Davis, Mary
Datensatz IDcnp01940484
URIhttp://data.cerl.org/thesaurus/cnp01940484
Geschlechtweiblich
Lebensdaten1648 - 1708
GeburtsortWestminster
Letzte Änderung2024-08-23
Anmerkung
Natürliche Tochter d. Earl of Berkshire; während d. 1660er Jahre Mitglied d. Duke's Theatre Company; seit 1667 Geliebte von König Charles II. u. Mutter von Mary Tudor
Weiterführende Informationen
Weitere Lebensdaten1648?-1708
AktivitätKurtisane (gnd)
Schauspielerin (gnd)
Sängerin (gnd)
Geographische AnmerkungGreat Britain
GB (iso3166)
Wirkungsort
GeburtsortWestminster
Namen
AnsetzungsformDavis, Mary
verwendet in: Integrated Authority File (GND), Germany
verwendet in: Integrated Authority File (GND), Germany
Variante NamensformDavis, Mistress
Davis, Moll
Davis, Mrs.
Quellen
Nachgewiesen inBritish Biographical Archive (WBIS)
Portrait of Moll Davis (c.1648 - c.1708), mistress of Charles II of England
[Studio of Peter Lely / http://de.wikipedia.org/wiki/Bild:Moll_Davis.jpg -- Public domain -- http://commons.wikimedia.org/wiki/File:Lely - Moll Davis1.jpg]
- "The present portrait derives from a three-quarter length by Sir Peter Lely which depicts her with the unguent jar of St Mary Magdalen, placing her in the guise of the reformed sinner, as well as providing a witty conceit for the display of a very decolletage. It has not precisely been established whether this mode is employed by Lely and his contemporaries for the portrayal of mistresses alone, but references to the Magdalen occur also in a portrait of Hortense Mancini (the same composition as the present painting) and in a portrait of the lady known as Margaret Hughes (Tate Gallery). The popularity of portraits of Royal mistresses attests to the status that these women enjoyed in their heyday. The occupied a position of remarkable stardom, comparable to the great sex symbols of the twentieth century. Numerous repetitions of their portraits would be commissioned from Lely and thus produced by the artists of his studio, many of whom such as John Greenhill or Nicolas de Largilliere were to become considerable masters in their own right. Sometimes a single image might be reproduced consistently many years after the first appearance of their original. This is particularly true of Lely's paintings of the most popular mistress of them all, Barbara Villiers Duchess of Cleveland. The most eagerly-sought icons in the 1670s and 1680s were still often those based on sittings of the 1660s." [1]
[Studio of Peter Lely / http://de.wikipedia.org/wiki/Bild:Moll_Davis.jpg -- Public domain -- http://commons.wikimedia.org/wiki/File:Lely - Moll Davis1.jpg]
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