PORTRAIT OF FRENCH AMBASSADORS
The Ceremonial Portrait of the French Ambassadors Jean de Danteville and Georges de Selva is one of the largest (206 x 209 cm) and magnificent paintings by Hans Holbein the Younger, created during the heyday of his work. Double portraits were popular with the German painters of the Northern Renaissance from the end of the 15th century. But for Holbein, this canvas is rather an exception.
Diplomats from France are depicted life-size and surrounded by luxurious accessories. In the study there are magnificent rich draperies, numerous objects and details that emphasize the intellect of these young, energetic people, their character, tastes and inclinations. Relaxed poses, without pretentious mannerisms, also emphasize dignity. Jean de Danteville and his friend were the heads of the French embassy to England. Georges de Selva - 24-year-old Bishop of Lavour, was not only a diplomat, but also a scientist, a great lover of music.
Holbein depicted two people equal in their social position. In those days, this was of great importance. The artist solved this problem by arranging the figures of the ambassadors symmetrically with respect to the center of the composition. Moreover, they do not look at each other, do not contact, but pose in front of the viewer, directing penetrating glances at him. And if you try to divide the picture in two, you get two independent, equal portraits.
The only thing that connects the models is the color of the picture - an exquisite color scheme, including dark green, black, pink and deep brown tones. Rich clothes, precious fur and velvet do not overwhelm with their luxury, in this picture nothing says about the high cost of objects, but only about their purpose, these are attributes of the sciences and arts, and not wealth as such. The education of diplomats is also emphasized by the headdresses worn by graduates of European universities.
The painting was commissioned by the diplomats themselves. The envoys, dressed in ceremonial clothes, calmly and confidently look at the viewer. Holbein does not delve into the inner world of his models - they seem closed, restrained, as befits aristocrats at the king's court. And yet the artist shows us noble aristocrats educated with diverse interests where the spiritual person is interested in secular sciences, astronomical and geographical instruments. A globe, musical instruments, an open mathematics textbook - emphasize the acquaintance of these young and very educated people with the humanistic ideas of the Renaissance.
Hans Holbein the Younger - one of the brightest representatives of the German Northern Renaissance - is known as an outstanding portrait painter of his time. An important ideological component of the Northern Renaissance was the Reformation, which began in 1517, when Martin Luther posted his 95 Theses on the door of the church in Wittenberg, criticizing Catholicism. A new religious trend was formed - Protestantism, which doubted the need for the church as an intermediary between God and man.
The Reformation and the new worldview touched all segments of the population and naturally influenced the cultural and artistic life of Europe - the artists were no longer bound by religious boundaries, the subject matter of the works expanded and changed. With the formation of the image of the "new man" - free, independent, purposeful, self-confident and "religiously renewed" - the portrait genre changes and becomes popular. The portrait became a pictorial necessity, and influential people certainly wanted to capture themselves in their time.
Portrait of Charles de Solier. 1534-35
In the portraits of Hans Holbein, secular humanistic ideas are felt, in which religious motifs and ancient images are sometimes woven. These features are characteristic of the entire Northern Renaissance, however, the images that Holbein creates are very peculiar. The people in his portraits are harmoniously and organically inscribed in the world of objects that surround them. In addition to external harmony, Holbein also conveys internal harmony - the faces are calm, balanced, and the person completely merges with his space. Albrecht Dürer painted portraits with a shadow of torment and suffering of the human soul, his heroes are rebellious in nature. The specificity and attractiveness of Holbein's portraits is that he managed to show the world and man in his naturalness and clarity, conveying his optimistic, life-affirming worldview through them.
Hans Holbein was born in Augsburg, presumably in 1497, and studied painting with his father. But the career of a great artist began when he moved to Basel in 1514, one of the largest cultural centers of that time. The first major work of the artist was illustrations for the work of Erasmus of Rotterdam "Praise of Stupidity". Rotterdam was for Holbein not just a customer, but also a good friend. In addition to portraits and illustrations, Hans paints several religious paintings, as well as decorating interiors, woodcuts and painting facades.
