Assignment 1.

Suzy Walker-Toye - Student ID 510646

Contents: ● Two annotations of paintings ● Three pages of notes (one for each art work) ● One 500 word analysis ● References for assignment 1

The reflection for this assignment is on the blog: https://westernarthistorybysuzy.wordpress.com/category/assignments/assignment-1/

Assignment 1 - Notes . Suzy Walker-Toye. Student ID 510646. Painting 1

‘The Ambassadors’, 1533, by Hans Holbein the Younger.

Political, economic or social factors ● Jean de Dinteville (left) was a French ambassador to England in 1533 and Georges de Selve, (right), was Bishop of Lavaur, “ambassador to the Emperor, the Venetian Republic and the Holy See” (, 2016e). ● King Henry VII involved in Church reforms - Split from the Catholic Church at this time, many of the items on the shelves suggest a reflection of this discord (eg Lute with broken string) ● “Lutheran hymn book may be a plea for Christian harmony” (National Gallery, 2016e) ● Hidden Crucifix is a reference to the promise of salvation but hidden because of troubled times. ● Skull is a reference to mortality, a Memento mori, Latin for ‘remember you must die’. And “undermines the paintings overall ambiance of opulence and worldly accomplishment” (National Gallery YouTube, 2010b) ● Hans Holbein the Younger moved to England and became to King Henry VIII.

Development of materials and processes ● Anamorphic perspective on the skull. You have to be at the correct angle to see it is a skull, to the right at about a meter high. Anamorphic perspective was not Holbein’s invention.

Styles and movements ● Protestant art (WHA, p463). ​ Inside and outside influences ● “Holbein described his clothing with a sense of clarity and detail that we expect of that Northern tradition that Holbein comes from.” (Smarthistory, 2012) ​ Critics, thinkers and historians ● Some art historians think that perhaps the skull was not meant to be viewed from the side at all, but though a bottle or glass tube acting as a lens to compress the skull back to a normal shape. This theory does not really hold true because this method of viewing does not fix the elongation of the skull to the left. ● Other Art historians think that perhaps the painting was hung in a room with a door to the right, so that a person would see the skull on entering or exiting the room. ● Historian Mary Hervey published a book in 1900, ‘Holbein’s Ambassadors’ which unravelled many of the paintings clues and meanings. ● In 1962, Frederick Stebbins published an article in Journal of the Royal Astronomical Society of Canada which examined in detail the astronomical instruments to see if there were any more hidden clues but concluded there were not. ● ‘Historian and Anne Boleyn biographer, Eric Ives, wonders if Holbein’s patron, Anne Boleyn, actually commissioned this painting’ (The Anne Boleyn Files, 2010) but this hinges on the date 11th April in the dials and Stebbins has pointed out it’s the 10th April.

Assignment 1 - Notes . Suzy Walker-Toye. Student ID 510646. Painting 2

The Toilet of (‘The Rokeby Venus’), 1647-51 by Diego Velázquez

Political, economic or social factors ● Paintings with nudes in them were disapproved of by the church so they were rare in spain in the 1600’s (at the time of the ). ● This is the only female painting surviving today by Velázquez. ● He was Court painter to King Philip IV of Spain.

Changes to status or training of artists ● Velázquez spent several months in the studio of Francisco de Herrera the elder in 1609. ● In 1610 he started at the studio of Francisco Pacheco and in 1611 entered into a six year apprenticeship there. ● “On 14 May 1617, at the end of his apprenticeship, Velázquez was examined by the Alcaldes Veedores (overseers of the art of painting), Pacheco and Juan de Uceda Castroverde, and granted a licence to work as an independent painter, take on apprentices and open a shop, in accordance with the guild rules then operating in Spain and particularly in Seville. ” (Pérez Sánchez, 2016) ​ Development of materials and processes ● Velázquez’s art changed after his first trip to Rome. ● “The free brushwork, independent of the drawing, suppresses form, producing a purely visual effect that is complete only when the spectator is at a distance from the work. Velázquez generally worked directly on to the canvas, altering the design as he progressed.” (Pérez Sánchez, 2016) ​ Inside and outside influences ● King Philip IV's collection of Italian paintings had some nudes in it and Velázquez was known to have visited italy a couple of times, this could have provided inspiration for the work.

Critics, thinkers and historians

● The painting is also known as ‘The Rokeby Venus’ because it was in the Morritt Collection at Rokeby Park, Yorkshire. ● Art historians long suspected that the painting was made for the Marqués del Carpio, son of the First Minister of Spain, for private consumption to avoid censorship (he was apparently a big of a ladies man). However, research from 2001 has suggested that it was in fact purchased by the Marqués for his collection and formerly belonged to painter Domingo Guerra Coronel so we may never know who the paintings original ​ ​ patron was. ● In 1914 a suffragette named slashed the painting with a chopper. If you zoom right in you can see the faintest of lines where they have done an amazing restoration on it.

