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1	Holbein and his English patrons Foister, Susan Rosemary January 1981 (has links) No description available. 700 16th century; Hans Holbein the Younger
2	The Art and Science of Reading Faces: Physiognomic Theory and Hans Holbein the Younger Berry Drago, Elisabeth Michelle January 2010 (has links) This project explores the work of Hans Holbein the Younger, sixteenth-century printmaker and portraitist, through the lens of early modern physiognomic thought. This period's renewed interest in the discipline of physiognomy, the art and science of "reading" human features, reflects a desire to understand the relationship between outer appearances and inner substances of things. Physiognomic theory has a host of applications and meanings for the visual artist, who produces a surface representation or likeness, yet scholarship on this subject has been limited. Examining Holbein's social context and artistic practice, this project constructs the possibility of a physiognomic reading of several major works. Holbein's engagement with physiognomic theories of appearance and representation provides a vital point of access to early modern discourse on character, identity and self. / Art History Art History Dance of Death Hans Holbein Physiognomy Portraiture
3	Arvet från Holbein sett genom Olle Hamngren och Martina Müntzings porträttkonst : En analys av verk av Hans Holbein, Olle Hamngren och Martina Müntzing. Hur ser arvet från renässansen ut i dagens porträttmåleri? / The legacy of Holbein seen through Olle Hamngren and Martina Müntzing's portrait art Ehk, Jan-Olof January 2021 (has links) Hur påverkar porträttmålaren Hans Holbein den yngre dagens porträttkonst? Det är nästan 500 år sedan han dog. Vad är det för speciellt med Hans Holbein och vilka egenskaper i hans målningar är det som fångas upp av Sveriges kanske två främsta porträttmålare idag? Finns detta inflytande även utanför Sverige? Detta är utgångspunkten för denna C-uppsats. Min uppsats påvisar att det realistiska porträttmåleri som Holbein verkade inom med naturtroget återgivna detaljer, noggrant planerade målningar med koder som finns där för den betraktare som vet att tyda dem. Såväl Müntzing, Hamngren samt Kitaj använder denna realism på ett tydligt sätt. Symbolerna som togs med av Holbein under renässansen var symboler för vad som ansågs viktigast i livet då. Dessa har ersatts med andra symboler i vår samtid. Det är detta som är magin eller mystiken i "realismen" – och kopplingen till Holbeins tradition – att den har flera lager eller dimensioner och att den tar spjärn mot symboliken. Det Holbeinska arvet går alltså igen och konstnärerna ger fina och eleganta gester åt den initierade betraktaren. Från Holbeins dyrbara exklusiva föremål har vi idag symboler för solidaritet, vänskap, kärlek och familj som de viktigaste attributen i livet. Martina Müntzing Olle Hamngren Hans Holbein porträttkonst Humanities and the Arts Humaniora och konst
4	Den dödlige narren : En studie av satir och humor i dödsdansen av Hans Holbein den yngre / The deadly jester : A study of satire and humor in Hans Holbein the younger's dance of death Karadh, Sofie January 2023 (has links) Hans Holbein's Dance of Death has fascinated researchers for centuries, and in the shape of the book Les Simulachres et historiées de la mort, published in 1538, it was going to change the perception of the dance of death theme for a long time ahead. What most researchers point out about Holbein's pictures is its underlying sense of satire or irony – but is typically glossed over as a matter of fact. The aim of this study is to explore what makes satire and humor apparent in Holbein's dance of death. The study mainly focuses on four separate images from Holbein's series, that represent different social standings and professions to compare and study the difference in satire depending on this factor. By using Panofsky's iconographic method, Kemp's reception theory and Bachtin's theory about the carnivalesque and the grotesque, the study shows that Holbein was inspired by the earlier traditions of the Dance of Death theme but made certain new changes that were related to renaissance culture and ideas. These factors in combination with the ideas of the grotesque turned the frightful Death into something more than just a sudden harbinger of death – it was also part of carnival culture and laughter. Dance of death Hans Holbein the younger Satire Satire in art Renaissance Medieval Iconography Carnevalesque Grotesque realism Dödsdans Danse Macabre Hans Holbein den yngre Satir Satir i konst Renässansen Medeltiden Panofsky Kemp Bachtin Ikonografi grotesk realism Art History Konstvetenskap