However, in 1526, due to religious clashes that broke out in Basel, Holbein, having received a number of recommendations from Rotterdam, moved to England and stayed with Thomas More (then he painted his portrait). In two years he will return to Basel, but in 1532 he will finally move to England, leaving his wife and daughter in Switzerland. Much has changed in the years of his absence: the men of influence in London, who helped Hans on his first visit, fell out of favor with King Henry VIII; Thomas More, a staunch Catholic, was accused of treason and executed by the head of the newly minted Anglican Church.
King Henry VIII
Nevertheless, Holbein not only settles in a difficult environment, but also becomes the court painter of the king. During these years, Holbein wrote his most significant works - mostly commissions from influential Englishmen. After the death of his wife, King Henry was looking for a candidate for a fourth marriage and, in order to make the right choice, instructed Hans to paint portraits of potential brides - so great was the trust in Holbein and his portraits.
In 1533, Holbein wrote one of his best works - a double portrait of the "Ambassadors". The painting depicts French envoys - Jean de Denteville and Bishop Georges de Selve. Denteville wanted a biographical portrait and described in detail to Holbein all the elements and details of the future masterpiece. The specificity of double portraits is that there is no single center for the viewer's attention - the figures of people complement each other with the help of objects, which in turn create a symbolic thread of the work. The double portrait is an incredibly difficult genre in painting, as it is important to maintain a balance between the characters and at the same time show their connection with each other and with space.
Jean de Denteville is depicted on the left on the canvas in magnificent attire, which characterizes him as an important, significant person - he is a representative of religious secular power. His right hand rests on a dagger engraved with "AET SUAE 29" meaning "his 29th summer". The young Bishop Georges de Selve is less pompously dressed and looks much more modest than his friend. His age - 25 years - is indicated by the artist on the book under the right hand of the bishop. It cannot be said that they are simply posing, on their serious faces there is calmness, dignity; they seem to open their objective world to the viewer, share their way of life, which combines the harmony of the active and the contemplative.
In the symmetrical composition, the figures of the ambassadors are separated by a high table with numerous objects. Here, the compositional diversity plays a decisive role, since the objects are not only the central element of the picture, but also characterize the characters as much as possible, emphasizing their lifestyle and sphere of interests. It turns out that the still life is almost the main semantic element of the picture here - it unites two people and at the same time sets off the individuality of each of them, and besides, it also characterizes the era.
Such a variety of subjects speaks of the versatility and education of these people - music, geometry, mathematics, astronomy; and also reflects the achievements of that time - the great geographical discoveries, achievements in astronomy, mathematics. On the lower shelf you can see a lute, a compass, a mathematics textbook, a globe, a case with flutes and a collection of Lutheran hymns, opened on the psalm "God save our souls." The choice of these pages is not accidental - there is nothing in these lines that contradicts the principles of Christianity. Thus, Holbein and de Selve call for the reformation of the church on the basis of Protestantism, but without separation from the Vatican. A lute with a broken string is also a reminder of the growing church conflict and traditionally symbolizes death. The globe is turned in such a way that the viewer can see the most significant ambassadorial missions of Denteville, as well as his Polisi estate, in which the portrait will be placed. In general, we can say that the lower shelf contains items of "earthly" purpose related to the mental, professional activities and interests of the ambassadors.
The upper shelf has items of "higher" purpose. A sundial, an astronomical globe, a quadrant and a gnomon - all these items are designed to comprehend the laws of the universe, space and time. Items on the top shelf of the bookcase seem to float on an exquisite oriental carpet over the entire earthly world. By the way, the carpet sets the style for the whole picture - without it, it would have turned out completely different. The green drapery is also very well chosen, which creates a depth of space and color. In the upper left corner you can see a part of a small silver crucifix, which always follows the deeds of a person and reminds of death. But the era of the Middle Ages is over, and here the face of Christ is only peeking out from behind the curtain.
Finally, we move on to the most interesting, mysterious and important element of the picture. An incomprehensible elongated spot in the lower part of the picture is a human skull distorted in perspective. This element, strange at first glance, made Holbein's masterpiece so popular. The technique of deliberately distorting the shape was called "anamorphosis" and was first described in the notes of Leonardo da Vinci. To see the true image - a human skull - the viewer must move to the right of the center of the picture. Using a computer, you can try to change the viewing angle but, of course, the natural shape of the skull can only be seen on the original.
