Ambassadors of Hans Holbein the Younger. "The Ambassadors" by Hans Holbein the Younger. Art, politics and religious strife

A LITTLE ABOUT HOLBEIN'S "AMBASSADORS"

When talking about Holbein’s “Ambassadors”, the first thing that comes to mind is the “strange spot on foreground paintings", which at a certain angle takes on the outline 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 attached: it 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...

K:Paintings of 1533

Holbein skillfully used various attributes to characterize the model. In the remarkable painting “The Ambassadors,” two richly dressed people (the 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 hint at 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 on 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 the “direct” gaze of a person immersed in routine everyday life and not wanting 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” (implied - correct, deep) look, everything changes exactly the opposite - death turns into the only reality, and familiar life is distorted before our eyes, deprived of meaning, acquiring the character of a phantom, an illusion.

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Excerpt characterizing the Ambassadors (Holbein painting)

- Come on! We, apparently, will have different concepts about many things. This is normal, right? – “nobly” the little girl reassured him. -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 wondrous creature smiled and came closer to us, while the rest of his (or her?..) friends still floated easily right above us, sparkling and shimmering in the bright rays of the sun.
“I am Lilis...lis...is...” an amazing voice echoed. He was very soft, and at the same time very sonorous (if such opposite concepts can be combined into one).
- Hello, beautiful Lillis. – Stella joyfully greeted the creature. - I'm Stella. And here she is – Svetlana. We are people. And you, we know, Saviya. Where did you come from? And what is Saviya? – questions again rained down, but I didn’t even try to stop her, since it was completely useless... Stella simply “wanted to know everything!” And she always remained like that.
Lillis came very close to her and began to examine Stella with her bizarre, huge eyes. They were bright crimson, with gold specks inside, and sparkled like gems. The face of this wonderful creature looked amazingly tender and fragile, and was shaped like the petal of our earthly 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 they had was their hair... It was very long, almost reaching the edge of the transparent wing, absolutely weightless and , not having a constant color, all the time flashed with the most different and most unexpected brilliant rainbows... The transparent bodies of Savius ​​were sexless (like the body of a small earthly child), and from the back they turned into “petals-wings”, which really made them look like huge bright flowers...

Renaissance

HOLBEIN, HANS THE YOUNGER (Holbein, Hans) (1497–1543), also Hans Holbein the Younger, German painter, one of greatest portrait painters in Western European art.

Holbein's portraits are distinguished by their 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 of jewelry and stained glass, and worked in the genre of book illustration.

Holbein was born in Augsburg; he was the son of Hans Holbein the Elder, famous artist, master of altar painting.

After studying in his father's workshop in 1514, he left for Basel, which was at that time the largest center of art and humanistic learning. Soon Holbein acquired patrons among prominent citizens, including the humanist Erasmus of Rotterdam.

During his travels through 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 the years spent in England, he created approx. 150 portraits. Holbein died of the plague in London in 1543.

Holbein was a portrait painter of a purely analytical nature.

Direct work on the portrait was preceded by short period observations, during which the artist tried to determine for himself the most important character traits of the model. Each time he managed to give an amazingly accurate and comprehensive description of the personality of the person being portrayed.

Ambassadors. 1533. Oak board, oil. 207×209 cm. National Gallery (London)

The painting is rightfully considered outstanding masterpiece Renaissance.
Double portrait commissioned by Jean de Dentelville, the French king's ambassador to 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 Lavura.

The picture is interesting for its composition and hidden meanings.

Two young men (both are under 30, this is encrypted in the picture) are depicted in full height, on both sides of the center.

On the left is the 29-year-old French ambassador to England Jean de Denteville (age indicated with Latin letters(that is, “his 29th summer”), engraved on the golden 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 rests his hand).

Denteville and Selve form a classic Renaissance couple: one figure personifies energetic activity, the second - in-depth contemplation.

In the center is a bookcase covered with an oriental carpet and filled with different objects– they form the essence of the ambassadors’ hobbies, show their mission and passions. On the upper tier there are instruments associated with the celestial (astronomical globe, gnomon, quadrant), on the lower - with the terrestrial (terrestrial 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 geographic points of special significance to Denteville. In particular, this ambassadorial Polisi Castle (near Troyes), the first “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 in their place appears the sign of the End. The play ends." (quote from Jurgis Baltrušaitis).

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 want to say?

No matter what, the end is always the same - death? “Memento mogi” (from Latin - “Remember death”) - this is the motto of Jean de Dentelville.

Holbein reflected this in the portrait.

There are three skulls in the painting!

