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Anne Boleyn, the second wife of King Henry VIII of England, and Queen of England from 1533 until she was beheaded in 1536 for treason (consisting of alleged adultery, including alleged incest with her brother George), has inspired or been mentioned in many artistic and cultural works. The following lists cover various media, enduring works of high art, and recent representations in popular culture, film and fiction. The entries represent portrayals that a reader has a reasonable chance of encountering, rather than a complete catalogue.
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Anne Boleyn, as the second wife of Henry VIII, was the mother of Elizabeth I. She has been called "the most influential and important queen consort England has ever had",[1] as she provided the occasion for Henry VIII to annul his marriage to Catherine of Aragon and declare the English church's independence from the Vatican.
A common view in the 18th and 19th centuries was the image of Anne as a romantic victim; a strong-willed and beautiful woman who was destroyed by her husband, who was presented as a brutal tyrant by most popular historians. A 19th-century biography of Anne by Elizabeth Benger was particularly full of praise for Anne, as was one entitled Star of the Court by Selina Bunbury. Famous writers and novelists who subscribed to this view of Anne (which persisted into the 20th century) included Jane Austen, Agnes Strickland, Jean Plaidy and playwright Maxwell Anderson. The play and Oscar-winning movie Anne of the Thousand Days is inspired by this interpretation of Anne's life, as is Donizetti's opera Anna Bolena (from 1830). Various popular novels have also adopted this sympathetic idea of Anne Boleyn.
In the latter half of the 20th century, academic historians who were determined to study Henry VIII's government and court as serious political and cultural institutions argued that Anne Boleyn was one of the most ambitious, intelligent and important queens in European history. They researched her political sympathies, patronage network and influence over foreign policy and religious affairs. This led to several academic studies of her life, the most famous of which are the first and second editions of the comprehensive biography written by the British historian Eric Ives. The second edition, influenced by fellow historian David Starkey's focus on a Reformist sermon commissioned by Anne, posits that Anne may have had an authentic spiritual mission and may have been as much an agent as a catalyst for the British Reformation. They both suggest that it may have been her particular Reformist agenda (and not simply her inability to produce a male heir) that put her at odds with Cromwell and led to her execution. David Starkey, the historian who hosted a television program about all six of the wives, keenly promotes this particularly attractive view of Anne. Combined with the intellectual force of feminism, which has interpreted Anne Boleyn in a highly favourable light, most academic histories write about her with respect and sympathy. Authors David Loades, John Guy, and Diarmaid MacCulloch have also published works that were sympathetic or admiring on the subject. Popular biographies by Joanna Denny and feminist Karen Lindsey have taken similar approaches, both being highly favourable to Anne. Lindsey, in Divorced, Beheaded, Survived, makes the case that Henry's relentless pursuit of Anne, far from being part of a manipulative flirtation which she enjoyed, was a form of royal harassment from which Anne's delaying tactics were the closest she dared come to escape. This is consistent with Henry's "courtships" of Catherine Howard and Catherine Parr, which have traditionally been seen as not wholly consensual on their part.
The work of American academic Retha Warnicke focuses on the unmitigated gender prejudices of the early 16th century and how they formed Anne into being first a pawn and ultimately a willingly venal and unscrupulous agent for her own and her family's advancement. Warnicke's Anne is controversial, and some of her hypotheses (that Anne's brother was part of a clandestine homosexual clique at Court; that Anne would have stopped at nothing, including using her brother's own seed, to birth a male heir for the king) are not supported by the majority of scholars, however compellingly lurid they may be.[citation needed] Other notably unattractive portraits come from the work of British historian Alison Weir and novelist Philippa Gregory. In her best-seller The Other Boleyn Girl, Gregory puts Anne as the hard-hearted villain in a story with Anne's sister Mary Boleyn as its sadder but wiser heroine. (In her "author's note" to the book, Gregory said her novel's conclusion was based upon Warnicke's findings in The Rise and Fall of Anne Boleyn, but Warnicke has publicly distanced herself[2] from the novel and its presentation of the Boleyns).
There have been various treatments of her life by popular historians such as Marie Louise Bruce, Hester W. Chapman, Norah Lofts, Carolly Erickson, Alison Weir, Lady Antonia Fraser and Joanna Denny. In film, television and the performing arts, she has been played by a variety of well-known actresses and sopranos, including Clara Kimball Young, Merle Oberon, Joyce Redman, Geneviève Bujold (Oscar-nominated), Maria Callas, Beverly Sills, Dame Dorothy Tutin, Dame Joan Sutherland, Charlotte Rampling, Vanessa Redgrave, Helena Bonham Carter, Jodhi May, Natalie Portman, Natalie Dormer and Claire Foy.
Anna Boleyn.. Two Scenes in the Life of Anne Boleyn. in The Cabinet of Modern Art, and Literary Souvenir, 1837.Seamless Wikipedia browsing. On steroids.
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