Acquisition

Hans Holbien the Younger, Anne of Cleves, 1539, parchment mounted on canvas 

Anne of Cleves, born in Germany in 1515, was the fourth wife of Henry VIII. The two married in 1540 after Henry selected her to be his wife based on both her portrait and the political power he would gain from their betrothal. However, as the wedding approached, the political benefits of the union dwindled and Henry found that Anne was not as attractive as her portrait. Since it was too late to cancel the wedding, the two were married and divorced later that year. Anne was given a hefty settlement—including her own property in Kent and a yearly fund—and the two remained on favorable terms with Anne even being nicknamed “The King’s Sister”. 

Although this portrait was commissioned for the purpose of courtship, it ultimately portrays Anne just as she was in real life...most likely. In the portrait, she is completely forward facing, consequently, the viewer is forced to confront her, creating a connection and acknowledging her as an individual and a woman of nobility. There is some controversy over whether or not the portrait made Anne more attractive than her actual appearance, if the foward position was a subtle hint to the fact she had flaws, or if Henry's dissapointment with Anne's apperance was due to his dismay over not being able to call off the wedding. One theory suggests that Holbien actually did portray Anne with improved looks so as to not defame her and to help attract Henry’s attention. This theory implies that the completely forward facing angle was actually to make Anne appear more beautiful-this angle would capture less of her face and make her appear slimmer and thus more appealing. However, there is no conclusive evidence of what is actually the truth. 

Anne of Cleves’ portrait exemplifies the very idea of individualism in the Renaissance. As a land-owner with an annual income, Anne was able to live a wealthy and respectable life without a husband. She escaped the misogynistic confines of the patriarchy and achieved a comfortable lifestyle without relying on a man to provide or make decisions for her. Therefore, this piece shows that women could have roles of power and act as individuals during the Renaissance. Additionally, this piece is derived from the Northern Renaissance, thus providing a perspective of the time outside of the Italian peninsula. Anne’s portrait contextualizes the experiences of those outside of Italy during the Renaissance by providing a look into the lives of the English people.