Holbein uses this optical technique to show the image of double vision when looking at life and death. When the viewer looks at the picture in the usual position - he sees the life of two people, with their interests, worries, joys; and death appears as an illusory stain, which is not worth paying attention to. But upon special consideration, death becomes the only reality, it crosses out the entire life-affirming part of the picture, life seems illusory, and neither scientific achievements, nor power, nor money, nor progress - nothing seems real and significant in the face of death.
Hans Holbein created a real masterpiece - a picture in which all the humanistic ideas of that time are embedded. A picture about the true values of being, about life and death. Holbein painted not a portrait of two ambassadors, but a portrait of an era.
A LITTLE ABOUT THE "AMBASSADORS" OF HOLBEIN
When it comes to Holbein's "Ambassadors", they first of all remember the "strange spot in the foreground of the picture", which, at a certain angle, takes on the shape of a skull.
The detail is catchy - but not only it is interesting in the "Ambassadors".
Two words about posing. The painting got its name "Ambassadors" rather late - art historians managed to establish who exactly was depicted in this double portrait by comparing Holbein's work with a drawing by the French artist Jean Clouet, on which it was indicated on the reverse side that Jean de Dinteville served as a model:
In 1533, Jean de Dinteville, who was "only" 29 years old, was finishing his tenure as ambassador to the English court. On his way home, to France, a friend, Bishop of Lavorsky Georges de Selve, 26 years old, stopped by to see him. He received the bishopric in 1526, when he was only 17 years old. (According to all the rules, the duties of a bishop could not be performed by a person under 25 years old - but the king was interested in de Selva's translation and diplomatic talents - and the church had to accept).
The very composition of the double portrait of Holbein, commissioned by Jean de Dinteville, is unusual. Obviously, in compiling the program for this picture and "setting up" (more on that below) the astronomical instruments laid out on the table, Holbein was assisted by his friend, astronomer and mathematician Nikolaus Kratzer, who worked at the English court.
On the rack (or table), on which the portrayed are leaning, are laid out: below - objects associated with the earthly, bottom world, above - objects associated with the heavenly world, the sky and astronomical observations: 2 gnomons
Their testimony allows us to accurately establish the moment to which the scene presented in the picture is attached: this is April 11, 1533, Good Friday, 4 o'clock in the afternoon.
Thus, the presence of the Crucifixion in the upper left corner of the picture becomes clear:
In this case, the composition chosen by Holbein for the portrait clearly correlates with the upcoming Cross of Our Lady and the Apostle John:
Grunewald. crucifixion. 1523 - 1524
In fact, the composition of the "Ambassadors" is based on the effect of a significant absence: in the center of it, it is assumed, but not depicted, - the Cross on Golgotha.
The boldness of the decisions of the old masters is sometimes amazing. The solution chosen by Holbein is somewhat akin to that used by Memling in his Martin von Nieuwenhove Diptych, where the donor represented on the right wing is painted reflected in a mirror hanging behind the Mother of God.
Memling. "Diptych of Martin von Nieuwenhove". Detail
If we imagine that those portrayed in Holbein's painting are facing the cross, it becomes clear why the skull is present in the composition of the painting.
Holbein's skull is clearly "read" inside the picture, if you look at it from a certain angle, standing to the right of the canvas:
The optical effect used here by Holbein - anamorphosis, was quite well known to the painters of that time. So, in one of the Franciscan monasteries you can see a fresco, which, if you look at it frontally, is perceived as a landscape:
And only at a certain angle of view, it acquires its "true" form:
It depicts the Savior, the Bogotel with the Child, the apostles Peter and Paul, St. Francis receiving the stigmata...
Hans Holbein the Younger (1497-1543 ) - painter, one of the greatest German artists. The most famous representative of this family.
He one of the best portrait painters of his time. His accuracy in the transfer of images was so good that the English king Henry VIII, (who changed six wives), before marrying again, first sent Hans Holbein to the bride to paint her portrait.