Assignment 1 - Notes . Suzy Walker-Toye. Student ID 510646. Painting 3

‘Portrait of Richard Milles’, probably 1760s, Pompeo Girolamo Batoni

Political, economic or social factors ● The sitter was Richard Milles of Nackington, Member of Parliament for Canterbury from 1761-80. ● The portrait was likely made in Rome to commemorate his Grand Tour. ● The Grand Tour was fashionable around 1660-1820 and was supposed to educate young English noblemen by exposing them to the other cultures across europe. They stayed away for years and did not travel light, taking with them many possessions and servants. They collected art and furnishings along the way. Many picked up vices such as gambling on cards and other less salubrious activities. ● It was de rigueur to have a Batoni portrait painted on the tour. “Around 175 travellers ​ from Britain and Ireland – many of them future leaders, grandees and important noblemen - were painted by Pompeo Batoni.” (National Gallery, 2016r) ​ ● “He captured them at the culmination of a long journey to Rome, displaying the learning, clothes, and fineries they had acquired on their trip.” (National Gallery, ​ 2016r) ● There are classical columns in the backdrop and the bust on the table beside Milles is that of the Emperor Marcus Aurelius, showing his good taste and interest in antiquity.

Changes to status or training of artists ● Batoni’s trained in his native Lucca in his father's goldsmith workshop before moving to Rome to establish himself as a leading portrait painter for visiting noblemen on their grand tour. ● “His earliest artistic training was the specialized instruction in drawing he received in the process of learning his father’s trade. He achieved a local reputation for his skill in the decoration and engraving of precious metals, but in 1727 he left his father’s workshop to study painting in Rome. There in 1727–30 he engaged in the usual activities of newly arrived artists, copying the antique sculptures in the Vatican and the frescoes of Raphael and Annibale Carracci and drawing from live models in the private academies of local artists.” (Bowron, 2016) ​ Development of materials and processes ● Batoni made copious drawings from life in preparation for his paintings, to adjust poses and pin down his sitters individual gestures and mannerisms.

Styles and movements ● “...a strongly classicizing style, which proved immediately popular and anticipated the Neo-Classicism of the later 18th century.” (Bowron, 2016) ​ Inside and outside influences ● Batoni was greatly influenced by Raphael and antiquity, which he often incorporated into his portraits.

Suzy Walker-Toye - Student ID 510646

Assignment 1: Analysis of ‘The Ambassadors’, 1533, by Hans Holbein the Younger.

‘The Ambassadors’, painted by Hans Holbein the Younger in 1533, is a highly detailed portrait of two fashionable, wealthy, young men with beards who were French ambassadors in the time of King Henry VIII. Hidden objects, creative use of perspective, carefully selected items and notable political and religious change at the time of the painting provoc a storm of theories and conspiracies on its meaning, making this more intriguing than the average fourteenth century portrait.

The man on the left, Jean de Dinteville, commissioned the painting when the man on the right, Georges de Selve, (Bishop of Lavaur) came to visit. The two men stand either side of some wooden shelves full of interesting objects, which are literally central to the painting. Their backdrop is bright green patterned curtain which sets off Dinteville’s pink vest rather nicely. They stand on an intricately patterned mosaic floor, looking suspiciously like that of the the cosmati pavement by the high altar in Westminster abbey.

There are two notable ‘hidden’ or obscured objects in the painting which allude that not all is as it seems on the surface of this portrait. The first, barely revealed by the edge of the curtain in the left-hand top corner of the painting is a metal crucifix. The second, floating ominously before the shelves at the foot of the two men is a strange grey shape. This shape actually resolves to a skull, a Memento mori, which is painted with anamorphic perspective so it can only been seen properly if viewed from the right of the painting and only, when nothing else can be viewed properly.

Dinteville, looks relaxed and resplendent in his fourteenth century finery, while his friend, dressed in more decorous Bishop-chic, looks a little anxious. His mood is possibly a reflection of the current political climate at the time of the painting. Henry VIII is making plans to break away from the Catholic church to legalise divorcing his wife so that he can marry Anne Boleyn.

Some of the items on the shelves also point to this political discord too, there is a lute with a broken string and a flute box with one flute missing on the second shelf down. At first glance the items on the shelves between the two men are there to promote their wealth, intelligence and worldly achievements. However, there is a pattern to the way they are laid out. The upper shelf is full of items to measure time and celestial events and the lower shelf is full of terrestrial items, a globe (positioned with Europe highlighted), aforementioned musical instruments, open mathematics and Lutheran hymn book.

One can conclude that the picture is split horizontally in half with heavenly and transcendent above and terrestrial and death below. It is interesting that the protestant hymn book is on the terrestrial shelf with the other bad omens whilst the line of sight of the concealed, but high-up, crucifix bisets the skull, perhaps subtly hinting that only the Catholics can beat death with redemption when mans lavish entrapments fall alway?

