2018年2月2日 星期五

Holbein and England:'The Dance of Death',Pompeo Batoni; Mary Magdalene!

William Bateson, F. R. S., naturalist : his essays & addresses, together with a short account of his life / by Beatrice Bateson : 總圖B1調閱書庫:限館內閱覽, 總圖5F國際分類法舊籍 (洽櫃臺調閱):限館內閱覽 ; QH31.B25 A3 1928, (U) 575:92 B319
劃一題名 William Bateson. 中文
書名 巴特遜傳 [電子資源] / 巴特遜著 ; 黃靜淵譯
主要作者 Bateson, Beatrice
Imprint 上海 : 商務印書館, 民26 [1937]
版本項 初版
台北 : 台灣商務印書館, 民 [19]
翻譯討論:Google Books
William Bateson, F. R. S., Naturalist: His Essays & Addresses, Together with ...
By Beatrice Durham Bateson
William Bateson教養很好,用Shakespeare查,有9處。 
to accept Battoni's huge blubbering female as an adequate presentation of Mary Magdalene! But your equation about that stupid Holbein won't do. However you cultured folk may agreed that 7th Symphony isn't up to the 9th
William Bateson將畫家名字寫錯
Pompeo Batoni
Pompeo Girolamo Batoni was an Italian painter who displayed a solid technical knowledge in his portrait work and in his numerous allegorical and mythological pictures. Wikipedia
Born: January 25, 1708, Lucca, Italy
Died: February 4, 1787, Rome, Italy
"7th Symphony isn't up to the 9th" 翻譯錯得離譜,譯成美術上的詞,其實William Bateson可能指貝多芬的第7號和第9號交響曲。

Image result for Pompeo Batoni Mary Magdalene

Hans Holbein’s 'The Dance of Death', just published in a new edition by Penguin Classics, was intensely engaged with the problem of corruption in politics.

Hans Holbein’s The Dance of Death, a series of forty-one miniature woodcuts about the triumph of death, was produced between 1523 and 1525. In making these depictions, the Cambridge scholar Ulinka Rublack observes, Holbein…

University of Cambridge
A 16th Century Charlie Hebdo?

Holbein’s Dance Of Death - the 16th Century Charlie Hebdo
He is best remembered for the magnificent portraits he produced as the…

British Museum 新增了 2 張新相片
‪#‎metalpoint‬ was a major part of artistic practice across northern Europe by about 1400. Discover more about the works of Hans Holbein the Elder and his workshop in Augsburg, Germanyhttp://ow.ly/UeqhU
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


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





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


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
Photograph Credits

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]


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.