Formal Characteristics
Artist: Hans Holbein
Medium: Oil on Oak
Year: 1533
Medium: Oil on Oak
Year: 1533
Hans Holbein
Hans Holbein est né en 1497 à Augsbourg en Allemagne. Holbein est surtout connu pour ses portraits réalistes. Holbein est issu d'une famille d'artistes importants. Son père et son oncle étaient connus pour leurs peintures gothiques tardives, et pendant de nombreuses années Holbein a étudié sous lui. Après avoir appris de la pratique familiale, Holbein et son frère ont déménagé en Suisse et ont commencé à produire un travail indépendant. En 1533 Holbein a été engagé par le Roi Henri VIII de l'Angleterre pour peindre des portraits de fonctionnaires royaux. Au cours des 10 dernières années de sa vie, on estime que Holbein a produit environ 150 portraits
Hans Holbein was born in 1497 in Augsburg, Germany. Holbein is best known for his realistic portraits. He came from a family of important artists. Both his father and uncle were known for their late Gothic paintings, and for many years Holbein studied under them. After learning from the family practice, Holbein and his brother moved to Switzerland and began producing independent work. In 1533, Holbein was hired by King Henry the VIII of England to paint portraits of royal officials. Within the last 10 years of his life, it is estimated that Holbein produced about 150 portraits
Historical Context
Une des nombreuses caractéristiques qui rendent cette peinture unique est la période de temps dans laquelle il a été produit. Holbein peignait ce portrait pendant une période d'agitation et de conflit entre le gouvernement et l'Église catholique. En 1533, le roi Henri VIII divorça de sa femme Catherine d'Aragon parce qu'il craignait de ne pas porter d'enfant, et qu'il n'y aurait donc pas d'héritier masculin au trône. L'Église, ayant des relations très étroites avec Catherine d'Aragon, refusa d'approuver le divorce. Le roi Henri VIII fut séparé de l'église, déclara qu'il devait être l'autorité ultime sur les questions de l'Église, et qu'il était excommunié. En divorçant de Catherine d'Aragon, le roi Henri VIII était sur le point d'épouser Anne Boleyn. Il est probable que ces événements ont amené Dinteville et de Selve à l'Angleterre de la France pour visiter la cour de Tudor.
One of many of the characteristics that make this painting unique is the time period in which it was produced. Holbein was painting this portrait during a time of unrest and conflict between the government and the Catholic Church. During 1533, King Henry VIII divorced his wife Catherine of Aragon because he feared she would not bear a male child, and there would therefore be no male heir to the throne. The church, having very close relations with Catherine of Aragon, refused to approve the divorce. In response, King Henry VIII split from the church, declared that he should be the final authority regarding matters of the church, and was excommunicated. While divorcing Catherine of Aragon, King Henry VIII was on his way to marrying Anne Boleyn. It is likely that these events brought de Dinteville and de Selve to England from France in order to visit the Tudor court.
One of many of the characteristics that make this painting unique is the time period in which it was produced. Holbein was painting this portrait during a time of unrest and conflict between the government and the Catholic Church. During 1533, King Henry VIII divorced his wife Catherine of Aragon because he feared she would not bear a male child, and there would therefore be no male heir to the throne. The church, having very close relations with Catherine of Aragon, refused to approve the divorce. In response, King Henry VIII split from the church, declared that he should be the final authority regarding matters of the church, and was excommunicated. While divorcing Catherine of Aragon, King Henry VIII was on his way to marrying Anne Boleyn. It is likely that these events brought de Dinteville and de Selve to England from France in order to visit the Tudor court.
Symbolism
La quantité étonnamment grande de symbolisme enterré à travers l'œuvre d'art est la principale raison pour laquelle cette pièce a été étudiée pendant tant d'années et est si largement reconnu. Les objets situés sur la bibliothèque se trouvant au centre du tableau sont séparés en deux niveaux distincts. Tous les objets sur l'étagère supérieure représentent des objets du royaume céleste. Nous voyons un globe céleste, un cadran solaire portable, et divers autres instruments utilisés pour comprendre le ciel et pour mesurer le temps. Ces objets peuvent faire allusion à l'éducation des ambassadeurs. Beaucoup d'historiens d'art se sont demandés si le jour et l'heure spécifiques auxquels ces instruments tendent à ajouter de la signification à la peinture. Le plateau inférieur contient des objets du royaume terrestre et des affaires mondaines comme des instruments de musique, un livre d'hymnes, un livre d'arithmétique et un globe terrestre. Si vous regardez attentivement le luth à l'étagère inférieure, vous verrez que l'une des cordes a été brisée. Un instrument dont la fonction était de produire un air harmonieux est maintenant rompu et dans la discorde. Le luth cassé représente de nombreux sentiments européens pendant la Réforme protestante. Comme vos yeux tombent plus bas sur la page, vous remarquerez le revêtement de sol unique. Ce modèle est dit être le même design que le plancher dans l'autel principal de l'abbaye de Westminster. À l'abbaye de Westminster cette conception représente l'univers. Se dressant dans le beau carrelage est un crâne anamorphique. La qualité anamorphique du crâne met l'accent sur le pouvoir de la tromperie et de la tromperie. Holbein brillant artistique dans la distorsion de cette figure en trois dimensions ne peut être pleinement apprécié en personne. Dans le symbole de l'univers, ce crâne sert de rappel à la mort. Ce sentiment est renforcé dans le coin supérieur gauche avec le crucifix. Ici, le crucifix flotte au-dessus des cieux et de la terre pour exprimer l'espoir que le salut peut être trouvé après la mort.
