Hans Holbein the Elder, Portrait of the artist’s brother Sigmund, 1512, silverpoint, with black and red chalk, heightened with white bodycolour; on white prepared paper.
Hans Holbein the Younger painted this portrait for Henry VIII, who was seeking a fourth wife after the death of Jane Seymour. The sitter, Christina of Denmark, sat for over three hours. The marriage negotiations failed, but the King kept the portrait:
http://bit.ly/1FIFuWR
National Gallery of Art
Throughout the course of history, the patronage of kings has provided support to musicians, painters, and sculptors from Europe to Asia. Rulers often used patronage of the arts to endorse their political ambitions, social positions, and prestige. Over the years many of these commissioned works of art have made their way into museums all over the world, including the National Gallery of Art.
A notable example of this is "Edward VI as a Child" by Hans Holbein the Younger, created for King Henry VIII. Holbein moved to England in 1526 and became court painter soon thereafter, producing portraits, festival sets, and other decorations intended to exalt the King and the Tudor dynasty. For this portrait of Henry VIII's only legitimate son and much desired male heir, Holbein depicted the child with a powerful physical presence and elegance appropriate to a court setting.
Can you think of other examples of court-commissioned works of art that have made their way into museum collections?
Hans Holbein the Younger, "Edward VI as a Child," 1538, oil on panel
http://1.usa.gov/1eXPlzp
National Gallery
Squirrels were popular pets in England as early as the 14th century. Hans Holbein the Younger probably painted this picture during his first visit to England in 1526-8. The sitter is likely to be Anne Lovell, whose family showed squirrels on their coat of arms:
http://bit.ly/1S7c51g
May 2005
320 p., 9 3/4 x 11 1/4
180 b/w + 40 color illus.
ISBN: 9780300102802
Cloth: $65.00 sc
Hans Holbein the Younger's 'The Ambassadors'.
Holbein and England
Susan Foister
REVIEWS
PREVIEW
CONTENTS
EXCERPTS
Shortlisted in 2005 for the William Berger Prize for British Art History, awarded by the Berger Collection Educational Trust and the British Art Journal.
Included in Choice's Outstanding Academic Titles list, January 2006
One of the greatest artists of sixteenth-century Europe, Hans Holbein the younger earned high acclaim for his work both in the city of Basel and in England for Henry VIII and other patrons. This book is the first to explore the full range of the artist’s English body of work as well as the relation of this work to the visual and material culture of Tudor England. Providing a detailed account of the paintings, drawings, and woodcuts that Holbein produced in England, the book demonstrates convincingly that that country was not as remote from a common European culture as is often assumed. Rather, it was an unmistakable part of that culture.
Susan Foister discusses not only Holbein's well-known portraits but also his decorative paintings and murals, now lost, his designs for goldsmiths, and the works that can be associated with the English Reformation. In addition, she considers Holbein's religious and secular images, his techniques and practices, his status as an official court painter, and a variety of other intriguing topics.
Susan Foister is curator of Early Netherlandish, German and British painting and Director of Collections, National Gallery London.
Table of Contents
Preface and Acknowledgements
Introduction
1 Holbein Holbein in England
Holbein’s English Patrons
Holbein at Work
A Holbein Workshop?
2 England
Paintings in Early Sixteenth-century England
Valuing Paintings
Acquiring Paintings
3 Decoration and Design The Greenwich Revels of 1527
The Hanseatic Commissions
Designs for Goldsmiths
4 Holbein and the English Reformation Holbein and the Imagery of the English Reformation
The Coverdale Bible
Holbein’s Radical Reformation Woodcuts
5 Holbein the Portraitist
From Basel to England
Princely Portraits
Portraits of Foreigners
Portraits for the English
Conclusion: Holbein and England after 1543
Abbreviations
Notes
Bibliography
Appendix
Photograph Credits
Index
Noli me Tangere by
Hans Holbein the Younger, 1524.
Noli me tangere, meaning "don't touch me" / "touch me not", is the
Latin version of words spoken, according to
John 20:17, by
Jesus to
Mary Magdalene when she recognizes him
after his resurrection.
The original phrase, Μή μου ἅπτου (mê mou haptou), in the
Gospel of John, which was written in
Greek, is better represented in translation as "cease holding on to me" or "stop clinging to me".
[1] The biblical scene of Mary Magdalene's recognizing Jesus Christ after his resurrection became the subject of a long, widespread and continuous
iconographic tradition in Christian art from
late antiquity to the present.
[2] So
Pablo Picasso for example used the painting Noli me tangere by
Antonio da Correggio, stored in the
Museo del Prado, as an iconographic source for his famous painting La Vie (
Cleveland Museum of Art) from the so-called
Blue Period.
[3]
The phrase also appears in the sensual poem Whoso list to hunt by
Sir Thomas Wyatt, where it refers to the elusive lover.
According to
Solinus, white stags found 300 years after
Caesar's death had their collars inscribed with: "Noli me tangere, Caesaris sum", meaning "Do not touch me, I am Caesar's".
[4]
Contents
[
hide]
1 Liturgical use
2 Gallery
3 See also
4 References
[
edit] Liturgical use
The words were a popular
trope in
Gregorian chant. The supposed moment in which they were spoken was a popular subject for
paintings in cycles of the
Life of Christ and as single subjects, for which the phrase is the usual title.
In the
Eastern Orthodox Church the Gospel lesson on Noli me tangere is one of the
Twelve Matins Gospels read during the
All Night Vigil on Sunday mornings.
沒有留言:
張貼留言