George Gower (circa 1540–1596) stands as one of the most significant English portrait painters of the Elizabethan era. His appointment as Serjeant Painter to Queen Elizabeth I in 1581 cemented his status at the apex of the artistic establishment in England. While the details of his early training remain somewhat obscure, his gentry background and evident skill allowed him to navigate the complex world of courtly patronage, leaving behind a body of work that offers invaluable insights into the personalities, power structures, and cultural preoccupations of Tudor England. His portraits are celebrated for their meticulous detail, rich symbolism, and the dignified, often enigmatic, portrayal of his sitters.
Early Life and Artistic Genesis
Born around 1540 in Yorkshire, George Gower hailed from a family of landed gentry. He was the grandson of Sir John Gower of Stittenham, a connection that likely provided him with a degree of social standing and access that might have been unavailable to artists from more modest backgrounds. This gentry status is something Gower himself was keen to emphasize, as seen in his 1579 self-portrait where his coat of arms is prominently displayed alongside the tools of his artistic trade—a symbolic assertion of the gentleman-painter.
The precise nature of Gower's artistic education is not definitively recorded, a commonality for many English-born artists of this period who often learned their craft through apprenticeship systems rather than formal academies, which were more established on the continent. It is highly probable that he trained under an established painter in London, absorbing the prevailing styles of the mid-16th century. English art at this time was still heavily influenced by the legacy of Hans Holbein the Younger, who had worked for Henry VIII and set a high standard for court portraiture. Additionally, Flemish artists like Hans Eworth were active and influential in England, bringing with them a Northern European tradition of detailed realism and rich textures. Gower’s work shows an awareness of these trends, yet he developed a distinctly English sensibility.
His artistic style, even in early works, began to show a preference for strong, clear outlines, a rich but not overly ostentatious use of color, and a keen eye for the intricate details of costume and jewelry, which were potent symbols of status and wealth in Elizabethan society. He was less concerned with the deep psychological introspection seen in some Italian Renaissance masters like Titian or Bronzino, and more focused on conveying the sitter's social standing and official persona, a characteristic highly valued by his aristocratic clientele.
The Rise to Prominence: Early Commissions
By the early 1570s, George Gower was establishing himself as a portrait painter of note. One of his earliest securely attributed and dated works is the pair of portraits of Sir Thomas Kytson and his wife, Lady Kytson, painted in 1573. These paintings, now in the collection of Tate Britain, London, are exemplary of Gower's emerging style. Sir Thomas, a wealthy Suffolk landowner, is depicted with a direct gaze, his sober attire and the gloves he holds signifying his gentility. Lady Kytson is presented with equal dignity, her elaborate ruff, jeweled headdress, and richly embroidered gown meticulously rendered.
These portraits demonstrate Gower's skill in capturing a likeness while adhering to the conventions of aristocratic portraiture. The figures are somewhat formally posed, yet there is a tangible sense of presence. The attention to the textures of fabric—the sheen of silk, the stiffness of starched linen, the glint of gold thread—is remarkable. The background in these, and many of his other works, is often kept relatively plain or features symbolic elements rather than detailed landscapes, ensuring that the focus remains firmly on the sitter.
The success of commissions like the Kytson portraits would have enhanced Gower's reputation among the gentry and aristocracy, paving the way for more prestigious appointments. His ability to create images that were both flattering and authoritative was crucial in an age where portraits served not just as personal mementos but also as public statements of power, lineage, and allegiance. Other painters active in England during this period included John Bettes the Elder and his son John Bettes the Younger, though Gower's star was clearly on the ascendant.
Serjeant Painter to Queen Elizabeth I
The pinnacle of George Gower's career came in 1581 when he was appointed Serjeant Painter to Queen Elizabeth I. This was a significant and highly coveted position within the royal household, previously held by artists such as John Browne and Nicholas Lizard. The Serjeant Painter was responsible for a wide range of artistic duties, not limited to portraiture. The role encompassed the painting and decoration of royal residences, coaches, barges, and even ephemeral items like banners and scenery for court masques and tournaments.
