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The Ambassadors has been part of London's National Gallery collection since its purchase in 1890. It was extensively restored in 1997, leading to criticism, in particular that the skull's dimensions had been changed. Demonstration of how the skull image in "The Ambassadors" may be viewed head on, through a tube
Two anamorphic drawings by Leonardo da Vinci, 1515 Holbein's The Ambassadors with a memento mori anamorph skull in the foreground, 1533 Viewed from the correct oblique angle, the diagonal in The Ambassadors transforms into an undistorted memento mori.
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]
Anamorphic paintings weren't all that uncommon in the mid-sixteenth century. Holbein's successor as court painter, William Scrots, painted an anamorphic portrait of Henry VIII's successor, Edward VI. That portrait appears to have a small scoop cut out of the right hand side of the frame: enlarge the image on Scrots's wiki page.
Two dimensional art objects generally use the assumption of a single viewpoint to give the illusion of depth (monocular depth cues), Hans Holbein's The Ambassadors (1533) is no different in that sense, however, Holbein also includes an anamorphic image of a skull which has a completely different view point in order to accurately view the object.
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The allusion to futility is made apparent by the inclusion of symbols like a human skull, or inscriptions quoting the biblical book of Ecclesiastes 1:2;12:8. As early as 1533, Hans Holbein's painting The Ambassadors prominently shows an anamorphic projection of a human skull. Objects in still life paintings, regardless of their allegorical ...