Isaac Oliver (or Olivier; c. 1565 – bur. 2 October 1617) was an English portrait miniature painter.
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👉 Isaac Oliver in the context of Divinity
Divinity (from Latin divinitas) refers to the quality, presence, or nature of that which is divine—a term that, before the rise of monotheism, evoked a broad and dynamic field of sacred power. In the ancient world, divinity was not limited to a single deity or abstract ideal but was recognized in multiple forms: as a radiant attribute possessed by gods, as a vital force cushioning nature, and even as a quality glimpsed in extraordinary humans, laws, or acts. The Latin divinitas and its Greek counterparts (theiotēs, theion) conveyed something both immanent and awe-inspiring: a presence that could be felt in thunder, justice, ecstasy, fate, or beauty.
Among the Greeks and Romans, divinity was not confined to a rigid theological system. Gods, heroes, and even emperors might be described as partaking in divinity, just as natural forces or virtue could be seen as expressions of divine essence. Philosophers such as Plato and the Stoics used the term to refer to the soul of the cosmos or the rational order of the universe, while ritual and myth depicted the divine in vivid ways. To call something divine was not always to worship it as a god, but to acknowledge its participation in a higher, sacred order.
In this Dossier
Isaac Oliver in the context of Robert Peake the Elder
Robert Peake the Elder (c. 1551–1619) was an English painter active in the later part of Elizabeth I's reign and for most of the reign of James I. In 1604, he was appointed picture maker to the heir to the throne, Prince Henry; and in 1607, serjeant-painter to King James I – a post he shared with John De Critz.
Peake was the only English-born painter of a group of four artists whose workshops were closely connected. The others were De Critz, Marcus Gheeraerts the Younger, and the miniature painter Isaac Oliver. Between 1590 and about 1625, they specialised in brilliantly coloured, full-length "costume pieces" that are unique to England at this time. It is not always possible to attribute authorship between Peake, De Critz, Gheeraerts and their assistants with certainty.
Isaac Oliver in the context of Spanish Match
The Spanish match was a proposed marriage between Prince Charles, the son of King James VI & I of Kingdom of Scotland and England, and Infanta Maria Anna of Spain, the daughter of Philip III of Spain. Negotiations took place over the period 1614 to 1623, and during this time became closely related to aspects of British foreign and religious policy, before breaking down completely.
The policy, unpopular with England's Protestant House of Commons, where the recent Anglo-Spanish War (1585–1604) had not been forgotten, was initiated during the embassy to England of Diego Sarmiento de Acuña, conde de Gondomar, who arrived in London in 1614 with the offer that Spain would not interfere with James's troubled rule in Ireland if James would restrain the English "privateers" in Spanish American waters. Further, he proposed a marriage alliance, offering a dowry of £500,000 (later increased to £600,000), which seemed especially attractive to James after the failure of the Parliament of 1614 to provide him with the financial subsidies he requested.