What is the title of the Holbein painting of Jean de Dinteville and Georges de Selve?
"the Younger. Holbein had also painted The Ambassadors, which depicted two French envoys, Jean de Dinteville, seigneur de Polisy, and Georges de Selve, Bishop of Lavaur, in 1533. He was succeeded as ambassador by Antoine de Castelnau, Bishop of Tarbes. Morette married twice. He married as his first wife, Silvie de Pont (1480–) and the couple had three sons: He married as his second wife, Lucie Valles and by her had a daughter: He died 1 February 1552 at Le Plessis les Tours and was buried at the Église Saint-Grégoire des Minimes, Tours. Charles de Solier, comte de Morette Charles"
"one's impending death and the resurrection. Before the publication of Mary F. S. Hervey's ""Holbein's Ambassadors: The Picture and the Men"" in 1900, the identity of the two figures in the picture had long been a subject of intense debate. In 1890, Sidney Colvin was the first to propose the figure on the left as Jean de Dinteville, Seigneur of Polisy (1504–1555), French ambassador to the court of Henry VIII for most of 1533. Shortly afterwards, the cleaning of the picture revealed that his seat of Polisy is one of only four French places marked on the globe. Hervey identified"
"Georges de Selve Georges de Selve (1508 – 12 April 1541) was a French scholar, diplomat and ecclesiastic. He was the son of Jean de Selve, a jurist and Parlement president, and brother of Odet de Selve. Three other brothers served as diplomats. Georges de Selve was Bishop of Lavaur from 1526 (at age 18) to 1540. He was sent by King Francis I of France as ambassador to the Republic of Venice, Austria (in April 1540), to the Pope in Rome, to England, Germany and Spain. He is one of two figures in a picture by Hans Holbein the"
"been hypothesized that the painting is meant to hang in a stairwell, so that persons walking up the stairs and passing the painting on their left would be startled by the appearance of the skull. A further possibility is that Holbein simply wished to show off his ability with the technique in order to secure future commissions. Artists often incorporated skulls as a reminder of mortality. Holbein may have intended the skulls (one as a gray slash and the other as a medallion on Jean de Dinteville's hat) and the crucifix in the upper left corner to encourage contemplation of"
"the man on the right as Georges de Selve (1508/09–1541), Bishop of Lavaur, after tracing the painting's history back to a seventeenth-century manuscript. According to art historian John Rowlands, de Selve is not wearing episcopal robes because he was not consecrated until 1534. De Selve is known from two of de Dinteville's letters to his brother François de Dinteville, Bishop of Auxerre, to have visited London in the spring of 1533. On 23 May, Jean de Dinteville wrote: ""Monsieur de Lavaur did me the honour of coming to see me, which was no small pleasure to me. There is no"
"Grey Passion The Grey Passion is a series of paintings by Hans Holbein the Elder (1465-1524). Executed between 1494 and 1500, it comprises twelve panels illustrating the Passion of Christ; Holbein's monochrome palette is almost entirely grey. The paintings were purchased by the Staatsgalerie Stuttgart, the Stuttgart State Art Gallery in Germany. The State Art Gallery acquired the altarpiece in 2003 for 12 million euros. The restoration of the artworks lasted three years and cost 450 thousand euros. The series is considered one of the most important of Holbein's works. The ""Grey Passion"" was part of an altar painting, a"
"in his left hand. He has red-orange hair, rendered in the same colouring and tone of the rich cloth sleeves covering his mother's upper arms. ""Venus and Amor"" was painted after Holbein's return to Basel following a short stay in France. While in France, he had access to the collection of Francois I, and it's believed likely that this work was one of his early responses to his exposure to the Italian painters of the era. Such influences can be seen in the gesture of Venus, whose pose closely echoes that of Jesus in Leonardo's 1498 ""Last Supper"". In addition,"
"Jean de Dinteville. The inscription on the man on the right's book is ""AETAT/IS SV Æ 25"" (his age is 25); that on de Dinteville's dagger is ""AET. SV Æ/ 29"" (he is 29). North's book analyzes the painting and shows it to be representing Good Friday through various clues on the instruments. In the fifth episode of ""Hunted"", the painting is said to have been commissioned by British merchants who felt restricted by government. Their companies evolved into five multinationals concentrating their power and wealth as they undermine the public sector. In the 2014 film ""Calvary"", Dylan Moran's character"
"imaginées. / A Lyon. / Soubz l'escu de COLOIGNE. / M.D. XXXVIII. (""Images and Illustrated facets of Death, as elegantly depicted as they are artfully conceived."") These images and workings of death as captured in the phrase ""historiees faces"" of the title ""are the particular exemplification of the way death works, the individual scenes in which the lessons of mortality are brought home to people of every station."" In his preface to the work Jean de Vauzèle, the Prior of Montrosier, addresses Jehanne de Tourzelle, the Abbess of the Convent at St. Peter at Lyons, and names Holbein's attempts to"