One is an anamorphosis, the other is a brooch on de Dentelville’s beret, and the third is in an anamorphosis skull, you just need to look at it from 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.

The 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 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."

Sundial accurately indicate the time of action - 10.30 am on April 11 - Good Friday in 1533.

Holbein revealed in this picture the spiritual delusion of many people - from the ordinary view 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 appears to be an illusory blurry spot that should not be paid attention to - but with the right , in a deep look, everything changes exactly the opposite - death turns into the only reality, and familiar life is distorted before our eyes, acquiring the character of a temporary, without real value phantom, illusion.

Holbein created the famous series of drawings of the Dance of Death (published in woodcuts of Lyon in 1538); they depict death affecting people from different walks of life.

Hans Holbein was the court painter of King Henry VIII.

Written by him famous portrait 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 stood behind a certain political or religious group, sometimes forced him 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

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 German painters Northern Renaissance from the end of the 15th century. But for Holbein this canvas is rather an exception.

Diplomats from France are depicted in life-size and surrounded by luxurious accessories. The office has lush, rich draperies, numerous objects and details that emphasize the intelligence of these young, energetic people, their character, tastes and inclinations. Relaxed poses, without pretentious mannerisms, emphasize dignity. Jean de Danteville and his friend were the heads of the French embassy to England. Georges de Selva, the 24-year-old Bishop of Lavur, was not only a diplomat, but also a scientist and a great lover of music.

Holbein depicted two people equal in their social status. In those days, great importance was attached to this. 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 make contact, but pose in front of the viewer, directing penetrating glances at him. And if you try to divide the picture in two, you will end up with 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 speaks of the high cost of objects, but only of their purpose, these are attributes of the sciences and arts, and not wealth as such. The education of diplomats is also emphasized by the hats worn by graduates of European universities.

The painting was commissioned by the diplomats themselves. The envoys, dressed in ceremonial clothes, look calmly and confidently at the viewer. Holbein does not delve into inner world their models - they seem withdrawn, reserved, as befits aristocrats at the king’s court. And yet The artist shows us noble aristocrats educated with diverse interests, where the clergyman is interested in secular sciences, astronomical and geographical instruments. Globe, musical instruments, open the mathematics textbook - emphasize the familiarity of these young and very educated people with humanistic ideas of the Renaissance.

Hans Holbein the Younger, one of the brightest representatives of the German Northern Renaissance, is known as an outstanding portrait painter of his time. An important ideological component of the Northern Renaissance was the Reformation, which began in 1517, when Martin Luther posted his “95 Theses” criticizing Catholicism on the door of the church in Wittenberg. A new religious movement was formed - Protestantism, which doubted the need for the church as a mediator between God and man.

The Reformation and the new worldview affected all segments of the population and naturally influenced the cultural and artistic life of Europe - artists were no longer constrained by religious boundaries, the themes of their works expanded and changed. With the formation of the image of a “new man” - free, independent, purposeful, self-confident and “religiously renewed” - the portrait genre changes and becomes popular. The portrait became a pictorial necessity, and influential people certainly wanted to capture themselves in their time.

Portrait of Charles de Saulier. 1534-35

In the portraits of Hans Holbein one can feel secular humanistic ideas, which are sometimes woven into religious motives and ancient images. These features are characteristic of everything Northern Renaissance However, the images that Holbein creates are very unique. The people in his portraits are harmoniously and organically integrated into the world of objects that surround them. In addition to external harmony, Holbein also conveys internal harmony - the faces are calm, balanced and the person completely merges with his space. Albrecht Durer painted portraits with a shadow of torment and suffering human soul, his characters are rebellious by nature. The specificity and attractiveness of Holbein’s portraits is that he managed to show the world and man in its naturalness and clarity, conveying through them his optimistic, life-affirming worldview.

Hans Holbein was born in Augsburg, probably in 1497, and studied painting with his father. But career great artist began when he moved to Basel in 1514 - one of the largest cultural centers that time. The artist’s first major work was illustrations for Erasmus of Rotterdam’s “In Praise of Folly.” Rotterdamsky was not just a customer for Holbein, but also good friend. In addition to portraits and illustrations, Hans paints several religious paintings, and also deals with interior decoration, woodcuts and facade painting.

However, in 1526, due to religious clashes that flared up in Basel, Holbein, having received a number of recommendations from Rotterdam, moved to England and stayed with Thomas More (then he painted his portrait). After two years he returned to Basel, but in 1532 he finally moved to England, leaving his wife and daughter in Switzerland. During the years of his absence, much has changed: influential people in London who helped Hans during his first visit fell out of favor with King Henry VIII; Thomas More, a devout Catholic, was accused of treason and executed by the head of the newly formed Church of England.

