Vanitas Hans Holbein, Ambassadors - Dark and fluffy. "Ambassadors" by Hans Holbein the Younger "Ambassadors" became a departure from the former style of Holbein

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 helped 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 there is a skull 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 when certain angle of vision, it takes on 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 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...
Holbein's value german art is increased by the fact that he transferred to Germany the heyday of Italian Renaissance without losing its national character- in his works, the paths outlined in the portraits of Dürer are tangible ..

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 - 29-year-old french ambassador in England, Jean de Denteville, on the right - Georges de Selve, Bishop of Lavoie, who visited London in April 1533. To a young man 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 toll. natural form. 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. This allegorical, crossing out good part paintings depicting the artist spoke to 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 pattern 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, just 41 years ago, Columbus discovered New World, but only 12 years before the painting, Captain Juan Sebastian del Cano, was the first to round Earth on the ship "Victoria", 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 church schism associated with the reforms carried out at that time by Martin Luther.

The artist himself confirms this conjecture by placing under the lute a book with verses of Latin hymns translated into German by Martin Luther himself.
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 you should not pay attention to, but with “ 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.

Text with illustrations.http://maxpark.com/community/6782/content/1912116

K: Paintings of 1533

Holbein skillfully used various attributes to characterize the model. AT wonderful picture"Ambassadors" two richly dressed people (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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Links

• in the London National Gallery database

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 gems. 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, their hair was the most surprising... It was very long, almost reaching the edge of the transparent wing, absolutely weightless and , not having a permanent color, they flashed all the time with the most different and most unexpected brilliant rainbows ... The transparent bodies of Savy 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...

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 is a 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 ideal for modern man: love for one's work, immersion in the 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. ingenious solution the artist's capture of 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 it assumes an ideal form, 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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Ambassadors (1533), National Gallery, London

This double portrait by Holbein is an outstanding masterpiece of the Renaissance. 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 Selvus who advised his friend to commission 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 many astronomical and navigational 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.
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 series of this work, turning out - upon detailed examination - to be a human skull distorted in perspective.

The year of creation of this masterpiece - 1533 - is a milestone in creative destiny Holbein. A year earlier, having finally moved to England and finding many of his former friends and patrons there in a rather deplorable position (in disgrace, in prison, etc.), the artist was forced to look for new customers. By 1533, he successfully solved this problem, becoming a fashionable painter in the "renewed" circle of high-ranking persons - "Ambassadors" is one of the evidence of this.
This picture is interesting not only for the figures of the ambassadors, but also for the still life that occupies the central part of the picture. It can even be said that this still life plays a "central" role in the composition, linking two men divorced on the sides of the canvas and at the same time emphasizing the individuality of each of them. Compositional diversity is achieved through subtle differences in the posture of those standing, their clothes and manner of holding. A monstrously distorted skull placed in the foreground makes the composition triangular and more dynamic, and the dynamics are emphasized geometric patterns carpet.
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. Contrasting clarity scientific knowledge, the stability of 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 of a person of the 20th century. Holbein gave in his work the image of double vision - with the "direct" look of a person who is headlong plunged 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 when " with a special "(meaning - correct, 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 phantom, an illusion.
This approach to Holbein's masterpiece makes the picture a poignant allegory of "vanity of vanities." The symbolist Y. Baltrushaitis once wrote about this, and the postmodernists of the late 20th century talked about it a lot.

Objects, which are a kind of background for many of Holbein's portraits, are often chosen by him in order to characterize the depicted person as fully as possible or, in another version, set the complex symbolic music of the work. But, perhaps, in no other work do these objects condense so "concentrated" as it happens in the presented masterpiece. The abundance of various things speaks of the breadth of interests of the people facing us - obvious indications are given for music, mathematics, geometry, astronomy, there are, in addition, signs that are not so obvious. On the bottom shelf of the bookcase we see a globe, a mathematics textbook, a lute, a case with flutes and a collection of Lutheran hymns, opened on the psalm "Save, O Lord, our souls."
The lute performs here not only musical instrument, but also - if we do not forget that its strings traditionally symbolized death - a quite definite symbol, echoing the distorted skull written in the foreground. This connection is strengthened by the roll call in the "technical" sphere - both of which are intended to show the excellent knowledge of the laws of perspective, which distinguished Holbein. If the image in the correct perspective of the lute - with its complex shape and neck curved at right angles - is a technically difficult task, then the image in the distorted perspective of the skull is no easier task.