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The new millenium gave me an opportunity to study part-time at Kingston University. At the time I was working in the oil and gas industry as part of a corporate communications team. After several years juggling the needs of family and studying, I obtained my degree in The History of Art, Architecture & Design from Kingston University and then was able to take a year out and study for a Master of Arts degree in Medieval & Tudor Studies at The University of Kent at Canterbury. I have explored such diverse subjects as photography, architecture, religious imagery, the art of the miniature, and the role of women image makers. During my Master's year, I explored Medieval Art and Tudor Word & Image. It was while I delved into the world of Tudor Word & Image that I became fascinated by the art of the miniature portrait as an object of desire. I was researching the life and work of the miniaturist Nicholas Hilliard and came across the shadowy figure of Levina Teerlinc. Having been a champion of women artists all my life I was not surprised to find that Teerlinc had disappeared from the pages of history even though her artistic career at Court spanned thirty years until her death in 1576. I am convinced that she was responsible for many of the miniatures of the royal family between 1544 and 1572 that come under the heading of 'Unknown Artist' and am continuing to research this. Levina Teerlinc was paid an annuity of £40 a year (a fortune for that time) by Henry VIII, Edward VI, Mary I and Elizabeth I, which suggests that she produced a volume of work which they used to promote the Tudor 'brand' at home and abroad. I am is currently working on a novel based on my researches into the lives of these two artists, how they saw and were involved in life at the Court of Elizabeth I.
In 2007, some colleagues asked me if I could give some background information on current exhibitions in London and specifically on Lee Miller, whose work was being exhibited at the V&A. I had done my dissertation on Miller at BA level and in particular, I had looked at Miller's WW2 photography and articles for Vogue magazine. At that time, Tate Britain were showing the work of the Pre-Raphaelite, John Millais and the National Gallery were exhibiting 'Renaissance Siena: Art for a City'. This broad start led to regular monthly talks providing background information to current exhibitions at the public London galleries and has developed into further subjects forming discussion forums and courses for those wanting to know more about the Renaissance in Europe and England.
If you are interested in coming along to any of the discussions or would like to attend a course, it would be lovely to see you. Phone me (01372 272235) or email ashteadartlover@gmail.com to get on the distrubtion list.
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