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The most notable and famous of Holbein's symbols in the work is the distorted skull which is placed in the bottom centre of the composition. The skull, rendered in anamorphic perspective , another invention of the Early Renaissance , is meant to be a visual puzzle as the viewer must approach the painting from high on the right side, or low on ...
(1) Good scan of interesting Renaissance portrait; (2) dude-- what's the deal with that freaky skull. Articles this image appears in Hans Holbein the Younger, The Ambassadors (Holbein), Ushak carpet, Anamorphosis, Georges de Selve Creator Hans Holbein the Younger, ca. 1497-1543. Support as nominator Spikebrennan 19:21, 11 February 2008 (UTC)
Self-portrait, c. 1542–43.Coloured chalks and pen, heightened with gold, Uffizi Gallery, Florence. This list of paintings by Hans Holbein the Younger contains a selection of the artist's best-known paintings, as well as a few copies and derivatives of his art, some of which relate to lost works.
Hans Holbein the Younger (UK: / ˈ h ɒ l b aɪ n / HOL-byne, [2] US: / ˈ h oʊ l b aɪ n, ˈ h ɔː l-/ HOHL-byne, HAWL-; [3] [4] [5] German: Hans Holbein der Jüngere; c. 1497 [6] – between 7 October and 29 November 1543) was a German-Swiss painter and printmaker who worked in a Northern Renaissance style, and is considered one of the greatest portraitists of the 16th century. [7]
He is the figure of the right in a picture by Hans Holbein the Younger, The Ambassadors, and Jean de Dinteville is the other one, which hangs in the National Gallery, London. [2] De Selve was just 25 when Holbein painted him and he is wearing the vestments of a clergyman, who represent the interests of the Catholic Church , since he had just ...
He studied for a BA (Hons) and an M Phil. [3] In the early 1960s, using both his historical and optical skills, he developed a unique theory about the meaning of the skull in Holbein's painting The Ambassadors, [1] in which he conjectured that it is designed to be viewed face on, through a simple, straight blown glass tube, acting as a lens. [4]
Conclusive proof was provided by the discovery, in 1903, of a boxwood model of a contemporary medallion by Christoph Weiditz, now at the Victoria and Albert Museum, which represents Morette full face, aged about 50, with his name and titles in full; on the back his device of a seaport, a horse, and a dolphin.
He served as an ambassador to Charles V, Holy Roman Emperor. [78] A drawing of his wife Margaret à Barrow, Lady Elyot, by Holbein, is also in the Royal Collection. [77] John Fisher [80] c. 1532 – c. 1534: Black and coloured chalks, brown wash, pen and ink, brush and ink on pale pink prepared paper. 38.2 × 23.2 cm
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