In this well-illustrated text, Dr. Denney asserts that the artists
who image Diana, Princess of Wales, have framed her according to a
cultural memory based on traditions of royal portraiture and
according to twentieth-century reassertions (that is, reframings)
of the debate over feminism and femininity in visual culture. Art
historians and literary critics have examined the visual culture of
Queen Victoria, Queen Elizabeth I, Queen Elizabeth II, and more
recently, images of women in the court of Charles II, but no one
has addressed, as the author does here, the impact of imaging
Diana, Princess of Wales, at a time in British culture when
feminism and femininity collide. Dr. Denney critiques art
historical traditions of portraiture in order to argue that a
princess must perform a constructed role of femininity, one that
corresponds to Victorian codes of royal protocol, visual practice,
and behavior. The book encompasses themes of marriage, motherhood,
philanthropy, royal dress, and autobiography. Through an
examination of nineteenth- and twentieth-century paintings,
photographs, engravings, and popular illustrations, the study
engages a comparative visual dialogue on the imaging of royal
women. Looking particularly at the nineteenth-century Princess of
Wales, Alexandra (born Princess Alexandra of Denmark), the author
reveals the persistence of a cultural memory in terms of the proper
roles and behaviors of a princess from the nineteenth century to
the twentieth century. By looking at portraits of Diana, Princess
of Wales, in conjunction with past royal portraits, the study
determines that she, like Princess Alexandra before her, is
conscious of tradition and employs it as a matter of survival. The
book's methods in this regard include an exploration of royal
portrait traditions, gender studies, popular journalism, theories
on feminist biography and autobiography, as well as costume theory
and history to contextualize the representation of Diana, Princess
of Wales. How does one address the insistence on
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