Holbein skillfully used various attributes to characterize the model. In the remarkable painting The Ambassadors, two richly dressed men (French ambassador to London Jean de Denteville and Bishop Georges de Selve) are depicted in front of a high table cluttered with many objects. They allude to their religious, intellectual and artistic interests. The strangest thing in the picture seems to be a certain elongated object placed in the foreground. If you look at it from the right, from a close distance, you can see that it is a skull.
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 habitual life is distorted before our eyes, loses its meaning, acquiring the character of a phantom, illusion.
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An excerpt characterizing the Ambassadors (painting by Holbein)
- Come on! We seem to have different ideas about many things. It's normal, isn't it? - "nobly" reassured his baby. - Can I talk to them?- Speak if you can hear. - Miard turned to the miracle Savia, who had come down to us, and showed something.
The marvelous creature smiled and came closer to us, while the rest of his (or her? ..) friends still soared easily right above us, sparkling and shimmering in the bright sunlight.
“I am Lilis…fox…is…” an amazing voice whispered. It was very soft, and at the same time very resonant (if such opposite concepts can be combined into one).
Hello beautiful Lilis. Stella greeted the creature joyfully. - I'm Stella. And here she is - Svetlana. We are people. And you, we know, Savia. Where did you fly from? And what is Savya? - questions again rained down like hail, but I didn’t even try to stop her, since it was completely useless ... Stella just “wanted to know everything!”. And it always has remained so.
Lilis came very close to her and began to examine Stella with her bizarre, huge eyes. They were bright crimson, with golden flecks inside, and sparkled like precious stones. The face of this miracle creature looked surprisingly delicate and fragile, and had the shape of a petal of our earth lily. She “spoke” without opening her mouth, at the same time smiling at us with her small, round lips... But, probably, the most amazing thing was their hair... They were very long, almost reaching the edge of the transparent wing, absolutely weightless and , not having a permanent color, all the time flashed with the most varied and most unexpected brilliant rainbows ... The transparent bodies of Savia were sexless (like the body of a small earthly child), and from the back they passed into “petals-wings”, which really made them look like big colorful flowers...
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...
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 status. 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.
Long before there were 3-D glasses and Easter eggs became popular, Renaissance artists devised a way to attract visitors to their exhibitions - they played with perspective so that when looking at paintings from different angles, different images were visible. One of the best-known examples of this technique is the double portrait of Hans Holbein the Younger, The Ambassadors.
1. "Ambassadors" became a departure from the former style of Holbein
Initially, the Bavarian artist followed in the footsteps of his father Hans Holbein the Elder, painting on religious themes such as the Dead Christ in the Tomb. By the age of 30, Holbeins had made a successful career doing this type of art, but he still decided to take the risk of starting to paint conceptually new paintings. Holbein went to England and then to Switzerland, after which he returned to London, beginning to paint secular portraits.
2. Erasmus helped increase the popularity of Holbein's portraits
The Dutch intellectual thinker Erasmus introduced Holbein to representatives of the "high society". So the artist became known among the members of the English court, the king's advisers, as well as people such as Thomas More and Anne Boleyn.
3. Heroes of the picture
The painting on the left shows Jean de Denteville, the French ambassador to England. This double portrait was painted on the eve of his 30th birthday. To the right of the painting is a friend and colleague of the diplomat, 25-year-old Bishop Georges de Selve, who worked as the French ambassador to the Venetian Republic.
4. Hidden age
If you look closely at the dagger held by Denteville, you can find the number "29" on its richly decorated scabbard. On the book Selv is leaning on with his elbow, there is the number "25". This prop was also used as symbols of their characters. The book signifies the contemplative nature of Selva, while the dagger signifies that Denteville is a man of action.
5. Detail from Westminster Abbey
In addition to the general recognition that Holbein paid great attention to the smallest details, art historians have praised his ability to make paintings in such a way that the viewer was given the impression that he could step right into the canvas. It is possible that Denteville saw this pattern on the floor in Westminster Abbey during the coronation of Anne Boleyn.
6. Details and size
Even on a computer screen, "Ambassadors" impresses with the fact that Holbein painted the smallest details. But close up, the picture is simply breathtaking - its size is 207x209 cm.
