It can sometimes seem like the Tudors are everywhere, at least in Britain: on television, in bookshops and in historic houses and galleries across the country. Yet within the discipline of art history, appreciation for pictures and objects produced in England between 1485 and 1603 has been slow to take hold.
For a long time, narratives about the popular impetus behind the Reformation led some historians to believe art was unwelcome in Protestant England, for fear it would inspire people to commit idolatry.
Meanwhile, long-held scholarly prejudices towards easel paintings and sculptures (which, excepting portraits, are few and far between in Tudor England) and against “decorative” arts and household objects, reinforced the notion that the country was practically barren of visual art in the 16th century.
