Hans Holbein the Younger French ambassadors. "The Ambassadors" by Hans Holbein the Younger. The skull is believed to be a reference to "Memento mori"
A LITTLE ABOUT HOLBEIN'S "AMBASSADORS"
When talking about Holbein’s “The Ambassadors,” the first thing that comes to mind is 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 it’s not the only interesting thing about “Ambassadors”.
Two words about posing. The painting received the name “Ambassadors” quite late - art historians managed to establish who exactly is depicted in this double portrait by comparing Holbein’s work with the drawing French artist Jean Clouet, on which reverse side it was stated that the model was Jean de Dinteville:
In 1533, Jean de Dinteville, who was “only” 29 years old, was ending his tenure as ambassador to the English court. On his way to his homeland, France, a friend, Bishop of Lavor, 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 come to terms).
The composition of the double portrait of Holbein, commissioned by Jean de Dinteville, is unusual. Obviously, in drawing up the program for this picture and “tuning” (more about below) the astronomical instruments laid out on the table, Holbein was helped by his friend, astronomer and mathematician Nikolaus Kratzer, who worked at the English court.
On the shelf (or table) on which the subjects are leaning are laid out: below - objects associated with the earthly, lower 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 tied: this is April 11, 1533, Good Friday, 4 o'clock in the afternoon.
This makes clear the presence of the Crucifixion in the upper left corner of the picture:
In this case, the composition chosen by Holbein for the portrait clearly correlates with the Mother of God and the Apostle John standing before the Cross:
Grunewald. Crucifixion. 1523 - 1524
In essence, the composition of “The Ambassadors” is based on the effect of a significant absence: in its center it is assumed, but not depicted, that the Cross on Golgotha is.
The courage 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 "Diptych of Martin von Nieuwenhove", where the donor, represented on the right wing, is painted reflected in a mirror hanging behind the back of the Virgin.
Memling. "Diptych by Martin von Nieuwenhove." Detail
If you imagine that those portrayed in Holbein’s painting are facing a cross, it will become clear why a skull is present in the composition of the painting.
Holbein's skull can be clearly “read” inside the painting 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 painters of that time. Thus, in one of the Franciscan monasteries you can see a fresco, which, if you look at it from the front, is perceived as a landscape:
And only at a certain viewing angle does it acquire its “true” appearance:
It represents the Savior, the Virgin and Child, the apostles Peter and Paul, St. Francis accepting the stigmata...
Once upon a time in Tretyakov Gallery I heard a conversation between a mother and her little daughter in front of Vasily Surikov’s painting “Boyaryna Morozova”. The mother explained to the girl: “This is a rich lady, she is dressed in fur coats and rides in a carriage. And there are beggars all around and she doesn’t look at them.” So that your child or friend never hears such an interpretation, we are starting the “Popcorn of Art” section.
On the eve of the emerging spring depression, our editors decided to turn to Hans Holbein the Younger’s painting “The Ambassadors” for inspiration and explain its meaning. So, let's look at it from all sides.
In London's National Gallery, people are wandering around a two-meter wide and long painting. They walk around her from all sides and stop next to her with bated breath. They do all this to unravel the mystery hiding at the bottom of the picture.
German artist Hans Holbein the Younger studied painting with his father, Hans Holbein the Elder, and was the king's court painter Henry VIII and painted many portraits to order. One of them is a double portrait “Ambassadors”, depicting two friends. On the left is the French ambassador Jean Dentelville, who commissioned the painting, on the right is the bishop of the city of Lavura, Georges de Selva.
Upon closer examination, the picture surprises us infinite number details. Both friends are extremely versatile personalities, a kind of Lomonosov of the 16th century. Items on the shelf speak of their hobbies: astronomy (astronomical globe, gnomon, quadrant), geography (maps, globe, compass), music (lute, flute case). The young people (both under 30) really did a variety of things, and also read and traveled a lot. Their way of life is ideal for modern man: love for one’s work, absorption in intellectual life, eternal action and desire for development. This picture expresses the idea of balance and harmony - the forces of spiritual and physical, earthly and heavenly.
The overall picture is static. First of all, stability is given by the vertical and horizontal straight lines formed by the figures of young people, the whatnot, the edge line of the carpet hanging from the whatnot, the carpet on the floor, and the drapery of curtains. But there are also diagonals that give the picture dynamics: the hands of the bishop and the ambassador, the lute and the globe, the fold on the bishop’s clothes, and, of course, a sharp diagonal of unknown origin in the lower part of the picture, which stands out against the background of the realistic drawing.
Hans Holbein the Younger was the first artist in the world to use the technique of anamorphosis - deliberate distortion of form in order to encrypt additional meaning in the picture. If you move to the right edge of the picture and press your right cheek against it (before the gallery keepers notice), you will see a perfectly shaped skull. The artist’s ingenious decision to capture the symbol of death in this way leads us to the idea of the painting: life is full of the most interesting things and activities that we are passionate about; we do not see and do not want to notice the death that is nearby. Immersed in our earthly affairs, we imagine death as something blurry and unclear. She is eternally and invisibly present somewhere nearby, her outlines are foggy and gloomy. But the moment she accepts perfect shape, the rest of life is immediately distorted and becomes meaningless. Momento more.
