The Ambassadors (Holbein)

The Messenger is a famous painting by Hans Holbein the Younger, was created in spring 1533 in London. Original Size 206 cm x 209 cm. It hangs in space four of the National Gallery in London.

Analysis

In 1900, Mary Hervey identified the sitter as the diplomat Jean de Dinteville (left), in 1533 the French ambassador at the court of Henry VIII of England, and Georges de Selves ( right), who became Bishop of Lavaur at the age of seventeen was also in 1533 the French ambassador at the court of Henry VIII of England. The image was previously the history of art for a long time abandoned substantive puzzles that could be solved only with the identification of the sitter.

The historic title The Messenger points out that both in 1533 had a political mission. Perhaps the sitters were friends and wanted her friendship with this double portrait of a souvenir pins. The client or instructing party is unknown.

The double portrait itself is one of the outstanding works of Holbein in the non-poor in both artistic life of the painter. As in other portraits by Holbein is the detailed reproduction of individuals and attributes, such as clothing and equipment in the foreground. The located between the two shelf sitter to two floors leads to objects and themes, have for the de Dinteville and de Selves is interested alike are: astronomical and mathematical instruments (top) and theological (Hymns ), geographical and musical attributes. In this respect, the sitter, if not, then at least marked as humanists at least as a lover of science and are thus representative of a high-ranking formation layer. In addition, the painting claimed by virtue of their realistic portrayal potential a place in the canon of classical science, the septem artes liberales.

Among the disturbing and unexplained details within the image, the matt shiny silver crucifix has the top left and the anamorphic distorted skulls are counted, which can be seen only from extreme close from right to left. He is probably attributable to a vanitas symbolism to at the same time, however, is to emphasize the optical illusion painting skills. The crucifix, however, refers in times of religious conflicts on the salvation-historical core of the Christian message, and may the light of scientific attributes urge for unity of Christianity.

In his 2002 book The Ambassadors ' Secret of teaching in Groningen science historian John David North explains the basis of a detailed examination of the globes and the two sundials, the quadrant and the Torquetums that all these instruments together with the location and the time of the scene depicted in the painting designate, namely 11 April 1533 between three and four clock in the afternoon in London. 1533 Good Friday fell on April 11, and Christ died according to the Bible at the age of 33 years at three in the afternoon clock on the cross. The picture appeared in several places always a angle of 27 °, as, inter alia, in the opened Hymns, in arithmetic book in the polyhedral sundial and torquetum. 27 is the cube of 3, the number of the Holy Trinity, 33 = 3 x 3 x 3 = 27 The sun in the first hour of death of Christ by four clock in the afternoon was 27 °.

However, the thesis does not act positively on all points, especially since the author does not correctly classifies as non-art historians all the details. However, the thesis demonstrates the relevance of several interpretations which provide interpretations on different levels; a general interpretation has in science so far can not yet taken off.

Details

Anamorphosis of the skull inclined heavily distorted shown in the foreground then dissolves to a normal view when looking down on the image of the skull from the horizontal at an angle of 27 ° from the right edge of the picture here.

If you look from that point at an angle of 27 ° upwards crosses an outgoing from the eye imaginary line until the astronomical instruments, then the left eye Dintevilles and finally behind a green curtain almost hidden crucifix at the top left of the screen. Anamorphosis can thus, according to North, be understood as an instruction to the viewer.

The " arithmetic book" is the 400 -page book Eyn newe unnd wolgegründte Underweysung all Kauffmanss account in Dreyen books: with lovely rules un vragstucken conceived (in short " The merchant account " ) by Peter Apian printed, 1527 in Ingolstadt.