As Serjeant Painter, Gower would have overseen a workshop of assistants and craftsmen to fulfill these diverse obligations. His primary role, and the one for which he is best remembered, was the production of portraits of the Queen herself and favored members of her court. In an era before photography, painted portraits were crucial tools of statecraft, disseminating the royal image and reinforcing loyalty. Elizabeth I was acutely aware of the power of her image, and its control was a matter of considerable importance.
Gower’s appointment indicates the Queen's trust in his abilities and his discretion. He, along with the miniaturist Nicholas Hilliard, who held the title of Queen's Limner, became the dominant figures in royal portraiture. There is evidence that Gower and Hilliard even petitioned the Queen for a monopoly on the production of her portraits, hoping to control the quality and dissemination of her image, though this ambitious plan was not fully realized. Nevertheless, Gower's position ensured a steady stream of prestigious commissions and placed him at the heart of the Elizabethan art world. His influence would have been felt by other court artists, including William Segar and Robert Peake the Elder, who were also producing significant portraits during this period.
Masterpieces and Signature Style
George Gower's oeuvre includes several iconic images that have come to define Elizabethan portraiture. His works are characterized by a strong sense of design, meticulous attention to the details of costume and heraldry, and an ability to convey the sitter's status and authority.
The Kytson Portraits (1573)
As mentioned earlier, the portraits of Sir Thomas Kytson and Lady Kytson are foundational works. They showcase Gower's early mastery of rendering textures and capturing a dignified likeness. The somewhat stiff formality is typical of Tudor portraiture, but Gower imbues his subjects with a quiet presence. The careful depiction of their attire, from Sir Thomas's sober black doublet to Lady Kytson's elaborate jewels and ruff, speaks volumes about their wealth and social standing. These works established Gower as a painter capable of meeting the expectations of the English gentry.
The Self-Portrait (1579)
Gower's self-portrait, painted in 1579, is a fascinating document. It is one of the earliest self-portraits by an English artist. In it, Gower presents himself not merely as a craftsman but as a gentleman. He is elegantly dressed, and prominently displayed are his family coat of arms and, in balance, the tools of his profession—his palette and brushes. The inscription emphasizes the balance between his lineage (gentry) and his chosen profession (painter), a bold statement in an era when artists were often still regarded as artisans rather than intellectuals or gentlemen. This work is a powerful assertion of artistic identity and social aspiration, reflecting a broader Renaissance trend of elevating the status of the artist, as seen in the careers of continental masters like Albrecht Dürer or Sofonisba Anguissola.
The "Sieve" Portraits of Elizabeth I (circa 1579 and later)
Gower is credited with painting at least one, and possibly influencing other versions of, the "Sieve" portraits of Queen Elizabeth I. The most famous version attributed to him, dated 1579 (now in the Folger Shakespeare Library, Washington D.C., though sometimes referred to as the Plimpton Sieve Portrait), depicts the Queen holding a sieve, a symbol of virginity and discernment. This iconography refers to the Roman Vestal Virgin Tuccia, who proved her chastity by carrying water in a sieve.
In these portraits, Elizabeth is presented as the Virgin Queen, a powerful political and personal image she cultivated throughout her reign. Gower’s rendition is rich in symbolism: a globe in the background may allude to England's growing imperial ambitions, and medallions depict scenes from classical mythology. The Queen's costume is, as always, magnificent, a testament to her majesty and wealth. The Sieve portraits are prime examples of how Elizabethan portraiture was laden with allegorical meaning, intended to be "read" by a knowledgeable contemporary audience. The iconic nature of these images was crucial, and artists like Gower played a key role in crafting this visual propaganda.
The Armada Portrait (circa 1588)
Perhaps the most famous image of Elizabeth I is the Armada Portrait, commemorating the English victory over the Spanish Armada in 1588. Several versions exist, and while direct attribution to Gower for the primary versions (e.g., those at Woburn Abbey and the National Portrait Gallery, London) is debated by scholars, it is highly likely that he, as Serjeant Painter, or his workshop, was involved in their design or production, or that they were created by an artist working within his sphere of influence, possibly Marcus Gheeraerts the Younger or an unknown English master.
