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By the end of the 19th century portraits and statues of Shakespeare were appearing in numerous contexts, and his stereotyped features were being used in advertisements, cartoons, shops, pub signs and buildings. Such images proliferated in the 20th century. In Britain Shakespeare's Head and The Shakespeare Arms became popular names for pubs ...
Pages in category "Paintings based on works by William Shakespeare" The following 18 pages are in this category, out of 18 total. This list may not reflect recent changes .
The Chandos portrait is an oil painted portrait thought to depict William Shakespeare (1564–1616). Painted between 1600 and 1610, it may have served as the basis for the engraved portrait of Shakespeare [citation needed] used in the First Folio in 1623. [1]
Northrop Frye said that the portrait makes Shakespeare "look like an idiot." [16] Cooper notes that "the art of printmaking in England was underdeveloped and there were relatively few skilled engravers. Yet even by the less exacting standards observed in England, the Droeshout engraving is poorly proportioned."
The Peacham drawing, or 'Longleat manuscript', is the only surviving contemporary Shakespearean illustration, now in the library of the Marquess of Bath at Longleat in Wiltshire. The drawing appears to depict a performance of Titus Andronicus , under which is quoted some dialogue.
The only surviving image that may depict Anne Hathaway (1555/56 – 6 August 1623), the wife of William Shakespeare, is a portrait line-drawing made by Sir Nathaniel Curzon in 1708, referred to as "Shakespear's Consort". It was probably traced from a lost Elizabethan original.
The Cobbe portrait. The Cobbe portrait is an early Jacobean panel painting of a gentleman which has been argued to be a life portrait of William Shakespeare.It is displayed at Hatchlands Park in Surrey, a National Trust property, and the portrait is so-called because of its ownership by Charles Cobbe, Church of Ireland (Anglican) Archbishop of Dublin (1686–1765).
A 2008 documentary by Anne Henderson sought to tell the story of the Canadian-owned portrait of Shakespeare. [8] The film both highlighted some of the technical and financial difficulties of caring for the painting, and showcased the controversy that surrounds the Sanders Portrait and other portraits claiming to be life likenesses of William Shakespeare.