But he became famous for others. The fact is that he included riddles in the paintings, imperceptible or incomprehensible at first glance. Holbein had his own cipher, which others had to guess. ..
W Holbein's importance in German art is increased by the fact that he transferred to Germany the heyday of the Italian Renaissance, without losing its national character - in his works, the paths outlined in the portraits are palpable Durer..
Today we will get acquainted with one of these paintings by Holbein "AMBASSADORS" of 1533.
This double portrait by Holbein is an outstanding masterpiece of the Renaissance.
On the left, as established, is the 29-year-old French ambassador to England.Jean de Denteville, on right - Georges de Selve, Bishop of Lavoie, who visited London in April 1533. A young man of 25 years old, it is amazing how many important missions he was entrusted with at this age - he was an envoy to the Venetian Republic and in Vatican.
With many details of the picture, drawn out by the artist in an extremely realistic way, a strange object placed in the foreground of the canvas is contrasted. It forms the symbolic row of this work, turning out - upon detailed examination - a human skull distorted in perspective.
A lot has been written about this skull in the 20th century - in fact, it was he who made Holbein's masterpiece so popular in modern times.
The so-called anamorphosis is an optical illusion. Of course, this trick cannot be done on reproductions, but if, looking at the original of the picture, move a couple of meters to the right and stand almost close to the wall on which the picture hangs, then the skull will take its natural shape. It can even be photographed.
Art critics say that three skulls can be found in the picture! One is an anamorphosis, the other is a brooch on de Dentelville's beret, and the third is in an anamorphic skull, you just need to look at a certain angle.
H the skullcap is a symbol of death. With this allegorical image, crossing out a good part of the picture, the artist told everyone who could understand him: scientific discoveries, progress, church quarrels, high positions, arrogance, money, power - everything is meaningless before the end that awaits each of us.
No matter what happens, the end is always the same death? memento moriis the motto of Jean de Dentelville.
This approach to Holbein's masterpiece makes the picture a poignant allegory of "vanity of vanities."
So, on the table, next to the man standing on the right, there is a multifaceted sundial. They (although this is not typical of a sundial) with their three hands show the date of creation of the picture - April 11, 1533. The ambassador's hand casually leans on a book, on the spine of which there is an inscription in Latin: "He is 25 years old." The age of the second ambassador (standing on the left) is inscribed in the design of the dagger in his right hand. From there it is clear that he is 29 years old.
Globes, maps and measuring instruments are a tribute to the surge of scientific and geographical discoveries of that era. After all, only 41 years ago, Columbus discovered a new World, and only 12 years before the painting was made, Captain Juan Sebastian del Cano was the first to circle the globe on the Victoria ship, which proved in practice that the Earth is round.
H and the lute, a popular musical instrument at the time, catches the eye on the bottom shelf. She has one string broken. Researchers believe that the broken string symbolizes the church schism associated with the reforms carried out at that time by Martin Luther.
The artist himself confirms this conjecture by placing a book with verses of Latin hymns, translated into German by Martin Luther himself, under the lute.
So Holbeinshows the views of Bishop Selva and his views on the then existing religious situation - to reform the church, but not to separate from the Vatican.
Man if you want to be happy
And abide in God forever
You must adhere to the Ten Commandments
given to us by God.
And, as if to confirm this, a crucifix peeps out from behind a velvet green curtain on the left - God is always watching us.
Thus Holbein in his work realizes the image of double vision - with a "direct" look of a person immersed in the routine of everyday life and not wanting to deal with the tragic metaphysics of earthly existence, death seems to be an illusory spot that you should not pay attention to - but with a "special"
(implied - correct, deep) look, everything changes exactly the opposite - death turns into the only reality, and familiar life is distorted before our eyes, loses its meaning, acquiring the character of a phantom, illusion.
OTHER WORKS OF THE ARTIST:
Venus and Cupid.
Portrait of Anna Klevskaya.
Portrait of Thomas More.
Portrait of Henry VIII.
Portrait of Edward the Sixth as a child.
Portrait of a lady with a squirrel.
Portrait of Moretta.