The portrait is a triumphant assertion of English power and Elizabeth's divine favor. The Queen is depicted in regal splendor, her hand resting on a globe, specifically over North America, symbolizing England's expanding reach. Behind her, two scenes show the Spanish Armada: on one side, the fleet arrives in calm seas; on the other, it is wrecked in storms, attributed to divine intervention—the "Protestant Wind." Pearls, symbols of purity, adorn her richly jeweled dress and hair. The Armada Portrait is a masterpiece of political iconography, encapsulating a pivotal moment in English history and Elizabeth's reign. Even if not solely by Gower's hand, it represents the culmination of the style and symbolic language prevalent in his circle.
Artistic Characteristics and Techniques
George Gower’s artistic style is a distinctive blend of native English traditions and continental influences, adapted to the specific demands of Elizabethan courtly society. His paintings are generally characterized by:
Emphasis on Line and Pattern: Gower's work often displays a strong linearity and a delight in intricate patterns, particularly in the rendering of costume, lace, and jewelry. This can be seen as a continuation of a late Gothic sensibility that persisted in English art, contrasting with the more painterly, chiaroscuro-driven approaches of some Italian and Flemish contemporaries like Anthonis Mor (Antonio Moro), whose work was known in England.
Rich Detail and Texture: He excelled at depicting the sumptuous materials of Elizabethan dress—velvets, silks, brocades, pearls, and gold embroidery. This meticulous attention to detail served not only an aesthetic purpose but also to signify the wealth and status of his sitters. The tactile quality of these surfaces is often palpable in his best works.
Formal Dignity: Gower's portraits generally convey a sense of formal dignity and reserve. While his sitters are recognizable individuals, the emphasis is often on their public persona and social role rather than intimate psychological exposure. This was in keeping with the function of portraiture in an aristocratic society, where images were meant to project authority and lineage.
Symbolism and Allegory: Like many Renaissance artists, Gower employed a rich vocabulary of symbols and allegorical devices, especially in his portraits of Queen Elizabeth I. Objects, gestures, and inscriptions were carefully chosen to convey specific messages about the sitter's virtues, power, or political significance. Understanding this symbolism is key to appreciating the full meaning of his works.
Use of Color: Gower's palette was rich and varied, though often applied with a degree of flatness characteristic of Tudor painting. He used strong contrasts, particularly between the dark, sober attire often favored by men and the vibrant, jewel-toned garments worn by women and the Queen.
Workshop Practice: As Serjeant Painter, Gower would have maintained a workshop. This means that not all works associated with his name were necessarily painted entirely by his own hand. Assistants would have likely been involved in preparing panels, painting backgrounds, drapery, or even producing copies and versions of successful compositions, a common practice for busy court artists like Frans Pourbus the Younger or Justus Sustermans in other European courts.
Gower and His Contemporaries
George Gower operated within a vibrant, if relatively small, artistic community in Elizabethan England. His most notable contemporary in royal service was Nicholas Hilliard (c. 1547–1619), the Queen's Limner, who specialized in portrait miniatures. While Hilliard worked on an intimate scale, Gower's domain was primarily larger panel paintings. Their roles were complementary, and as mentioned, they even collaborated on a petition to control the Queen's image. Hilliard's delicate, jewel-like miniatures, with their exquisite calligraphy and refined linearity, represent a distinct but related facet of Elizabethan art.
Other English-born painters active during Gower's time included John Bettes the Younger (active c. 1570–died c. 1616), who also painted portraits, and William Segar (c. 1554–1633), who later became Garter Principal King of Arms and painted portraits, including some of the Queen. Robert Peake the Elder (c. 1551–1619) was another significant portraitist, known for his full-length portraits of courtiers and their children, often characterized by a charming stiffness and meticulous detail.