"Odalisque with Slave Odalisque with Slave (French: ""L'Odalisque à l'esclave"") is an 1839 painting by Jean-Auguste-Dominique Ingres commissioned by Charles Marcotte. Executed in oil on canvas, it depicts a nude odalisque, a musician, and a eunuch in a harem interior. The painting is in the Fogg Art Museum in Cambridge, Massachusetts. It is a classic piece of Orientalism in French painting. Ingres painted a number of harem scenes during his long career, starting with the ""Grande Odalisque"" (1814). These works exemplify a taste for Orientalist subject matter shared by many French painters of the Romantic era, notably Ingres' rival Eugène"
"it can no longer be considered a true portrait."" Venus and Amor Venus and Amor (also known as Venus and Cupid) is a c. 1524 painting by the German painter and printmaker Hans Holbein the Younger, conserved in the Kunstmuseum Basel, Switzerland. Although the work is Holbein's earliest mythological painting, depicting the Roman goddess of love, Venus, with her son Amor (Cupid), the model is believed to be his friend Magdalena Offenburg. They are shown in front of a large hanging green curtain and behind a low parapet. Venus is depicted with an open gesture and sincere gaze. Cupid is"
"silver. <br> Judith and Holofernes (Mantegna) Judith and Holofernes is a painting by the Italian Renaissance artist Andrea Mantegna, painted about 1495, depicting the common subject in art of Judith beheading Holofernes. The painting has been dated through comparison with similar grisaille panels with Old Testament subjects, produced by Mantegna around 1495 and 1500. The work was perhaps included in the Gonzaga collection acquired by Charles I of England in 1628. Given to William Herbert, 6th Earl of Pembroke, it was inherited by his heirs until it was sold in London in 1917. After a series of different owners, it"
"the underlying sketches were made with a silver pencil. The palette used by Holbein in the ""Grey Passion"" is unparalleled throughout European altar painting - the monochrome grey perhaps symbolises a theme detached from this world. Hans Holbein the Elder followed the example of Jan van Eyck and Hans Memling and their circle, who had experimented with painting in grisaille. Grey Passion The Grey Passion is a series of paintings by Hans Holbein the Elder (1465-1524). Executed between 1494 and 1500, it comprises twelve panels illustrating the Passion of Christ; Holbein's monochrome palette is almost entirely grey. The paintings were"
"of Hans Holbein the Younger, depict Jean-Jacques Rousseau and Johann Heinrich Pestalozzi. Wood beamed ceiling contains LED lights that are hidden behind rosettes. Originally a library built in 1782 in a wealthy Damascan merchant's home, the Syria-Lebanon Room was moved intact to its location in the Cathedral of Learning following a six-year effort to fund and install the room by the Syrian and Lebanese communities in Pittsburgh. Because of the fragility and pricelessness of the furnishing, it has been closed for class use and is one of two display rooms. The linden-paneled walls and ceilings are decorated with “gesso painting,”"
"to Bloch-Bauer. Socially well-connected, Adele brought together writers, politicians and intellectuals for regular salons at their home. The couple shared a love of art, and patronised several artists, collecting primarily nineteenth-century Viennese paintings and modern sculpture. Ferdinand also had a passion for neoclassical porcelain, and by 1934 his collection was over 400 pieces and one of the finest in the world. In 1901 Klimt painted ""Judith and the Head of Holofernes""; the art historian Gottfried Fliedl observes that the painting is ""widely known and interpreted as Salome"". Adele was the model for the work, and wore a heavily-jewelled deep choker"
"by Lucas Horenbout, in which the left-handed Holbein is holding a paintbrush. Art historian Stephanie Buck notes that Holbein's direct gaze suggests he was looking into a mirror. Holbein died not long after completing this self-portrait, probably of the plague. The work was acquired in London for Gran Duke Cosimo III de' Medici in 1681. As in other works by Holbein, there is much attention given to details, such as the hair strands, which were painted one-by-one. Self-portrait (Hans Holbein the Younger) The Self-portrait is a small drawing by the German Renaissance artist and printmaker Hans Holbein the Younger, completed"
"depicts a vast composition of intertwined figures floating through the nether regions of hell. The theme concerns lovers who have succumbed to their erotic passions. One of the main themes of initiation is to control one's lower passions in order to achieve spiritual transcendence. This painting of this work represents this idea in metaphoric form. This is an early major work by Delville sadly destroyed in the incendiary attack on Louvain in 1914. Despite its importance, it was not received with much enthusiasm in the contemporary press. Another work that display Delville's growing interest in non-realist ideas during the 1880s"