Hans Holbein the Younger (1497-1543) - painter, one of the greatest German artists. The most famous representative of this family.
He is one of the best portrait painters of his time. His accuracy in the transfer of images was so good that the English king Henry VIII, (who changed six wives), before marrying again, first sent Hans Holbein to the bride to paint her portrait.
But he became famous for others. The fact is that he included riddles in the paintings, imperceptible or incomprehensible at first glance. Holbein had his own cipher, which others had to guess...
The significance of Holbein in German art is further enhanced by the fact that he transferred to Germany the heyday of the Italian Renaissance, without losing his national character - in his works, the paths outlined in Dürer's portraits are palpable.
Today we will get acquainted with one of these paintings by Holbein "AMBASSADORS" of 1533.
This double portrait by Holbein is an outstanding masterpiece of the Renaissance.
On the left, as established, is the 29-year-old French ambassador to England, Jean de Denteville, on the right, Georges de Selve, Bishop of Lavoie, who visited London in April 1533. The young man is 25 years old, it is amazing how many important missions he was entrusted with at this age - he was an envoy to the Venetian Republic and the Vatican.
With many details of the picture, drawn out by the artist in an extremely realistic way, a strange object placed in the foreground of the canvas is contrasted. It forms the symbolic row of this work, turning out - upon detailed examination - a human skull distorted in perspective.
A lot has been written about this skull in the 20th century - in fact, it was he who made Holbein's masterpiece so popular in modern times.
The so-called anamorphosis is an optical illusion. Of course, this trick cannot be done on reproductions, but if, looking at the original of the picture, move a couple of meters to the right and stand almost close to the wall on which the picture hangs, then the skull will take its natural shape. It can even be photographed.
Art critics say that three skulls can be found in the picture! One is an anamorphosis, the other is a brooch on de Dentelville's beret, and the third is in an anamorphic skull, you just need to look at a certain angle.
The skull is a symbol of death. With this allegorical image, crossing out a good part of the picture, the artist told everyone who could understand him: scientific discoveries, progress, church quarrels, high positions, arrogance, money, power - everything is meaningless before the end that awaits each of us.
No matter what happens, the end is always the same - death? Memento mori is the motto of Jean de Dentelville. Such an approach to Holbein's masterpiece makes the painting a poignant allegory of "vanity of vanities."
So, on the table, next to the man standing on the right, there is a multifaceted sundial. They (although this is not typical of a sundial) with their three hands show the date of creation of the picture - April 11, 1533. The ambassador's hand casually leans on a book, on the spine of which there is an inscription in Latin: "He is 25 years old." The age of the second ambassador (standing on the left) is inscribed in the design of the dagger in his right hand. From there it is clear that he is 29 years old.
Globes, maps and measuring instruments are a tribute to the surge of scientific and geographical discoveries of that era. After all, only 41 years ago, Columbus discovered a new World, and only 12 years before the painting was made, Captain Juan Sebastian del Cano was the first to circle the globe on the Victoria ship, which proved in practice that the Earth is round.
On the bottom shelf, the then popular musical instrument, the lute, catches the eye. She has one string broken. Researchers believe that the broken string symbolizes the church schism associated with the reforms carried out at that time by Martin Luther.
The artist himself confirms this conjecture by placing a book with verses of Latin hymns, translated into German by Martin Luther himself, under the lute.
So Holbein shows the views of Bishop Selva and his views on the then existing religious situation - to reform the church, but not to separate from the Vatican.
Man if you want to be happy
And abide in God forever
You must adhere to the Ten Commandments
given to us by God.
And, as if to confirm this, a crucifix peeps out from behind a velvet green curtain on the left - God is always watching us.
Thus, Holbein in his work realizes the image of double vision - with a “direct” look of a person immersed in the routine of everyday life and not wanting to deal with the tragic metaphysics of earthly existence, death seems to be an illusory spot that should not be paid attention to, but with “ special"
(implied - correct, deep) look, everything changes exactly the opposite - death turns into the only reality, and familiar life is distorted before our eyes, loses its meaning, acquiring the character of a phantom, illusion.
Text with illustrations.http://maxpark.com/community/6782/content/1912116