The English art scene was also enriched by émigré artists, primarily from the Low Countries. Hans Eworth (c. 1520–after 1574) was a prominent Flemish painter active in England from the 1540s, whose work Gower would certainly have known. Later in Elizabeth's reign, artists like Marcus Gheeraerts the Younger (1561/62–1636) and Isaac Oliver (c. 1565–1617), Hilliard's pupil and rival, brought fresh continental influences. Gheeraerts, in particular, introduced a greater degree of naturalism and psychological depth into English portraiture towards the end of Gower's life and into the Jacobean era.
While direct connections are hard to trace, Gower would have been aware of broader European trends through prints and perhaps through contact with foreign envoys or traveling Englishmen. The influence of international court painters like Anthonis Mor (Antonio Moro, c. 1517–1577), who had briefly worked in England during the reign of Mary I, was still felt in the emphasis on stately, authoritative portraiture. Even the grand portraits of Italian masters like Titian (c. 1488/1490–1576) or the elegant mannerism of Agnolo Bronzino (1503–1572) would have formed part of the wider artistic consciousness of the Renaissance, contributing to the evolving ideals of portrait representation. Gower’s achievement lies in his ability to synthesize these various strands into a style that was both recognizably English and fitting for the unique demands of the Elizabethan court.
Later Years and Death
Information about George Gower's later years is, like much of his early life, somewhat sparse. He continued to serve as Serjeant Painter until his death. His will was dated 30 August 1596 and proved on 5 November of the same year, indicating he died in London sometime between these dates. He was buried in the church of St Clement Danes, London.
His position as Serjeant Painter was subsequently filled by Leonard Fryer, though the most prominent court portraitists in the succeeding Jacobean era would be figures like Robert Peake the Elder, Marcus Gheeraerts the Younger, and John de Critz, who brought new stylistic developments to English painting. Gower's death marked the end of a significant chapter in Elizabethan art, but his influence, particularly in establishing a dignified and iconic mode of English portraiture, persisted.
Legacy and Art Historical Significance
George Gower's legacy is substantial. As Serjeant Painter, he was instrumental in shaping the visual culture of one of England's most celebrated historical periods. His portraits of Queen Elizabeth I, particularly the Sieve portrait, are among the most iconic images of the monarch, defining her image for centuries. These works are not merely likenesses but complex constructions of royal identity, laden with symbolism and political meaning.
His contribution to the development of English portraiture is significant. He helped to establish a distinctively English style, characterized by strong design, meticulous detail, and a focus on conveying the status and authority of the sitter. While perhaps not possessing the innovative genius of a Holbein or the psychological depth of later masters like Van Dyck (who would revolutionize English portraiture in the 17th century), Gower was a highly skilled and accomplished artist who perfectly met the needs of his patrons.
His self-portrait is a landmark in the history of English art, asserting the status and intellectual dignity of the artist. It reflects a growing self-awareness among English artists and a desire to elevate their profession beyond mere craftsmanship.
Gower's works remain invaluable historical documents, providing a visual record of the key figures of the Elizabethan age. The detailed rendering of costume, jewelry, and heraldic insignia offers rich material for social and cultural historians. Artistically, his emphasis on pattern, linearity, and emblematic detail influenced subsequent generations of English painters, and his work forms a crucial link in the evolution of the British portrait tradition, a genre that would become a defining feature of British art for centuries to come, through artists like William Dobson, Sir Peter Lely, Sir Joshua Reynolds, and Thomas Gainsborough.
Conclusion
George Gower was more than just a painter of faces; he was a chronicler of an age, a shaper of royal image, and a key figure in the development of a native English school of portraiture. From his gentry origins to his prestigious appointment as Serjeant Painter, his career reflects both personal ambition and considerable artistic talent. His portraits, with their blend of formal dignity, meticulous detail, and rich symbolism, continue to captivate and inform, offering a window into the glittering, complex world of Elizabethan England. His name rightly stands alongside Nicholas Hilliard as one of the preeminent artists of Queen Elizabeth I's reign, a master whose brush captured the power and persona of a defining era in British history.