"in Lucerne (Luzern), painting internal and external murals for the merchant Jakob von Hertenstein. While in Lucerne Holbein also designed cartoons for stained glass. The city's records show that on 10 December 1517, he was fined five livres for fighting in the street with a goldsmith called Caspar, who was fined the same amount. That winter, Holbein probably visited northern Italy, though no record of the trip survives. Many scholars believe he studied the work of Italian masters of fresco, such as Andrea Mantegna, before returning to Lucerne. He filled two series of panels at Hertenstein's house with copies of"
"in that it locates the subject in an office where many of the accoutrements of a merchant are clearly visible. The Holbein portrait commissioned by Giese, clearly identifies him as a merchant, due to the distinctive clothing and the tools of the trade. The painting is rich with symbols. It depicts him with carnations, at that time symbolizing his engagement. A plaque over his head identifies him, and states that it shows him in his 34th year, in 1532. He is holding a letter he received from his brother, written in Middle Saxon (""Middle Low German""): """"Dem Erszamen/Jorgen gisze to"
"that another artist's drawing of Christina was ""sloberid"" (slobbered) compared to Holbein's. In Wilson's view, Holbein's subsequent oil portrait is ""the loveliest painting of a woman that he ever executed, which is to say that it is one of the finest female portraits ever painted"". The same year, Holbein and Hoby went to France to paint Louise of Guise and Anna of Lorraine for Henry VIII. Neither portrait of these cousins has survived. Holbein found time to visit Basel, where he was fêted by the authorities and granted a pension. On the way back to England, he apprenticed his son"
"the annexation of Savoy by France, and that on the occasion of the peace of Villafranca. Other remarkable pieces are ""The Apotheosis of Napoleon I"", ""The Amnesty"", ""Le Duc d'Orleans"", ""Bertholet"", ""The Universal Exposition"", ""The Second of December, 1851"", ""The Establishment of the Republic"", ""The Battle of Inkermann"", and ""Napoleon's Tomb at the Invalides"". For the Hôtel de Ville, Paris he executed fourteen bas-reliefs, which were destroyed in 1871. Of his monumental works, many are to be seen in public places in and near Paris. In the Tuileries gardens is his group of ""Daphnis and Hebe""; in the Jardin du"
"Judith and Holofernes (Mantegna) Judith and Holofernes is a painting by the Italian Renaissance artist Andrea Mantegna, painted about 1495, depicting the common subject in art of Judith beheading Holofernes. The painting has been dated through comparison with similar grisaille panels with Old Testament subjects, produced by Mantegna around 1495 and 1500. The work was perhaps included in the Gonzaga collection acquired by Charles I of England in 1628. Given to William Herbert, 6th Earl of Pembroke, it was inherited by his heirs until it was sold in London in 1917. After a series of different owners, it was acquired"
"old friend Simon Vouet. He completed a painting of the ""Last Supper"" (now in the Louvre), eight cartoons for the Gobelins tapestry manufactory, drawings for a proposed series of grisaille paintings of the ""Labors of Hercules"" for the Louvre, and a painting of the ""Triumph of Truth"" for Cardinal Richelieu (now in the Louvre). He was increasingly unhappy with the court intrigues and the overwhelming number of commissions. In the autumn of 1642, when the King and court were out of Paris in Languedoc, he found a pretext to leave Paris and to return permanently to Rome. When he returned"
"The Barque of Dante The Barque of Dante (), sometimes known as Dante and Virgil in Hell (""Dante et Virgile aux enfers""), is the first major painting by the French artist Eugène Delacroix, and one of the works signalling a shift in the character of narrative painting from Neo-Classicism towards the Romantic movement. It was completed for the opening of the Salon of 1822 and currently hangs in the Musée du Louvre, Paris. The painting is loosely based on fictional events taken from canto eight of Dante’s ""Inferno"". A leaden, smoky mist and the blazing City of the Dead form"
"figure on the right is dressed in clerical clothes. Their flanking of the table, which displays open books, symbols of religious knowledge and even a symbolic link to the Virgin. In contrast, other scholars have suggested the painting contains overtones of religious strife. The conflicts between secular and religious authorities are here represented by Jean de Dinteville, a landowner, and Georges de Selve, the Bishop of Lavaur. The commonly accepted symbol of discord, a lute with a broken string, is included next to a hymnbook in Martin Luther's translation, suggesting strife between scholars and the clergy. The terrestrial globe on"
