The Met’s fascinating exhibition of Tudor splendor explores the construction of power.
, both in 2021. All of these exhibitions leave one feeling slightly guilty: The curators try to anatomize how power works, the strategies of mythmaking and image management, but the material on view is so seductive one forgets the larger intellectual construct. The Tudors are a classic case, deeply fascinating to audiences despite their excesses and cruelty.
When he wanted a New Testament alter ego, he compared himself to Saint Paul, a foil to Saint Peter, the founder of the Catholic Church, from which Henry broke England’s allegiance when he divorced the first of his six wives. In one enormous tapestry, “Saint Paul Directing the Burning of the Heathen Books,” we see Henry’s preferred apostle engaged in a favorite Tudor pastime, religious persecution. It’s a jarring image.
It’s dangerous, of course, to be moralistic about history. One key strength of this exhibition, curated by Elizabeth Cleland and Adam Eaker, is that it disillusions Tudor hagiography without making them seem uniquely brutal or awful. They came to power after a long period of civil war and brought with them a kind of peace — albeit at a terrible cost for anyone who crossed or opposed them.
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