References:

Artble. (2016) The Toilet of Venus At: ​ ​ http://www.artble.com/artists/diego_velazquez/paintings/the_toilet_of_venus (Accessed on 16 February 16)

Bowron, E. P. (2016) 'Batoni, Pompeo.' In: Grove Art Online. Oxford Art Online. ​ Oxford University Press At: ​ http://www.oxfordartonline.com/subscriber/article/grove/art/T006862 (Accessed on 17 February 16)

Canal Educatif à la Demande (CED). (2013) ArtSleuth 6: HOLBEIN - The ​ Ambassadors (final version) - National Gallery London [user-generated content ​ online] Creat. www.canal-educatif.com 5 Oct 2013 At: https://www.youtube.com/watch?v=8MR-sKVRPdg (Accessed on 5 February 16)

Fernández, A. A. (2001) 'The First Owner of the Rokeby Venus' In: The Burlington ​ Magazine, Vol. 143, Number 1175, February, 2001, p91-94 ​

Honour, H & Fleming, J. (2009) A World History of Art. (7th Ed), London, Laurence ​ ​ King Publishing

McCouat, P. (2014) 'From The Rokeby Venus To Fascism - Pt 1: Why Did Suffragettes Attack Artworks?' In: Journal Of Art In Society [online] At: ​ ​ http://www.artinsociety.com/from-the-rokeby-venus-to-fascism-pt-1-why-did-suffr agettes-attack-artworks.html (Accessed on 15 February 16)

National Gallery. (2016e) ‘The Ambassadors’,1533, Hans Holbein the Younger At: ​ ​ http://www.nationalgallery.org.uk/paintings/hans-holbein-the-younger-the-ambass adors (Accessed on 4 February 16)

National Gallery. (2016o) Pompeo Girolamo Batoni - Portrait of Richard Milles At: ​ ​ http://www.nationalgallery.org.uk/paintings/pompeo-girolamo-batoni-portrait-of-ri chard-milles (Accessed on 11 February 16)

National Gallery. (2016r) The Grand Tour At: ​ ​ http://www.nationalgallery.org.uk/the-grand-tour (Accessed on 17 February 16)

National Gallery. (2016s) Pompeo Girolamo Batoni At: ​ ​ http://www.nationalgallery.org.uk/artists/pompeo-girolamo-batoni (Accessed on 17 February 16)

National Gallery Podcast. (2009) Excerpt from Episode 33 - Professor Philip ​ Steadman and Louise Govier discuss ‘The Ambassadors’ [audio podcast, online] July ​ 2009 At: http://www.nationalgallery.org.uk/paintings/hans-holbein-the-younger-the-ambass adors (Accessed on 5 February 16)

National Gallery YouTube. (2010a) Excerpt from ‘Renaissance Faces: Van Eyck to ​ ’ - Symbolism in Holbein's 'Ambassadors' [user-generated content online] ​ Creat. National Gallery, London 13 July 2010 At: https://www.youtube.com/watch?v=ReF2O8rzpb4 (Accessed on 5 February 16)

National Gallery YouTube. (2010b) Excerpt from Making & Meaning: Holbein's ​ Ambassadors - Holbein's skull - Part one [user-generated content online] Creat. ​ National Gallery, London 13 July 2010 At: https://www.youtube.com/watch?v=9KiVNIUMmCc (Accessed on 5 February 16)

National Gallery YouTube. (2010c) Excerpt from Making & Meaning: Holbein's ​ Ambassadors - Holbein's skull - Part two [user-generated content online] Creat. ​ National Gallery, London 13 July 2010 At: https://www.youtube.com/watch?v=Mczs4muSUHc (Accessed on 5 February 16)

Pérez Sánchez, A. E. (2016) 'Velázquez, Diego' In: Grove Art Online. Oxford Art ​ Online. Oxford University Press At: ​ http://www.oxfordartonline.com/subscriber/article/grove/art/T088463 (Accessed on 16 February 16)

Reeve, J. (2002) 'Grand Tour.' In: Grove Art Online. Oxford Art Online. Oxford ​ University Press At: ​ http://www.oxfordartonline.com/subscriber/article/grove/art/T034048 (Accessed on 17 February 16)

Smarthistory. (2012) Hans Holbein the Younger, The Ambassadors, 1533 ​ [user-generated content online] Creat. Khan Academy 2 April 2012 At: https://www.youtube.com/watch?v=PQZUIGzinZA (Accessed on 5 February 16)

Stebbins, F. A.. (1962) 'The Astronomical Instruments in Holbein's "Ambassadors"' In Journal of the Royal Astronomical Society of Canada, Vol. 56, p.45 [online] At: ​ ​ http://articles.adsabs.harvard.edu//full/1962JRASC..56...45S/0000045.000.html (Accessed on 7 February 16)

The Anne Boleyn Files. (2010) Holbein’s The Ambassadors: A Renaissance Puzzle? – ​ Part One: Context At: ​ http://www.theanneboleynfiles.com/holbeins-the-ambassadors-a-renaissance-puzzl e-part-one-context/6516/ (Accessed on 7 February 16)

The Times. (1914) 'National Gallery Outrage. The Rokeby Venus. Suffragist prisoner in court. Extent of the Damage' In the Times, 11 p.9 At: ​ ​ http://www.heretical.com/suffrage/1914tms2.html (Accessed on 15 February 16)

Wyld, M. 'The Restoration History of Holbein's "The Ambassadors"'. National Gallery Technical Bulletin Vol 19, pp 4–25.

At: http://www.nationalgallery.org.uk/technical-bulletin/wyld1998 (Accessed on 7 February 16)