7. Painting as an element of status
Denteville commissioned the painting to immortalize himself and his friend. Following the tradition of such portraits, Holbein painted them in lavish finery and furs, and surrounded the pair of friends with symbols of knowledge such as books, globes, and musical instruments. However, the thoughtful artist also included symbols in the painting that indicated the troubles these people were facing.
8. Art, politics and religious strife
Part of Denteville's work was reporting to the monarchs of France on what was going on at the English royal court. And during the divorce of King Henry VIII from Catherine of Aragon and subsequent marriage to Anne Boleyn, a lot of things happened there. Also at this time, the English king renounced the Catholic Church and its pope and created the Anglican Church. The ambassador's mission was completed in 1533, the same year Boleyn gave birth to a daughter, Elizabeth I, to her husband Henry VIII.
In the middle of the picture "Ambassadors" Holbein depicted a lute. Looking closely, one of the lute's strings is broken, creating a visual representation of "discord".
10. Holbein - royal painter
The German artist traveled to London in 1532 in the hope of finding wealthy patrons. And it worked. Despite the presence of Catholic symbols in the "Ambassadors", the king hired Holbein as a personal artist in 1535. Two years later, Holbein completed a portrait of Henry VIII, and although the original was destroyed in a fire in 1698, copies remain of the most famous portrait of this controversial monarch.
11. The painting is one of the most famous examples of anamorphosis.
Anamorphosis is the depiction of an object in a way that intentionally distorts its perspective. To see an object properly, a certain vantage point is required. The first examples of anamorphosis in art are found in the 15th century (a sketch by Leonardo da Vinci, known today as the "Eye of Leonardo"). If you look at the "Ambassadors" from an acute angle, the white and black spot at the bottom of the picture turns into a human skull.12. The skull is believed to be a reference to "Memento mori"
Medieval Latin theory focuses on the inevitable mortality of man and encourages people to abandon the vanity and joys of earthly goods, since life is still short. And the hidden skull is a symbol of the inevitability of death. Denteville, who commissioned the painting, was an admirer of Memento Mori. His personal motto was "remember that you will die."
13. Holbein hid the crucifix in the picture
In the upper left corner, behind a lush green curtain, you can see a crucifix with Jesus. Some art historians believe that this divine cameo is associated with the skull of Memento Mori and also alludes to death. Others believe that the hidden symbol represents the division of the church that took place in England under Henry VIII.14. The layout of the painting is also associated with religion.
According to some art historians, the lower level, where the anamorphic skull lies, depicts death. The middle part of the picture (lower shelf), where the globe of the globe, Martin Luther's anthem and musical instruments is visible, represents the world of the living, full of joy and effort. And finally, the top shelf, with its celestial globe, astronomical instruments, and hidden crucifix, symbolizes heaven and redemption through Christ.15. Today "Ambassadors" are in London
The portrait first hung in the hall of the Denteville house. However, the National Gallery bought the Holbein painting in 1890. For more than 125 years, the painting has been one of the most valuable exhibits of the museum in London.Renaissance
HOLBEIN, HANS THE JUNIOR (Holbein, Hans) (1497–1543), also Hans Holbein the Younger, German painter, one of the greatest portrait painters in Western European art.
Holbein's portraits are distinguished by a realistic and noble interpretation of images. An exceptionally versatile artist, he was the author of compositions on religious subjects, frescoes and interior decorations, created sketches for jewelry and stained-glass windows, and worked in the genre of book illustration.
Holbein was born in Augsburg; he was the son of Hans Holbein the Elder, a famous artist, master of altar painting.
After studying in his father's workshop in 1514, he left for Basel, which at that time was the largest center of art and humanistic learning. Soon Holbein acquired patrons among prominent citizens, among whom was the humanist Erasmus of Rotterdam.
During his travels in Italy (in 1518) and southern France (in 1524), Holbein significantly expanded his horizons.
In 1528 he returned to Basel, and from 1530 he finally settled in London. In 1536 he became court painter to King Henry VIII.
During his years in England, he created approx. 150 portraits. Holbein died of the plague in London in 1543.
Holbein was a purely analytical portrait painter.
