The Ambassadors Flashcards
subject?
Lifesize double portrait of the French Ambassador Jean de Dinteville and the bishop Georges de Selve.
Setting?
Two men standing beside a high table covered in objects. They stand on the Cosmati pavement in Westminster Abbey.
Influence of the Northern Renaissance style?
Demonstrates the influence of the Northern Renaissance in the minute attention to detail, focus on luxurious fabrics, heightened realism (as opposed to the idealised style of the Italian Renaissance) and symbolism.
Realism?
Thin glazes of paint enables a complex handling of light and depth. It is thought that Holbein used a magnifying glass or a camera obscura to paint the anamorphic skull.
Jean de Dinteville?
Ambassador from France living in England. Fur-lined cloak, velvet and satin clothing. Holding a dagger inscribed with his age (29).
George de Selve?
De Dinteville’s friend. A bishop and an ambassador. Dressed more modestly in a fur cloak – denoting his status as a member of the clergy. His elbow rests on a book inscribed with his age (25). Represents his more contemplative role as opposed to de Dinteville’s more active role (symbolised by the dagger).
Objects on Shelves?
Top shelf: Objects related to the study of astronomy and the measuring of time. Represents the celestial sphere – symbolising de Selve’s more spiritual role.
Bottom shelf: Objects related to the earthly realm – a globe, lute, book of arithmetic and a book of hymns. Symbolises the terrestrial realm – suggesting de Dinteville’s role in corporeal matters.
Religious symbolism?
Broken lute string – refers to the discord in the Church caused by the Protestant Reformation. Reinforced by the Lutheran (Protestant) hymn book. Cosmati pavement represents the macrocosm of the entire universe. Partially obscured crucifix in the upper left corner encourages contemplation of one’s impending death and the resurrection.
Memento Mori?
Anamorphic skull – artificially stretched. Can only be seen when the viewer stands directly to the left of the composition so that the other objects (relating to the earthly realm) are obscured from view. A reminder of man’s mortality – reinforced by the crucifix.
Anatolian carpet?
Imported from Turkey. The carpet has multiple meanings: politically, it speaks to Francis’s attempts to forge a political connection with the Ottoman ruler, and culturally, as an expensive, imported textile from the Anatolian peninsula.
Court of Henry VIII?
Tudor court was a public meeting place and centre of power. For artists such as Holbein, court was where to find influence, power and patronage.
Religious turnmoil?
Although the pope had refused to annul Henry VIII, King of England’s marriage to Catherine of Aragon which resulted in a break with the Roman Catholic Church, in 1533 he married Anne Boleyn. The array of objects on the table seem to allude to discord; the arithmetic book, for example, is open at the page concerning mathematical division.
Peresptive?
Foreshortened lute demonstrates Holbein’s understanding of perspective. Cosmati pavement also reinforces the sense of linear perspective, highlighting Holbein’s artistic skill.
Illusionism vs distortion?
Holbein’s mastery of illusionism is seen in his realistic rendering of the corporeal objects within the painting. However the skull (representing the spiritual) is shown in a deliberatley artificial manner. A reminder to the Renaissance viewer that the sum of earthy achievements was not the absolute truth – the anamorphic skull points to the limits of earthly life.
Oil paint?
The use of oil paint allows Holbein to create a sense of extreme realism and verisimilitude. Slow drying which allows for precision of detail. Remains workable for longer than egg tempera which means the artist can create greater modulations of colour to add depth.