King Henry VIII

However, Holbein not only settles into a difficult situation, but also becomes the king's court painter. During these years, Holbein wrote his most significant works - mostly commissioned by influential Englishmen. After the death of his wife, King Henry was looking for a candidate for his fourth marriage and to make right choice, instructed Hans to draw portraits of potential brides - so great was the trust in Holbein and his portraits.

In 1533 Holbein wrote one of his best works— double portrait “Ambassadors”. The painting depicts the French envoys - Jean de Denteville and Bishop Georges de Selve. Denteville wanted a biographical portrait and described in detail to Holbein all the elements and details of the future masterpiece. The specificity of double portraits is that there is no single center for the viewer’s attention - the human figures complement each other with the help of objects, which in turn create the symbolic thread of the work. Double portrait incredible complex genre in painting, since it is important to maintain a balance between actors and at the same time show their connection with each other and with space.

Jean de Denteville is depicted on the left on the canvas in a magnificent robe, which characterizes him as an important, significant person - he is a representative of religious secular power. His right hand rests on a dagger, which is engraved with the inscription "AET SUAE 29", which means "his 29th summer". The young Bishop Georges de Selve is dressed less magnificently and looks much more modest than his friend. His age - 25 years - is indicated by the artist on the book under right hand bishop. It cannot be said that they are simply posing; there is calmness and dignity on their serious faces; they seem to reveal their objective world, share their way of life, which combines the harmony of active and contemplative.

In a symmetrical composition, the figures of the ambassadors are separated by a high table with numerous objects. Here, compositional diversity plays a decisive role, since objects are not only the central element of the picture, but also characterize the characters as much as possible, emphasizing their lifestyle and sphere of interests. It turns out that the still life here is perhaps the main meaning-forming element of the picture - it unites two people and at the same time highlights the individuality of each of them, and in addition also characterizes the era.

Such a variety of subjects speaks of the versatility and education of these people - music, geometry, mathematics, astronomy; and also reflects the achievements of that time - the great geographical discoveries, achievements in astronomy, mathematics. On the bottom shelf you can see a lute, a compass, a mathematics textbook, a globe, a case of flutes and a collection of Lutheran hymns, opened to the psalm “God save our souls.” The choice of these pages is not accidental - there is nothing in these lines that contradicts the principles of Christianity. Thus, Holbein and de Selve call for a reformation of the church on the basis of Protestantism, but without separation from the Vatican. A lute with a broken string also recalls the growing church conflict and traditionally symbolizes death. Earth globe rotated in such a way that the viewer can see the most significant embassy missions of Denteville, as well as his estate Polisi, where the portrait will be placed. In general, we can say that on the bottom shelf there are items of “earthly” purpose associated with mental, professional activity and the interests of ambassadors.

The top shelf contains items of “higher” purpose. Sundial, astronomical globe, quadrant and gnomon - all these objects are designed to comprehend the laws of the Universe, space and time. The items on the top shelf of the bookcase seem to float on an exquisite oriental carpet above the entire earthly world. By the way, the carpet sets the style for the whole picture - without it it would have turned out completely different. The green drapery was also chosen very well, creating depth of space and color. In the upper left corner you can see part of a small silver crucifix, which always monitors a person's affairs and reminds of death. But the Middle Ages are over and here the face of Christ is just peeking out from behind the curtain.

Finally, we move on to the most interesting, mysterious and important element of the picture. An incomprehensible elongated spot in the lower part of the picture is a human skull distorted in perspective. This element, strange at first glance, is what made Holbein’s masterpiece so popular. The technique of deliberate distortion of shape was called “anamorphosis” and was first described in the notes of Leonardo da Vinci. To see the true image - a human skull - the viewer must move to the right of the center of the painting. When using a computer, you can try to change the viewing angle but, of course, natural shape the skulls can only be seen in the original.

Holbein uses this optical technique to show the image of double vision when looking at life and death. When the viewer looks at the picture in his usual position, he sees the life of two people, with their interests, concerns, joys; and death appears as an illusory spot that should not be paid attention to. But upon special examination, death becomes the only reality, it crosses out the entire life-affirming part of the picture, life seems illusory and nothing scientific achievements, neither power, nor money, nor progress - nothing seems real and significant in the face of death.

Hans Holbein created a real masterpiece- a picture in which all the humanistic ideas of that time are embedded. Picture about true values existence, about life and death. Holbein did not paint a portrait of two ambassadors, but a portrait of an era.