Abstract
Patronage can be hard to come by for any artist. It was especially difficult for women artists during the Renaissance. One such artist that was able to establish a successful career for herself was Levina Teerlinc, a Flemish born miniature portrait painter. Teerlinc painted at the English court for four consecutive Tudor monarchs from 1546 to her death in 1576. But how did she maintain her highly honorable position? How did she ensure her continued patronage from these high ranking patrons? These are questions I will address by analyzing the relationships and connections she formed during her time at court and the artwork she produced from them. The Tudor line from Henry VIII to Elizabeth I was fraught with political, social and religious controversy. It was up to courtiers to preserve or improve their standing by remaining in favor, regardless of who was in charge. My thesis will explore how Teerlinc enabled herself to do so through her adaptability, social prowess and artistic skill.