"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"
"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"
"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"
"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"
"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"
"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"
"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"
"(2004), who concludes that ""the general coherence of the evidence assembled by Hervey is very satisfying""; however, North also notes that, despite Hervey's research, ""[R]ival speculation did not stop at once and is still not entirely dead"". Giles Hudson, for example, has argued that the man on the right is not de Selve, but Jean's brother François, Bishop of Auxerre, a noted patron of the arts with a known interest in mathematical instruments. The identification finds support in the earliest manuscript in which the painting is mentioned, a 1589 inventory of the Chateau of Polisy, discovered by Riccardo Famiglietti. However,"
"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"
"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"
"Gospel"", printed by Juan Stelsio in Antwerp in 1540 (92 woodcuts), and also of his Spanish versification of the associated work ""Portraits or printing boards of the story of the Old Gospel"", printed by Francois and Jean Frellon in 1542 (same 92 woodcuts plus 2 more), as it was demonstrated in the International Society for the History of Medicine, by the expert researcher in Servetus, González Echeverría, who also proved the existence of the other work of Holbein & De Villeneuve, ""Biblia cum Glossis"" or "" Lost Bible"". Holbein painted many large religious works between 1520 and 1526, including the"
"the lower shelf repeats a portion of a cartographically imaginative map created in possibly 1530 and of unknown origin. The map is referred to as the Ambassadors' Globe due to its popularly known appearance in the painting. The work has been described as ""one of the most staggeringly impressive portraits in Renaissance art."" The most notable and famous of Holbein's symbols in the work, however, is the distorted skull which is placed in the bottom center of the composition. The skull, rendered in anamorphic perspective, another invention of the Early Renaissance, is meant to be a visual puzzle as the"
"Cardinal d'Amboise in the castle of Gaillon; while Jean, attracted to Tours, spent a few years in the atelier of Michel Colombe, famous as the sculptor of the ""Entombment"" in the Abbey of Solesmes. Colombe was the last representative of the Dijon School, founded by Claus Sluter under the first dukes of Burgundy. At his school Jean Juste became imbued with the realism of Flanders, slightly softened and tempered with French delicacy. Through this combination of qualities, he created for himself a style whose charm consisted in its flexibility and complexity. At the death of Michel Colombe (1512) the Justes"
"1643, by the Austrian regent, Anne Some of his landscapes for Charles IX were influential for the 17th century painters Claude Lorrain and Nicolas Poussin. Niccolò dell'Abbate Niccolò dell'Abbate, sometimes Nicolò and Abate (1509 or 15121571) was an Italian Mannerist painter in fresco and oils. He was of the Emilian school, and was part of the team of artists called the School of Fontainebleau that introduced the Italianate Renaissance to France. He may be found indexed under either ""Niccolò"" or ""Abbate"", though the former is more correct. Niccolò dell'Abbate was born in Modena, the son of a violinist. He trained"
"with subjects drawn from Virgil's ""Bucolics"", that were produced to decorate a so-called ""Chambre verte"" in 1521. Further payments from the French king survive from 1528 and 1529. He was still producing pictures and also illuminating manuscripts for the king in 1532, when François paid him 300 écus for two designs of figures from histories and poetry, satyrs and nymphs, that the king wished to decorate the Hall of jeu de paulme of the Louvre (possibly cartoons for tapestries) and for two Books of Hours. Ghetti received a donative from the king in April 1532, recorded in a document that"
"1923 (pictured). Portrait of Georg Giese Portrait of Georg Giese is a 1532 portrait by Hans Holbein the Younger, now in the Gemäldegalerie, Berlin. It is one of a series of portraits of wealthy Hanseatic merchants made by Holbein in the 1530s. This series of portraits signals the increasing importance of the emerging merchant class, as they took their place on a world stage. In the 1530s, the artist Hans Holbein, the younger, was commissioned to paint portraits of wealthy members of Hanseatic merchant families who were stationed at their family offices in London's Steelyard. Hans Holbein, the younger painted"
"at the London branch of the Hanse on 1532. Scholars generally agree that this was the first portrait that Holbein painted after his return to England. The subject of the painting is clearly Georg Giese, identified by the various inscriptions of his name depicted in the painting. His occupation, that of merchant, is clearly seen by his clothing and tools of trade. The symbolism evident in the painting has been the subject of considerable scholarly enquiry. A summary of the symbols, and their probable meanings has been provided by Holman: Giese's portrait was depicted on the 100,000 mark banknote of"
"the advice of Primaticcio, Niccolò dell'Abbate (from Modena) was invited to France in 1552 by François's son Henri II. Although known for their work at Fontainebleau, these artists were also invited to create works of art for other noble families of the period and were much esteemed and well-paid. The works of this ""first school of Fontainebleau"" are characterized by the extensive use of stucco (moldings and picture frames) and frescos, and an elaborate (and often mysterious) system of allegories and mythological iconography. Renaissance decorative motifs such as grotesques, strapwork and putti are common, as well as a certain degree"
"1593 from the Stadtholder Maurice, Prince of Orange for his palace, and Jacob Jordaens' ""The Golden Apple of Discord"" (1633, from an oil sketch by Rubens) is also a monumental treatment. Painters who returned to the subject several times include in particular Hendrick van Balen, who was known above all for these subjects, and also Joachim Wtewael, Cornelis van Haarlem, Cornelis van Poelenburch, and Abraham Bloemaert. Over the same period these same painters, later followed by Rubens, produced many depictions of ""Sine Cerere et Baccho friget Venus"" (""Without Ceres and Bacchus, Venus freezes"", meaning that love needs food and wine"
