This is the first book to address the long art history of dynastic marriage exchange between Denmark and Britain between 1600 and 1900. It explores an intersection of three themes trending in early modern studies: portraiture, gender and the court as a centre of cultural exchange. This work re-evaluates the construction and staging of gender in Northern consort portraiture over a span of three hundred years, examining the development of the scientific and social paradigms inflecting consort portraiture and representation, with a view to excavating portrait images' agency at the early modern moment of their conception and making. The consort's liminal position between royal houses, territories, languages and sometimes religion, has often been equated with political weakness, but this new work argues that this position endowed the consort with a unique space for innovation in the representation of elite identity. As such, consort imagery drew upon gender as a generative resource of motifs and ideas. Each chapter is informed by new archival research and introduces the reader to little known, yet astonishing works of art. Collectively, they seek to trace a shift in practices of identity formation over time; the transition from an emphasis on rank to an increasingly binary emphasis on gender.

This is the first book to address the long art history of dynastic marriage exchange between Denmark and Britain between 1600 and 1900. It explores an intersection of three themes trending in early modern studies: portraiture, gender and the court as a centre of cultural exchange. The book re-evaluates the construction and staging of gender in Northern consort portraiture over a span of three hundred years, examining the development of the scientific and social paradigms inflecting consort portraiture and representation, with a view to excavating portrait images' agency at the early modern moment of their conception and making. The consort's liminal position between royal houses, territories, languages and sometimes religion has often been equated with political weakness, but this new book argues that this position endowed the consort with a unique space for innovation in the representation of elite identity. As such, consort imagery drew upon gender as a generative resource of motifs and ideas. Each chapter is informed by new archival research and introduces the reader to little known, yet astonishing works of art. Collectively, they seek to trace a shift in practices of identity formation over time; the transition from an emphasis on rank to an increasingly binary emphasis on gender.