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"Jean de Dinteville and Georges de Selve (`The Ambassadors')", Oil by Hans Holbein The Younger (1497-1543, Germany)

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Northern Renaissance Hans Holbein The Younger , Oil Hans Holbein The Younger
'Jean de Dinteville and Georges de Selve (`The Ambassadors')', Oil by Hans Holbein The Younger (1497-1543, Germany)
Northern Renaissance Hans Holbein The Younger , Oil Hans Holbein The Younger

"Jean de Dinteville and Georges de Selve (`The Ambassadors')"

Hans Holbein The Younger - Oil

The Ambassadors (1533) is a painting by Hans Holbein the Younger in the National Gallery, London. As well as being a double portrait, the painting contains a still life of several meticulously rendered objects, the meaning of which is the cause of much debate. It is also a much-cited example of anamorphosis in painting. Although a German-born artist who spent much time in England, Holbein displayed the influence of Early Netherlandish painters in this work. This influence can be noted most outwardly in the use of oil paint, the use of which for panel paintings had been developed a century before in Early Netherlandish painting. What is most "Flemish" of Holbein's use of oils is his use of the medium to render meticulous details that are mainly symbolic: as Van Eyck and the Master of Flemalle used extensive imagery to link their subjects to divinity, Holbein used symbols to link his figures to the age of exploration.



 
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"Jean de Dinteville and Georges de Selve (`The Ambassadors')", Oil by Hans Holbein The Younger (1497-1543, Germany)
/A55A04/w.nsf/O/BRUE-7YZN78/$File/Hans+Holbein+the+Younger+-+Jean+de+Dinteville+and+Georges+de+Selve+(%60The+Ambassadors+)+.JPG
The Ambassadors (1533) is a painting by Hans Holbein the Younger in the National Gallery, London. As well as being a double portrait, the painting contains a still life of several meticulously rendered objects, the meaning of which is the cause of much debate. It is also a much-cited example of anamorphosis in painting. Although a German-born artist who spent much time in England, Holbein displayed the influence of Early Netherlandish painters in this work. This influence can be noted most outwardly in the use of oil paint, the use of which for panel paintings had been developed a century before in Early Netherlandish painting. What is most "Flemish" of Holbein's use of oils is his use of the medium to render meticulous details that are mainly symbolic: as Van Eyck and the Master of Flemalle used extensive imagery to link their subjects to divinity, Holbein used symbols to link his figures to the age of exploration.
Hans Holbein The Younger
Oil
Oil
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