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11 de jul. de 2019 · Discover 'The Ambassadors' in London, England: A mysterious shape catches the eye in this 16th-century painting.
20 de abr. de 2016 · If you look at The Ambassadors at an acute angle, the white and black smudge that cuts across the bottom of the painting becomes a fully realized human skull. 12. THE SKULL IS BELIEVED TO BE A NOD ...
slow art story by Susan Foister. Listen to the Story: 38 minutes. Description: Who were the French ambassadors so elegantly depicted in Holbein’s masterpiece and how did King Henry VIII’s astronomer become involved? Find out all this and more with Susan Foister, our Deputy Director and Director of Public Engagement.
Two friends could update ‘The Ambassadors’ by painting themselves together! Distortions . Draw everyday objects and distort them as Holbein did the skull. Still life . Objects such as the globe were all ‘state of the art’ in 1533. Make arrangements of objects that are similarly up-to-date today and get the children to sketch or paint them.
17 de abr. de 2020 · Pinterest. The Ambassadors is a painting produced in 1553 by German artist Hans Holbein the Younger. One of the most enigmatic and controversial paintings, and has been considered as specific historical reference. Painting is a double portrait, but contains a number of symbolic objects that are very important for understanding the overall context.
4 de dez. de 2018 · When the painting was acquired by the National Gallery in 1890, the identity of the two strident figures remained a mystery. It wasn’t until ten years later, with the publication of Mary F. S. Hervey’s book, Holbein's "Ambassadors": The Picture and the Men (1900) , that they were identified as Jean de Dinteville (left) and Georges de Selve (right).
Holbein’s painting is in some ways traditional, drawing on familiar iconography to convey its message of mortality. At the same time, the opulence of the objects portrayed and the evident delight Holbein took in painting them suggest a changing perspective—one in which worldly existence is not to be eschewed entirely, but balanced carefully against the requirements of salvation.
