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The Dance of Death (1493) by Michael Wolgemut, from the Nuremberg Chronicle of Hartmann Schedel. The Danse Macabre (/ d ɑː n s m ə ˈ k ɑː b (r ə)/; French pronunciation: [dɑ̃s ma.kabʁ]), also called the Dance of Death, is an artistic genre of allegory from the Late Middle Ages on the universality of death.
He and Holbein were contracted by the publisher Jakob Faber for more than one series of Bible illustrations (for editions of Martin Luther's translation), as well as the Dance of Death. He and Holbein also worked for the major publisher Johann Froben. [7] He had only completed 41 of the scenes of the Dance of Death at his death. These were ...
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The painters of Lucerne knew the woodcuts by Hans Holbein the Younger but were more advanced in their painting technique. The images and texts of the Lucerne Danse Macabre are intended to highlight that there's no place in the city, in the country or at sea where death isn't present.
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]
His moral position is unimpeachable and he drives home his lesson in a series of stark images. Each scene works a variation on the same theme, like the 41 woodcuts in Hans Holbein's The Dance of Death. The idea is that Death becomes everyone's partner, effectively seducing them into his dance on the same terms by which they lived their lives.
Hans Holbein the Younger, 1497/98-1543: Portraitist of the Renaissance. Catalogue for the exhibition, Hans Holbein 1497/98-1543, 16 August–16 November 2003. Essays, Stephanie Buck, Jochen Sander; catalogue, Ariane van Suchtelen, Quentin Buvelot, Peter van der Ploeg; with appendices by Bieke van der Mark and Epco Runia.
Though he was a German-born artist who spent much of his time in England, Holbein here displays the influence of Early Netherlandish painting.He used oils which for panel paintings had been developed a century before in Early Netherlandish painting, and just as Jan van Eyck and the Master of Flémalle used extensive imagery to link their subjects to religious concepts, Holbein used symbolic ...