‘On cheating Pictures’: Gender and Portrait Miniatures in Philip Massinger's <em>The Picture</em>
Philip Massinger’s play The Picture uses a portrait miniature as means for discussing and revising Renaissance gender norms and aesthetic practice. The role of the portrait miniature — as love token and private object — as well as that of the imprese — words inscribed upon or in the margins of an image — inform our reading and viewing of Massinger’s play as an illustrated text. The portrait becomes a magical mirror of sorts, though not of the woman it represents (Sophia) but of male insecurity and desire. Thus, by pairing a detailed study of artistic process alongside gender ideology, we can approach Massinger’s play as a drama that takes art and gender as both skillfully created and easily disrupted.
Contributors to Early Theatre retain full copyright to their content. All published authors are required to grant a limited exclusive license to the journal. According to the terms of this license, authors agree that for one year following publication in Early Theatre, they will not publish their submission elsewhere in the same form, in any language, without the consent of the journal, and without acknowledgment of its initial publication in the journal thereafter.