Willem Wissing (1656-1687),Portrait of Maria Beatrice d’Este Modena (1658-1718), Queen of James Il, Oil on canvas, circa 1685, 122 x 97.8 cm, the National Portrait Gallery, London
This portrait is a notable example of late 17th-century grand portraiture in England, a period shaped by the influence of Dutch émigré artists who fled the Netherlands after the economic collapse of 1672. This decline marked the end of the Dutch Golden Age, as artistic innovation slowed and artists increasingly relied on formulaic approaches—favouring established techniques and catering to patrons’ expectations rather than exploring new creative directions.
This portrait was painted in 1685, the same year James II ascended to the throne, at the height of Willem Wissing’s career. During this period, Wissing secured several royal commissions, including portraits of other members of the Stuart family. He was on the path to becoming one of England’s leading portrait painters, but his promising career was tragically cut short by his sudden death in 1687, aged just 31, two years after completing this work.
Maria Beatrice d’Este, an Italian princess from Modena, became Queen of England, Scotland, and Ireland as the wife of King James II. Her life was marked by both political and personal turbulence. As a devout Catholic, her marriage to James II—a Catholic king in a Protestant country—ignited fierce opposition, contributing to the political unrest that led to the Glorious Revolution of 1688, where James was deposed and replaced by his Protestant daughter Mary and her Dutch husband, William of Orange. Though her time as queen was brief, she remained influential in exile, supporting her son, James Francis Edward Stuart, in his claim to the throne.
Maria Beatrice is depicted with an air of serene dignity, dressed in rich fabrics and an elaborate gown. The classical background, likely added by the Dutch artist Jan van der Vaart (c.1650 –1727), enhances the sense of grandeur, aligning her image with ideals of grace and nobility. Like his mentor, Sir Peter Lely, Wissing adhered to established portrait conventions, prioritising visual splendour over deep psychological insight.