"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"
"of being dated come from the 1520s. Horenbout's miniature of Holbein (1543) is among his most accomplished works, not least because he copies the face from a self-portrait drawing by Holbein; his own drawing skills are not the strongest. This miniature was also nearly always regarded as a self-portrait, until recent technical examination made clear that the style of painting is actually very different from that of undoubted Holbein miniatures: there is ""an absence of his subtle gradations of flesh tone and colour"" and ""no sign of the extremely thin pen-like lines which are so notable a feature in Holbein's"
"On the north side of the outer courtyard stood the kitchens and gatehouse. There was a long gallery () which connected the inner court with Blackfriars, issuing out at Apothecaries Hall on Blackfriars Lane which formerly ran beyond its western façade. After Wolsey's fall in 1530, the palace was leased to the French ambassador 1531–1539, and was the setting for Holbein's celebrated painting, ""The Ambassadors"" (1533). In 1553, Edward VI gave the palace over to the City of London for the housing of homeless children and for the punishment of ""disorderly women"". The City took full possession in 1556 and"
"the Old Gospel""). These works were arranged by Holbein with Melchior & Gaspar Trechsel near 1526, later printed and edited in Latin by Jean & Francois Frellon with 92 woodcuts. These two works also share the first four figures with the ""Dance of Death"". It appears that the Trechsel brothers initially intended to hire Holbein for illustrating Bibles. In fact, some of Holbein's ""Icones"" woodcuts appear in the recently discovered ""Biblia cum Glossis"" by Michel De Villeneuve (Michael Servetus). Holbein woodcuts appear in several other works by Servetus: his Spanish translation of ""The images of the stories of the Old"
"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"
"Portrait of Georg Giese Portrait of Georg Giese is a 1532 portrait by Hans Holbein the Younger, now in the Gemäldegalerie, Berlin. It is one of a series of portraits of wealthy Hanseatic merchants made by Holbein in the 1530s. This series of portraits signals the increasing importance of the emerging merchant class, as they took their place on a world stage. In the 1530s, the artist Hans Holbein, the younger, was commissioned to paint portraits of wealthy members of Hanseatic merchant families who were stationed at their family offices in London's Steelyard. Hans Holbein, the younger painted a series"
"the painter Jean-Louis Nicolas. Painted in 1715 and restored in 1857 by Jean-Louis Nicolas, this work depicts the last judgement (""jugement dernier"") and features the Holy Trinity and the four evangelists recognized by their attributes. Behind them are ""foule des élus"" and the heads of several cherubs. There are further paintings in the vault of the transept. On the eastern side are depictions of the apostles and on the western side are depictions of the Doctors of the church. These were also restored by Nicolas The church has some magnificent sablières and blochets. The sablière is a horizontal wooden beam"
"1523, Holbein painted his first portraits of the great Renaissance scholar Erasmus, who required likenesses to send to his friends and admirers throughout Europe. These paintings made Holbein an international artist. Holbein visited France in 1524, probably to seek work at the court of Francis I. When Holbein decided to seek employment in England in 1526, Erasmus recommended him to his friend the statesman and scholar Thomas More. ""The arts are freezing in this part of the world,"" he wrote, ""and he is on the way to England to pick up some angels"". Holbein broke his journey at Antwerp, where"
"Anne Lovell, recently identified as the subject of ""Lady with a Squirrel and a Starling"". In May 1527, ""Master Hans"" also painted a panorama of the siege of Thérouanne for the visit of French Ambassadors. With Kratzer, he devised a ceiling covered in planetary signs, under which the visitors dined. The chronicler Edward Hall described the spectacle as showing ""the whole Earth, environed with the sea, like a very map or cart"". On 29 August 1528, Holbein bought a house in Basel, in St Johanns-Vorstadt. He presumably returned home to preserve his citizenship, since he had been granted only a"
"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"
"in Tours, and trained by his uncle Jean Juste, his father having died in 1519. He worked with Jean on the mausoleum of Louis XII of France at St-Denis, which occupied his uncle for almost fifteen years from 1516–1531, being especially responsible for the four seated ""Virtues"". In 1529 he was still living in Tours when Francis I commissioned him to make marble sculptures of Hercules and Leda, now lost, and in 1533 he was appointed ""Sculpteur du Roi"" (a non-exclusive appointment) as his father and uncles had been before him. The year 1531 marked the beginning of the ""First"
"The site and statue were later visited by the ""Bon Roi René"". The wings of the triptych show King René with Mary Magdalene, St. Anthony and St. Maurice on one side, and Queen Jeanne de Laval, with Saint Catherine, John the Evangelist, and Saint Nicholas on the other. Louis Bréa (1450–1523) was a 15th-century painter, born in Nice, whose work is found in churches from Genoa to Antibes. His ""Retable of Saint-Nicholas"" (1500) is found in Monaco, and his ""Retable de Notre-Dame-de-Rosaire"" (1515) is found in Antibes. Pierre Paul Puget (1620–1694), born in Marseille, was a painter of portraits and"
"to add pen drawings to the margin of a copy of ""The Praise of Folly"" by the humanist scholar Desiderius Erasmus of Rotterdam. The sketches provide early evidence of Holbein's wit and humanistic leaning. His other early works, including the double portrait of Basel's mayor Jakob Meyer zum Hasen and his wife , follow his father's style. The young Holbein, alongside his brother and his father, is pictured in the left-hand panel of Holbein the Elder's 1504 altar-piece triptych the ""Basilica of St. Paul"", which is displayed at the Staatsgalerie in Augsburg. In 1517, father and son began a project"