This picture encodes a call to action and constant development. Live with a clear purpose, stand firmly on your feet and be in harmony with the earthly and heavenly. The inevitable will happen, but before that you will have time to get what you want from life.
A friend of mine recently discovered for me new way going to galleries, which is called “visiting one painting.” To do this, you need to decide in advance which painting you want to see, come to it, stand for 20 minutes and immediately leave the museum. A way to feel and forever remember the impression given by a brilliant painting.
“The Ambassadors” is one of those films that is so important to see in person. The doors to the National Gallery are always open, and entry is free, so feel free to grab your tickets to London and fly to visit this beautiful painting.
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Long before 3-D glasses and Easter eggs became popular, Renaissance artists came up with 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 most famous examples This technique is the double portrait of Hans Holbein the Younger "The Ambassadors".
If you look at the picture, in addition to two richly dressed men in the foreground you can see a strange elongated object. For a long time It was not possible to understand what was depicted on it, but it turned out that to solve it it was necessary to look at the picture from an angle. As you can see, Holbein depicted a skull there, which is visible only if you look at the picture from right side and from quite close distance. Critics believe that in this way Holbein wanted to show that in a person’s usual routine view of life, death seems like a blurry spot that is not worth paying attention to. But it’s worth changing the perspective (look deeper) and death comes to the fore, while everything else loses its meaning, turning into an illusion...
1. “The Ambassadors” was a departure from Holbein’s previous style
Hans Holbein the Younger
Initially, the Bavarian artist followed in the footsteps of his father Hans Holbein the Elder, painting paintings with religious themes such as The Dead Christ in the Tomb. By the age of 30, Holbeins made successful career, engaged in this type of creativity, 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 back to London, beginning to paint society portraits.
2. Erasmus helped increase the popularity of Holbein's portraits
The Dutch intellectual thinker Erasmus introduced Holbein to representatives of " high society" This is how the artist became famous among members of the English court, the king's advisors, as well as people such as Thomas More and Anne Boleyn.
3. Characters of the picture
Jean de Denteville and Georges de Selve.
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. On the right in the painting is the diplomat's friend and colleague, 25-year-old Bishop Georges de Selve, who served as the French ambassador to the Venetian Republic.
4. Hidden age
If you look closely, you can see the age on the scabbard.
If you look closely at the dagger Denteville is holding, you will find the number "29" on its ornate scabbard. On the book on which Selv rests his elbow there is the number “25”. These props were also used as symbols of their characters. The book signifies Selva's contemplative nature, while the dagger signifies that Denteville is a man of action.
5. Detail from Westminster Abbey
In addition to universally recognizing Holbein's intense attention to detail, art critics have praised his ability to make paintings that make the viewer feel as if he could step directly into the canvas. It is possible that Denteville saw this pattern on the floor of Westminster Abbey during the coronation of Anne Boleyn.
6. Details and size
Even on a computer screen, The Ambassadors impresses with the fact that Holbein rendered the smallest details. But up close, 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 luxurious clothes and furs, and surrounded the couple 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 faced.
8. Art, politics and religious strife
Part of Denteville's work was reporting to the monarchs of France about what was happening in 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 English king renounced catholic church and her popes 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.
9. Lute as a political allusion
Lute as a political allusion
In the middle of the painting “The Ambassadors” Holbein depicted a lute. Taking a closer look at it, you can notice that one of the strings of the lute is broken, which creates a visual representation of “discord.”
10. Holbein – royal artist
Portrait of Henry VIII by Holbein.
The German artist went to London in 1532 in the hope of finding wealthy patrons. And it worked. Although The Ambassadors contained Catholic symbolism, the king hired Holbein as his personal artist in 1535. Two years later Holbein completed the portrait of Henry VIII, and although the original was destroyed in a fire in 1698, copies of the most famous portrait this controversial monarch.
11. The painting is one of the most famous examples of anamorphosis
Anamorphosis is the depiction of an object in such a way that it deliberately 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 "Leonardo's Eye"). 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 renounce vanity and the joys of earthly goods, since life is short anyway. 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 painting
In the upper left corner, behind a lush green curtain, a crucifix with Jesus can be seen. Some art historians believe that this divine cameo is associated with the Memento Mori skull and also alludes to death. Others believe that hidden symbol represents the division of the church that occurred in England under Henry VIII.
14. The layout of the painting is also related to religion
According to some art historians, the lower level, where the anamorphic skull lies, depicts death. The middle part of the picture (bottom shelf), where the globe is visible globe, Martin Luther's hymn and musical instruments, represents the world of the living, full of joy and effort. Finally, the top shelf with its celestial globe, astronomical instruments and hidden crucifix symbolizes heaven and redemption through Christ.
