brydges was the archetypal Jacobean courtier, spending prodigious sums to maintain his household at Sudeley Castle, which was open for his neighbors to enjoy three days a week. Gallery label for installation of YCBA collection, 2025