The most mysterious painting by Hans Holbein. "Ambassadors" by Hans Holbein the Younger
07:13pm - Vanitas Hans Holbein, AmbassadorsI'll show you a little "mysterious" art here ... at first glance, a banal picture .. and now I'll intrigue you - in front of you is a small optical illusion.... By the way, I add the corresponding TEG)
[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 friend to commission a portrait of Holbein, who had recently returned to England and looking for new patrons.
The heroes of the canvas, looking directly at the viewer, are depicted surrounded by many astronomical and navigational instruments, which, in combination with things lying on the bottom shelf of the whatnot (books, musical instruments, globe) are designed to emphasize the lifestyle and sphere of mental interests of these people.
With many details of the picture, drawn out by the artist in an extremely realistic way, a strange object placed on foreground canvases. It forms the symbolic row of this work, turning out - upon detailed examination - a human skull distorted in perspective.
A monstrously distorted skull placed in the foreground makes the composition triangular and more dynamic, and the dynamics are emphasized geometric patterns carpet
Interpreters usually associate this anamorphosis with the Vanitas genre, and the general pathos of the picture with criticism of science's claims to higher knowledge, which reveals its ephemeral nature in the face of death. The ambassadors and the still life associated with them are given in codes linear perspective with a clear installation on the illusion of genuine blende. In this context, it is also important that the anamorphosis of the skull hangs directly above the perspective image of the Westminster Abbey floor mosaic. Contrasting the clarity of scientific knowledge, the stability of a comfortable being, the only reality of the world we see, and at the same time death hanging over all this, making human existence meaningless, turned out to be unusually close to the worldview modern man. Holbein gave in his work the image of double vision - with a direct 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 spot that you should not pay attention to - but with a special 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 phantom, an illusion.)"
PORTRAIT OF FRENCH AMBASSADORS
Ceremonial Portrait 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 inner world their models - they seem closed, restrained, as befits aristocrats at the court of the king. 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.
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" quite late - art critics managed to establish who exactly is depicted in this double portrait by comparing Holbein's work with a drawing french artist Jean Clouet, on which reverse side it was stated that Jean de Dinteville served as the 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...
Once upon a time Tretyakov Gallery I heard a conversation between a mother and her little daughter in front of Vasily Surikov's painting "Boyar Morozova". Mom explained to the girl: “This is a rich lady, she is dressed in fur coats and rides in a carriage. And around the beggars and she does not look at them. So that your child or friend will never hear such an interpretation, we are starting the “Popcorn Art” section.
On the eve of the emerging spring depression, our editors decided to turn to the painting by Hans Holbein Jr. "Ambassadors" for inspiration and explain its meaning. So, let's look at it from all sides.
In the London National Gallery, people roam around a two-meter wide and long painting. They go around it from all sides and with bated breath stop nearby. All this they do to unravel the mystery lurking at the bottom of the picture.
The German artist Hans Holbein Jr. studied painting with his father, Hans Holbein Sr., was the court painter of King Henry VIII and painted many portraits to order. One of them - double portrait"Ambassadors", depicting two friends. On the left is the French ambassador Jean Dentelville, the customer of the painting, on the right is the bishop of the city of Lavour, Georges de Selva.
Upon closer examination, the picture surprises us with an infinite number of details. Both friends are extremely versatile personalities, a kind of Lomonosovs of the 16th century. The items on the shelf speak of their hobbies: astronomy (astronomical globe, gnomon, quadrant), geography (maps, globe, compasses), music (lute, flute case). Young people (both not yet 30) really did a variety of things, as well as read a lot and traveled. Their way of life is an ideal for a modern person: love for their work, immersion in intellectual life, eternal action and the desire for development. This picture expresses the idea of balance and harmony - the forces of spiritual and physical, earthly and heavenly.
In general, the picture is static. First of all, stability is given by vertical and horizontal lines formed by the figures of young people, the whatnot, the line of the edge of the carpet hanging from the whatnot, the carpet on the floor, the drapery of the 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, the sharp diagonal of unclear origin in the lower part of the picture, which stands out against the background of a realistic drawing.
Hans Holbein Jr. was the first artist in the world to use the technique of anamorphosis - the deliberate distortion of form in order to encrypt an additional meaning in the picture. If you move to the right side of the picture and press your right cheek against it (until the caretakers in the gallery noticed), you will see a perfectly shaped skull. The ingenious decision of the artist to capture the symbol of death in this way leads us to the idea of the picture: life is full of 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 continuous 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 take your own from life.
A friend of mine recently opened for me new way go to galleries, which is called "visit one picture". To do this, you need to decide in advance which picture you want to see, come to it, stand for 20 minutes and immediately leave the museum. A way to imbue and forever remember the impression given by a brilliant canvas.
"Ambassadors" is one of those paintings that is so important to see live. The doors to the National Gallery are always open, and admission is free, so feel free to take tickets to London and fly to visit this beautiful painting.
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Long before 3-D glasses appeared and Easter eggs became popular, Renaissance artists came up with their own way to attract visitors to their exhibitions - they played with perspective so that when looking at paintings from different angles, they could see different images. One of the most famous examples of this technique is the double portrait of Hans Holbein the Younger "Ambassadors".
If you look at the picture, in addition to two richly dressed men in the foreground, you can see a strange object of an elongated shape. For a long time it was not possible to understand what is depicted on it, but it turned out that in order to unravel it, it is 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 the right side and from a fairly close distance. Critics believe that in this way Holbein wanted to show that with a person’s usual routine view of life, death seems to be a blur that should not be paid attention to. But it is worth changing the angle (look deeper) and death comes to the fore, while everything else loses its meaning, turning into an illusion ...
1. "Ambassadors" became a departure from the former style of Holbein
Hans Holbein the Younger
Initially, the Bavarian artist followed in the footsteps of his father Hans Holbein the Elder, painting on religious themes, such as "Dead Christ in the tomb". By the age of 30, Holbeins had made successful career, doing this kind 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 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
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. 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, you can see the age on the scabbard.
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 leans 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 drew 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 English king renounced the Catholic Church and its pope and created 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
The lute as a political allusion
In the middle of the picture "Ambassadors" Holbein depicted a lute. Looking closely at it, one can notice that one of the lute's strings is torn, which creates a visual representation of "discord".
10. Holbein - royal painter
Portrait of Henry VIII by Holbein.
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 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 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 "Ambassadors" under acute angle, the white-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. The Ambassadors are in London today.
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.
