MeIn July 1519, Erasmus of Rotterdam wrote a letter describing his friend and fellow humanist Thomas More. “His expression” is written by Erasmus.
But eight years later, it was a serious and solemn mower that Hans Holbein the Younger sat down to have his portrait painted. The famous painting, usually adorned in the Frick Collection, is now on display at The Morgan Library as part of “Holbein: Capturing the Character.” This exhibition is full of oil paintings and sketches of politicians, scholars, merchants and ladies. In portraits, middle-aged Moa has ridged eyebrows and looks cautious and reticent. He wears a gold chain with spread roses, a symbol of the Tudor Master.
Of course, no one was smiling in the portraits of the 16th century. But is there another reason why Moa looks so nervous? Unfortunately, the text on the wall of the exhibition almost mentions the movements, or reforms, that raged across the continent, divided the Tudor court, and clearly influenced Holbein’s subject matter and Holbein’s work itself. not. Holbein’s Moa portrait was completed in 1527. The year before, Henry VIII was in love with Anne Boleyn. Meanwhile, Protestant books were being poured into London and Cambridge. It must have been more rattling. He could probably feel the turmoil coming.
Holbein was born around 1497 in Augsburg, Germany. He was trained to become a painter in his father’s workshop and moved to Basel, the main book printing center, in 1515. There he fulfilled his mission, from small illustrations to large murals and altarpieces. In 1523 he painted two large portraits of Erasmus. The “Capturing Character” contains a miniature portrait of a scholar with a sunken cheek, as well as his seal and seal. With the help of Erasmus, Holbein visited London twice. His first trip lasted from 1526 to 1528, and his second died from 1532 to 1543.
The Capturing Character contains some preparatory sketches, one made with pen, ink and wash, a relatively new medium in the early 1500s, and one made with colored chalk. Many of these sketches are ornamental designs that will appear later in Holbein’s themed garment and hat paintings.
On his first visit to London, Holbein stayed with Moa in Chelsea. The artist’s portrayal of a politician may have acted as Holbein’s telephone card. Holbein’s textiles, gems, and clever depictions of physiognomy have never been seen by the British. In London, Holbein has won a crowd of noble patrons. He painted in front of a plain blue background, clasping religious books, showing off cabochon rings, and in the case of Ravel, restraining squirrels with a small string.
When I returned to Basel, a storm was blowing. Erasmus famously reported that “art is frozen”. Some reformers did not approve the religious image. The explosion of iconoclasm in 1529 led to the destruction of many works. A few years later, Holbein decided to return to England, this time with his family. In the 1530s and 1940s, Holbein fostered the support of Moa’s rival Thomas Cromwell (flick-owned portraits are completely absent in this exhibition), and ultimately the King himself.
He also has a close relationship with the Hanseatic League in London, a group of German merchants. Many of them were Protestant. In 1525, Moa attacked the Hanseatic League on charges of heresy, as several members were suspected of possessing Lutheran texts. The exhibition contains portraits of three of these merchants, painted after Moa lost royal support in the 1530s. Unlike Holbein’s English sitter, which is usually displayed at a three-quarter angle or in profile, the two merchants look directly (and confidently) at the viewer.
Holbein’s early woodblock prints, part of which are included in this exhibition, also reflect the religious conflicts of his time. Some despise the abuse of clergy’s power.His woodblock print Indulgence saleFor example, an obvious attack on church corruption.This theme follows the highlight of the exhibition, a series of small woodblock prints with titles. Death dance.. This series was made in Basel between 1523 and 1525 with the help of block cutter Hans Lutzellberger. A variation of the Danse Macabre genre that first appeared in France around the time of Black Death, Death dance It is intended for all people, including the Pope, who try to avoid death in vain.
“Capturing a character” is a great opportunity to appreciate Holbein’s gift to perception. When the humanist pursued the truth by learning the ancient language and the reformers pursued the truth by printing the Gospels in vernacular, Holbain was honest and amazing on his subject (both Protestant and Catholic). We pursued the truth by recording in detail.
“Holbein: Catch the Character” will be held at the Morgan Library in New York City until May 15th.
Jane Coombs is a Hilton Kramer Fellow. New standard
First of all It depends on its subscribers and supporters. Join the conversation and contribute today.
Click here to donate.
click here To subscribe First of all..