"wearing a carnation, which may symbolise her betrothal, and holding a leaf or sprig. Holbein's portrait, with its rich blue background, crisp outlines, and absence of shading, follows the conventions of the genre. Such miniatures were worn like a jewel. In his last years, Holbein raised the art of the portrait miniature to its first peak of brilliance. His large pictures had always contained a miniature-like precision. He applied this skill to the smaller form, somehow retaining his monumentality of effect. His miniature portrait of Jane Small is considered a masterpiece of the genre. In the view of art historian"
"himself. It shows animals around a sinuous and richly carved grapevine. Art historians Paul Mitchell and Lynn Roberts note that the design follows an old French tradition of placing austere male portraits within ""exuberantly carved"" frames. The frame closely resembles that of Raphael's c. 1514–15 ""Portrait of Baldassare Castiglione"", a painting that influenced Ingres, especially in colour and tone. A similar frame was used for Ingres's 1854 painting of ""Joan of Arc at the Coronation of Charles VII"". ""Monsieur Bertin"" was exhibited at the 1833 Salon alongside his 1807 ""Portrait of Madame Duvaucey"". It met with near universal praise to"
"portrait had already enjoyed notoriety in Teniers' portrayals of the Archduke's art collection: Judith with the Head of Holofernes (Saraceni) Judith with the head of Holofernes is a 1610–1615 painting by the painter Carlo Saraceni, now held in the Kunsthistorisches Museum in Vienna. The painting is typical of Saraceni's first decade in Rome where he became influenced by Caravaggio. His use of candlelight is illustrative of the chiaroscuro used by the tenebrists in this period. Another autograph copy is known in the Dayton Art Institute. This painting was documented in David Teniers the Younger's catalog ""Theatrum Pictorium"" of the art"
"Venus and Amor Venus and Amor (also known as Venus and Cupid) is a c. 1524 painting by the German painter and printmaker Hans Holbein the Younger, conserved in the Kunstmuseum Basel, Switzerland. Although the work is Holbein's earliest mythological painting, depicting the Roman goddess of love, Venus, with her son Amor (Cupid), the model is believed to be his friend Magdalena Offenburg. They are shown in front of a large hanging green curtain and behind a low parapet. Venus is depicted with an open gesture and sincere gaze. Cupid is seen climbing onto the parapet while holding love's arrow"
"early in his career. French poet and reformer Nicholas Bourbon (the elder) dubbed him ""the Apelles of our time,"" a typical accolade at the time. Holbein has also been described as a great ""one-off"" of art history, since he founded no school. Some of his work was lost after his death, but much was collected, and he was recognised among the great portrait masters by the 19th century. Recent exhibitions have also highlighted his versatility. He created designs ranging from intricate jewellery to monumental frescoes. Holbein's art has sometimes been called realist, since he drew and painted with a rare"
"to Frédéric Reiset, curator of drawings at the Louvre Museum. It was exhibited at the 1855 Exposition Universelle in Paris, where it was seen by the poet Charles Baudelaire – he argued that the head was inspired by classical sculpture, the hands by Raphael, and the narrow torso by medieval sculpture. In 1879 this painting and the rest of the Reiset collection were bought by Henri d'Orléans, Duke of Aumale. It was closely followed by later treatments of the subject, such as Théodore Chassériau's ""Vénus marine"" and Bouguereau's 1879 ""The Birth of Venus"". of the painting from c.1825-1850 is in"
"seen from Holbein's book (nearly all pages in the Royal Collection) containing preparatory drawings for portraits - of eighty-five drawings, only a handful have surviving Holbein paintings, though often copies have survived. Portraiture ranged from the informal miniature, almost invariably painted from life in the course of a few days and intended for private contemplation, to the later large-scale portraits of Elizabeth I such as the ""Rainbow Portrait"", filled with symbolic iconography in dress, jewels, background, and inscription. Much energy was also expended on decorative painting of fixtures and fittings, often of a very temporary nature. In theory the ""Serjeant"
"works is without doubt ""An Evening with Madame Geoffrin"", executed in 1812 for the Empress Josephine. This painting exhibited at the Musée des Châteaux de Malmaison et Bois-Préau is an imaginary reconstruction of the salon of Marie Thérèse Rodet Geoffrin depicting, among others, the ministers Choiseul, Fontenelle, Montesquieu, Diderot and Marmontel, their hostess and a bust of Voltaire in a scene where the actor Lekain is reading Voltaire's play ""L’Orphelin de la Chine"" (The Orphan of China). Numerous drawings by Lemonnier have survived. The following paintings are held in French museums: Anicet Charles Gabriel Lemonnier Anicet Charles Gabriel Lemonnier (""male"";"