15. Today the Ambassadors are in London
The portrait first hung in the hall of the Denteville house. However, the National Gallery bought Holbein's painting in 1890. For more than 125 years, the painting has been one of the most valuable exhibits in the museum in London.
07:13 pm - Vanitas Hans Holbein, AmbassadorsHere I’ll show you a little “mysterious” art... at first glance it’s a banal picture... but now I’ll intrigue you - in front of you is a small optical illusion.... By the way, I’m adding the appropriate TAG)
[The Ambassadors (1533), National Gallery, London]
“On the left of the portrait is Jean de Denteville, the French ambassador to the court of Henry VIII, on the right is his friend, Georges de Selve, Bishop of Lavoie, who visited London in April 1533. According to some reports, it was Selve who advised his comrade to order a portrait of Holbein, who had recently returned to England and was looking for new patrons.
The heroes of the canvas, looking directly at the viewer, are depicted surrounded by a variety of astronomical and navigation instruments, which, in combination with things lying on the bottom shelf of the bookcase (books, musical instruments, a globe), are designed to emphasize the lifestyle and sphere of mental interests of these people.
The many details of the painting, painted by the artist in an extremely realistic manner, are contrasted with a strange object placed in the foreground of the canvas. It forms the symbolic series of this work, turning out to be - upon detailed examination - a human skull distorted in perspective.
A monstrously distorted skull placed in the foreground makes the composition triangular and more dynamic, with dynamics being emphasized geometric patterns carpet
Interpreters usually associate this anamorphosis with the Vanitas genre, and the general pathos of the picture with a critique of science's claims to higher knowledge, which reveals its ephemerality in the face of death. The ambassadors and the still life associated with them are presented in the codes of linear perspective with a clear focus on the illusion of a genuine trompe l'oeil. It is also significant in this context that the anamorphosis of the skull hangs directly above a perspective depiction of the floor mosaic of Westminster Abbey. Contrast with clarity scientific knowledge, the stability of a comfortable existence, the only reality of the world we see and at the same time the death hanging over it all, making human existence meaningless, turned out to be unusually close to the worldview of modern man. Holbein gave an image in his work double vision- with the direct gaze of a person who is immersed in the routine of everyday life and does not want 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 a special look everything changes exactly the opposite - death turns into a single reality, and the usual life is distorted before our eyes, acquiring the character of a phantom, an illusion.)"
Long before 3-D glasses and Easter eggs became popular, Renaissance artists came up with 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 most famous examples of this technique is the double portrait of Hans Holbein the Younger, The Ambassadors.
1. “The Ambassadors” was a departure from Holbein’s previous style
The Bavarian artist initially followed in the footsteps of his father Hans Holbein the Elder, painting paintings with 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 creativity, 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 back to London, beginning to paint society portraits.
2. Erasmus helped increase the popularity of Holbein's portraits
The Dutch intellectual thinker Erasmus introduced Holbein to representatives of the "high society". This is how the artist became famous among members of the English court, the king's advisors, as well as people such as Thomas More and Anne Boleyn.
3. Characters 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. On the right in the painting is the diplomat's friend and colleague, 25-year-old Bishop Georges de Selve, who served as the French ambassador to the Venetian Republic.
4. Hidden age
If you look closely at the dagger Denteville is holding, you will find the number "29" on its ornate scabbard. On the book on which Selv rests his elbow there is the number "25". These props were also used as symbols of their characters. The book signifies Selva's contemplative nature, while the dagger signifies that Denteville is a man of action.
5. Detail from Westminster Abbey
In addition to universally recognizing Holbein's intense attention to detail, art critics have praised his ability to make paintings that make the viewer feel as if he could step directly into the canvas. It is possible that Denteville saw this pattern on the floor of Westminster Abbey during the coronation of Anne Boleyn.
6. Details and size
Even on a computer screen, The Ambassadors impresses with Holbein's attention to detail. But up close, 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 luxurious clothes and furs, and surrounded the couple 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 faced.
8. Art, politics and religious strife
Part of Denteville's work was reporting to the monarchs of France about what was happening in 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 painting "The Ambassadors" Holbein depicted a lute. Taking a closer look at it, you can notice that one of the strings of the lute is broken, which creates a visual representation of “discord.”
10. Holbein – royal artist
The German artist went to London in 1532 in the hope of finding wealthy patrons. And it worked. Despite the fact that The Ambassadors contained Catholic symbolism, the king hired Holbein as his personal artist in 1535. Two years later Holbein completed the portrait of Henry VIII, and although the original was destroyed in a fire in 1698, copies of the most famous portrait of this controversial monarch remain.
11. The painting is one of the most famous examples of anamorphosis
Anamorphosis is the depiction of an object in such a way that it deliberately 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 "Leonardo's Eye"). 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 renounce vanity and the joys of earthly goods, since life is short anyway. 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."
