Portraiture, Gender, and Power in Sixteenth-Century Art

Part 1 Creating the Image of Women in Power 1. Bronzino's Portrait of Eleonora di Toledo with Her Son Giovanni: The Invention of a Secular Icon for the Early Modern State 2. Portrayals of Catherine de' Medici at the Granducal Medici Court 3. Medals, Cameos, and Miniatures: Small Format Female Portraits at the Court of Philip II 4. The Failure to Construct a Visual Image of Gendered Power: Anthonis Mor's Portrait of Mary I, Queen of England, in the Prado Part 2 Uses, Functions, and Ways of Displaying 5. Portrait Galleries for the House of Habsburg in the Low Countries: Margaret of Austria in Mechelen and Mary of Hungary in Brussels 6. Captive in a Portrait Gallery: Titian's Portraits of John Frederick I of Saxony (c. 1548 and c. 1551) and the Collection of Mary of Austria, Queen of Hungary 7. "So They May Beseech God on His Behalf": Devotion, Courtly Pomp, and Dynastic Presence in the Portrait Collections of Juana of Austria, Princess of Portugal, and Maria of Austria in the Monastery of Las Descalzas Reales in Madrid 8. The Portrait Gallery of Mencia de Mendoza, Marquise of Zenete 9. Maria de Mendoza, Portraits, and the Negotiation of Memory: The Display of Her Painting Collection in the Cobos-Mendoza Palace in Valladolid