Grove Art

Hans Holbein and the Original OKCupid Date Gone Wrong

By Connor O’Brien

Hans Holbein the Younger, a German painter born in the late fifteenth century, received much attention in England for his exquisite attention to detail, a realism characteristic of Northern Renaissance painting. Because of these technical gifts, he eventually became the court painter to Henry VIII, generating stately portraits that now constitute the popular image of the well-known king. This also roped Holbein into the complex marital politics associated with Henry VIII’s reign.

According to Grove Art, Holbein’s period of greatest activity for Henry VIII was in 1538–9, when he was sent on several journeys abroad in order to portray prospective candidates for the royal marriage. The sister of a German duke, Anne of Cleves, was suggested by Thomas Cromwell as a wife for Henry VIII to strengthen the protestant alliance. King Henry wanted to confirm that she was beautiful enough for him to marry, and he instructed Holbein not to embellish or romanticize her appearance. When the painter returned with the above portrait, the king agreed to the marriage, and the wedding treaty was signed. The new queen, after her first evening with Henry, was not quite as well-received as was the artwork. It apparently portrayed Anne in a far more idealized way than Henry perceived in person. Infamously describing the actual Anne as a “Flanders mare,” he saw in her no potential to conceive children. Holbein’s masterful ability to paint beautifully, in this instance, seemed to betray him.

Despite his disappointment, Henry VIII became close friends with the queen during their short time together, and she managed to escape execution due to her cooperation with the king in annulment proceedings. Henry granted her vast properties in exchange for this agreement, and the two remained extremely fond of each other until his death. Holbein, too, remained in the king’s favor, with the monarch blaming his advisors for the failed marriage (some of whom were not as fortunate as Anne).

The moral of the story? Always request multiple portraits, and from different angles.

Connor O’Brien is an intern for art reference at Oxford University Press.

Therapies.

[Root is undercover as an employee of a company in which requires psychological assessments and therapies for every employee.]

EDIT: okay so some of you are confused about the timelines? the only clue is Root’s nail polish, it means past and present…i’m an idiot i thought it was obvious.*sighs*

This time I have 15 pgs for you….. For some of you who’ve seen the first 6 pgs, the rest 9 pgs are brand-new. Enjoy.

Alias reference (Root): Mary Fairfax Somerville

If having trouble loading any pics: AO3.

 


Okay this is the end of it. Thanks for reading.

And please, please please please PLEASE do NOT re-upload my works to any website *WITHOUT MY PERMISSION* god it’s NOT FUNNY my lovely pirates.

Have a nice day.

10

More Olive Trees ….

Olive Grove and  Eucalyptus , Henri Edmond Cross 1856-1910

Promenade des oliviers - Henri Matisse 

Olive Trees, Henri Matisse 1898 

Olive Trees by the Golfe Juan ,  Raoul Dufy  c.1927

Olive Trees at Cavaliere-Henri Manguin - 1906

Road among the Olive Trees in Provence ,André Derain - circa 1926-1928 

Path among Olive Trees,   Henri Lebasque 1922

Olive Trees.  ,Vincent van Gogh  1889

Olive Trees , Vincent van Gogh  1888

Olive Trees , Georges Braque  1907

Marius De Zayas, Mexican illustrator, writer, gallery owner, and publisher.

Like those of Picabia, De Zayas’s drawings employed forms so simplified that they often verged on pure abstraction and contained witty visual puns that played on references to machines and other aspects of modern life. De Zayas’s drawings in turn probably inspired subsequent near-abstract “symbolic portraits” by members of the Stieglitz group, including Charles Demuth and Arthur Dove.

Read more free content from Oxford Art Online.

Image credit: “Mrs Brown Potter”, Camera Work, No 29 1910. Public domain via Wikipedia.

it's a sign

So, i have a midterm tomorrow, and one of the things i have to study are the periods of art. we were given a handout that we were to fill out using a site called grove art. we were given this handout after the first week.

since the first week i have /tried/ to do this hand out, to y'know learn things so i won’t be screwed for the midterm. the only issue is EVERYTIME I TRY TO DO IT, THE NET GOES DOWN.

every.

time.

even now it has gone down on my main computer JUST as i was about to go onto the site. i would try with my netbook (which i am currently on) but i don’t want to be missing the net on both computers… I will try again later when the net comes back on my main computer…

Michelangelo knew that beauty assumed many forms, hewn from marble, bronze, wood, terracotta, and stone.  But how did he, and so many others, make the leap from rough sketch to awe-inspiring sculpture? 

Image Credit: “Studies for the Libyan Sibyl (recto); Studies for the Libyan Sibyl and a small Sketch for a Seated Figure (verso)” by Michelangelo Buonarroti. OASC via MetMuseum.

Scholarly Resource Alert! A freely available resource, Italian Renaissance Learning Resources features eight units, each of which explores a different theme in Italian Renaissance art.

Picturing Family and Friends: In this unit we look at works of art that reveal some of the dynamics of personal relationships in Renaissance Italy. The first section of the essay explores husbands and wives, while the second discusses children. The third section takes a peek at lovers of various sorts, and the fourth considers friends (and a few celebrated enemies). Throughout the unit we examine marriage customs, family structure, and the humanist idea of platonic love (as well as the more earthly sort of love), and we learn more about the objects—paintings, sculpture, commemorative medals, and domestic articles—through which these complex and overlapping connections were expressed.

This project is a collaboration between the National Gallery of Art and OUP’s Grove Art Online. It was made possible through the support of the Samuel H. Kress Foundation.

Image credit: Titian, Ranuccio Farnese, Samuel H. Kress Collection. Image courtesy of the Board of Trustees, National Gallery of Art.