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.

The German artist Hans Holbein the Younger studied painting with his father, Hans Holbein the Elder, was a court painter to King Henry VIII and painted many portraits to order. One of them is double portrait"The 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 with an endless number of 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 not yet 30) were really doing the most different things, and also read and traveled a lot. Their way of life is ideal for modern man: love for your work, immersion 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 a painting. 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 it takes on an ideal form, 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".

1. “The Ambassadors” was a departure from Holbein’s previous style

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". So 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 of the painting is the diplomat's friend and colleague, 25-year-old Bishop Georges de Selve, who served as the French ambassador to 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 English king renounced catholic church and her dad 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.

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 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 as to deliberately distort its perspective. To see the object properly, you need specific point review. 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 the 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, Martin Luther's hymn and musical instruments are visible, 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.

Hans Holbein the Younger is one of prominent representatives German Northern Renaissance - 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 motifs and antique 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 of that time. First major work The artist became an illustration for the work of Erasmus of Rotterdam “In Praise of Stupidity”. 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 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 is an incredibly difficult 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 the bishop's right hand. It cannot be said that they are simply posing; there is calmness and dignity on their serious faces; they seem to open up their objective world to the viewer, share their way of life, which combines the harmony of active and contemplative.

IN 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 - 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. The earth's globe is rotated in such a way that the viewer can see the most significant embassy missions of Denteville, as well as his Polisi estate, 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. Items on the top shelf of the bookcase seem to float above everything on an exquisite oriental rug 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 painting in which all the humanistic ideas of that time were 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.

A LITTLE ABOUT HOLBEIN'S "AMBASSADORS"

When talking about Holbein’s “The 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...

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 conveying images was so good that the English king Henry VIII, (who had six wives), before once again to get married, he first sent Hans Holbein to his bride to paint her portrait.

But he became famous for something else. The fact is that he included riddles in his paintings that were invisible or incomprehensible at first glance. Holbein had his own code, which others had to solve...
Holbein's importance in German art is further enhanced by the fact that he brought his heyday to Germany Italian Renaissance without losing your national character- in his works the paths outlined in Dürer’s portraits are palpable..

Today we will get acquainted with one of these paintings by Holbein "AMBASSADORS" 1533.
This double portrait by Holbein is an outstanding Renaissance masterpiece.
On the left, as established, is the 29-year-old French ambassador to England Jean de Denteville, on the right is 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 to the Vatican.

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 lot has been written about this skull in the 20th century - in fact, it was this skull that made Holbein’s masterpiece so popular in modern times.

The so-called anamorphosis - optical illusion. Of course, this trick cannot be performed on reproductions, but if, while looking at the original painting, you move a couple of meters to the right and stand almost close to the wall on which the painting hangs, the skull will take its natural shape. You can even take a picture of it.
Art historians claim that three skulls can be found 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.

The skull is a symbol of death. With this allegorical image, which crosses out a good part of the picture, the artist said 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, the end is always the same - death? Memento mori - this is the motto of Jean de Dentelville. This approach to Holbein's masterpiece makes the picture a poignant allegory of "vanity of vanities."

So, on the table, next to the person standing on the right, there is a multifaceted sundial. They (although this is not typical for sundials) with their three hands show the date of creation of the painting - April 11, 1533. The ambassador's hand casually rests 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 - a tribute to the surge in scientific and geographical discoveries that era. After all, just 41 years ago Columbus discovered New World, and only 12 years before the painting was painted, Captain Juan Sebastian del Cano was the first to circumnavigate globe on the ship "Victoria", which proved in practice that the Earth is round.
On the bottom shelf, the then popular one catches your eye musical instrument- lute. One of her strings is 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 guess by placing a book under the lute with verses of Latin hymns translated into German Martin Luther himself.
This is how 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 keep the Ten Commandments
Given to us by God.

And as if to confirm this, a crucifix peeks out from behind a velvet green curtain on the left - God is always watching over us.
Thus, Holbein in his work realizes the image of double vision - with the “direct” gaze of a person immersed in the routine of everyday life and who does not want to deal with the tragic metaphysics of earthly existence, death appears as an illusory spot that should not be paid attention to, - but with “ special"
(implied - correct, deep) look, everything changes exactly the opposite - death turns into the only reality, and normal life before our eyes it is distorted, deprived of meaning, acquiring the character of a phantom, an illusion.

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