The surprisingly large amount of symbolism buried throughout the artwork is the primary reason that this piece has been studied for so many years and is so widely renowned. The objects on the bookcase found in the center of the painting are separated in two distinct levels. All of the objects on the top shelf represent objects from the heavenly realm. We see a celestial globe, a portable sundial, and various other instruments used to understand the heavens and to measure time. These objects may allude to how well educated the ambassadors are. The ambassadors worldly travels and experiences are also hinted at in their portraits. De Dinteville, a man of action, has his age (29) written on the dagger he is clenching in his hand. De Selve, a man who is said to have lived a contemplative life, rests his elbow on a book that has his age of 25 written on it. Many art historians have wondered whether the specific day and time that these instruments point towards add significance to the painting. The lower shelf contains objects of the earthly realm and worldly affairs such as musical instruments, a hymn book, a book of arithmetic, and a terrestrial globe. If you look closely on the lute at the bottom shelf you will see that one of the strings has been broken. An instrument whose function was to produce a harmonious tune is now broken and in discord. The broken lute represents many European sentiments during the Protestant Reformation. As your eyes fall further down the page, you will notice the unique flooring. This pattern is said to be the same design as the flooring in the main altar of the Westminster Abbey. At the Westminster Abbey this design represents the universe. Looming in the beautiful tile flooring is an anamorphic skull. The skull's anamorphic quality emphasizes the power of deception and deceit. Holbein artistic brilliance in distorting this three dimensional figure can only be fully appreciated in person. Within the symbol of the universe this skull serves as a reminder of death. This sentiment is reinforced in the upper left corner with the crucifix. Here the crucifix floats above the heavens and the earth to express the hope that salvation can be found after death.
The surprisingly large amount of symbolism buried throughout the artwork is the primary reason that this piece has been studied for so many years and is so widely renowned. The objects on the bookcase found in the center of the painting are separated in two distinct levels. All of the objects on the top shelf represent objects from the heavenly realm. We see a celestial globe, a portable sundial, and various other instruments used to understand the heavens and to measure time. These objects may allude to how well educated the ambassadors are. The ambassadors worldly travels and experiences are also hinted at in their portraits. De Dinteville, a man of action, has his age (29) written on the dagger he is clenching in his hand. De Selve, a man who is said to have lived a contemplative life, rests his elbow on a book that has his age of 25 written on it. Many art historians have wondered whether the specific day and time that these instruments point towards add significance to the painting. The lower shelf contains objects of the earthly realm and worldly affairs such as musical instruments, a hymn book, a book of arithmetic, and a terrestrial globe. If you look closely on the lute at the bottom shelf you will see that one of the strings has been broken. An instrument whose function was to produce a harmonious tune is now broken and in discord. The broken lute represents many European sentiments during the Protestant Reformation. As your eyes fall further down the page, you will notice the unique flooring. This pattern is said to be the same design as the flooring in the main altar of the Westminster Abbey. At the Westminster Abbey this design represents the universe. Looming in the beautiful tile flooring is an anamorphic skull. The skull's anamorphic quality emphasizes the power of deception and deceit. Holbein artistic brilliance in distorting this three dimensional figure can only be fully appreciated in person. Within the symbol of the universe this skull serves as a reminder of death. This sentiment is reinforced in the upper left corner with the crucifix. Here the crucifix floats above the heavens and the earth to express the hope that salvation can be found after death.
Works Cited
"Hans Holbein." Italian Renaissance Art.com. Web. 07 Feb. 2017.
"Hans, the Younger Holbein - The Complete Works." Hans, the Younger Holbein - The Complete Works. Web. 07 Feb. 2017.
Harbison, Craig S. "Hans Holbein the Younger." Encyclopædia Britannica. Encyclopædia Britannica, Inc., 07 Jan. 2009. Web. 07 Feb. 2017.
"Holbein the Younger, the Ambassadors." Khan Academy. Web. 07 Feb. 2017.
"Holbein's The Ambassadors." Art History Blogger. Web. 07 Feb. 2017.
"A Closer Look at Hans Holbein's." The Artstor Blog. 29 July 2016. Web. 07 Feb. 2017.
"Hans, the Younger Holbein - The Complete Works." Hans, the Younger Holbein - The Complete Works. Web. 07 Feb. 2017.
Harbison, Craig S. "Hans Holbein the Younger." Encyclopædia Britannica. Encyclopædia Britannica, Inc., 07 Jan. 2009. Web. 07 Feb. 2017.
"Holbein the Younger, the Ambassadors." Khan Academy. Web. 07 Feb. 2017.
"Holbein's The Ambassadors." Art History Blogger. Web. 07 Feb. 2017.
"A Closer Look at Hans Holbein's." The Artstor Blog. 29 July 2016. Web. 07 Feb. 2017.
Brooke Trossen