Direct work on the portrait was preceded by a short period of observation, during which the artist tried to determine for himself the most important character traits of the model. Each time he managed to give a strikingly accurate and comprehensive characterization of the personality of the person being portrayed.
Ambassadors. 1533. Oak board, oil. 207×209 cm National Gallery (London)
The painting is rightfully considered an outstanding masterpiece of the Renaissance.
The double portrait was commissioned by Jean de Dentelville, the ambassador of the French king in England (he is on the left).
The second person in the picture is Jean's friend, Georges de Selve, bishop of the French city of Lavour.
The picture is interesting for its composition and hidden meanings.
Two young people (both under 30, this is encrypted in the picture) are depicted in full growth, on both sides of the center.
On the left is the 29-year-old French ambassador to England, Jean de Denteville (the age is indicated in Latin letters (that is, "his 29th summer"), engraved on the gold scabbard of the dagger).
On the right is Georges de Selve, Bishop of Lavoie, who visited London in April 1533.
The young man is 25 years old (Holbein notes his age on the book, on which he leans with his hand).
Denteville and Selva form a classic Renaissance couple: one figure represents energetic activity, the second - in-depth contemplation.
In the center is a bookcase covered with an oriental carpet and lined with various objects - they are the essence of the ambassadors' hobbies, show their mission and passions. On the upper tier there are instruments associated with the heavenly (astronomical globe, gnomon, quadrant), on the lower - with the earthly (earth globe, maps, compasses, lute, books).
The inscriptions on the globe are also one of the ways to characterize one of the heroes of the canvas.
They mark geographical points of particular importance to Denteville. In particular, this is the castle of Policy (not far from Troyes) belonging to the ambassador, the first "place of residence" of Holbein's painting.
Attention is drawn to an oblong spot on the floor between the two ambassadors.
If you look at the picture in real size and move 2 m to the right, then the spot takes on its true shape - this is a skull. "The characters and all their scientific instruments disappear, and the sign of the End appears in their place. The play ends." (quote by Jurgis Baltrushaitis).
Holbein resorted to anamorphosis (intentional distortion of form).
And when the viewer begins to see the skull, everything else fades into the background.
What did Holbein mean?
No matter what happens, the end is always the same - death? "Memento mogi" (from Latin - "Remember death") - this is the motto of Jean de Dentelville.
Holbein also displayed this in the portrait.
There are three skulls 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.
On the left is a small silver crucifix, almost lost in the folds of the green curtain - a symbol of atonement for sins and hope for salvation (the crucifix, unlike the whole picture, is black and white).
So, one side of the picture is earthly life, full of discoveries in heaven and on earth, philosophical and moral and ethical discussions. But there is a second, hidden one.
A rich collection of musical, astronomical and scientific instruments symbolizes the learning and power of these two people.
However, all this splendor and arrogance are in vain - in contrast to the luxury and wealth of the envoys, Holbein depicts the symbols of death: a broken string on a lute, a skull.
A collection of Lutheran hymns, opened on the psalm "Save, O Lord, our souls."
The sundial accurately indicates the time of action - 10.30 am on April 11 - the day of Good Friday in 1533.
Holbein revealed in this picture the spiritual delusion of many people - with the usual look of a person who has plunged headlong into the routine of everyday life and does not want to deal with the tragic metaphysics of earthly existence, death seems to be an illusory blurred spot that you should not pay attention to - but with the right , a deep look, everything changes exactly the opposite - death turns into the only reality, and habitual life is distorted before our eyes, acquiring the character of a temporary phantom, illusion that has no real value.
Holbein produced the famous series of drawings The Dance of Death (published in the woodcuts of Lyons in 1538); they depict death affecting representatives of different walks of life.
Hans Holbein was the court painter of King Henry VIII.
He painted a famous portrait of Henry VIII and his four wives (out of six).
Henry VIII (Henry VIII). Hans Holbein (Hans Holbein the Younger)
Henry VIII was married six times.
His wives, each of whom was backed by a certain political or religious faction, were sometimes forced to make changes in their political or religious views.
Henry VIII. Portrait by Hans Holbein the Younger, c. 1536-37
The artist spent the last period of his life between Basel and London. In 1543, between October 7 and November 29, he died of the plague that raged in London at the age of 46.
Self-portrait. 1542. Uffizi Gallery