5	Le dispositif d'objets dans un nouveau type d'image au 16e siècle : les portraits de marchands Waite-Fillion, Alexandra 04 1900 (has links) Le concept d’un « dispositif d’objets » présent dans le Portrait d’un marchand (v. 1530) de Jan Gossart et le Portrait du marchand Georg Gisze (1532) d’Hans Holbein le Jeune a pour objectif de porter un regard nouveau sur des œuvres trop souvent réduites à des notions d’esthétisme et de symbolisme. En utilisant une approche pluridisciplinaire à notre analyse, nous voulons promouvoir les objets comme acteur dominant dans la mise en scène de l’identité sociale du marchand au 16e siècle. L’association entre histoire de l’art et anthropologie des techniques permet la validation d’une scénographie de la culture matérielle marchande, ainsi que le dégagement d’un commentaire social inhérent à la proposition artistique de Gossart et Holbein. L’intérêt d’une étude orientée sur les objets promet également l’ouverture d’une réflexion sur la manière de concevoir le portrait d’occupation indépendamment de la valeur anagogique qui lui est généralement associée à la Renaissance. Le Portrait d’un marchand et le Portrait du marchand Georg Gisze attestent d’un moment ponctuel dans la production spatio-temporelle des portraits de marchands en Europe du Nord au 16e siècle. L’analogie confondante qui unit les deux œuvres prend son essence dans la thématique visuelle engendrée par le « dispositif d’objets ». / The concept of an object system, as found in Jan Gossart’s Portrait of a Merchant (ca. 1530) and Hans Holbein the Younger’s Georg Gisze (1532) aims to reevaluate works which are too often reduced to aesthetics and symbolism. By means of a multidisciplinary approach, the study aims to promote the objects represented in the paintings as the dominant actors in the staging of the social identity of the sixteenth-century merchant. The association between art history and anthropology of techniques allows the validation of a scenography of the material merchant culture, as well as the emergence of a social commentary inherent to Gossart’s and Holbein’s artistic work. Attention to an object-oriented study also allows for new insights into how to understand the occupational portrait independently of an anagogical value, which is generally attributed to the Renaissance period. The Portrait of a Merchant and portrait of Georg Gisze attest to a specific moment in the production of merchant portraits in northern Europe during the sixteenth century. The apparently disparate works are united by the object system represented in the paintings. Histoire de l'art Anthropologie des techniques 16e siècle Europe du Nord Jan Gossart Hans Holbein le Jeune Portrait de marchand Dispositif d'objets Identité marchande Art history Anthropology of techniques 16th century North Europe Hans Holbein the Younger Merchant portrait Objects system Merchant identity
6	Gribshunden (1495) : En jämförande studie av samtida skeppsavbildningar Ingers, Ellen January 2017 (has links) The aim of the MA thesis is to discuss and analyse different illustrations, paintings, carvings in wood and stone and woodcuts of ships of the new kind (Carrack, carvels), from the 15th century to the middle of the 16th century, and compare them to the Griffon-hound ship, and to understand how they have evolved. The ships of the time had large stern and end castles, three to four masts, and where built for the war tactic of boarding. The oldest ship of the new kind that have been found, is the Griffon-hound, a ship that belonged to the Danish king Hans, and sunk due to a fire 1495 outside of Ronneby in southern Sweden. Besides being the oldest of its kind, the ship also has a very specific figurehead that resembles a monster with a screaming human head in its gap. By discussing and analysing the artworks it is possible to learn more about the ships. After analysing them, the result is that the artworks do show how the ships have evolved. Some of the different attributes that the artworks display have also been found when investigating the wreck of the Griffon-hound. More attributes might still be on the wreck site, hidden under the sediment. An example is the remains of the anti-boarding nets that a lot of the artworks show, and that have been found on the wreck of the Mary Rose, the English ship that belonged to king Henry VIII. The Mary Rose is younger than the Griffon-hound, but artworks of older ships also show the anti-boarding nets, or the beams on top of the castles. The purpose behind having a large variety of different artwork is to increase the knowledge about the ships of the time, and to make sure that the attributes that is being analysed doesn’t only occur in one or two artworks. The Griffon-hound Mary Rose Lomelinna end castle fore castle wreck carvel carrack ship artwork Arkeologi Marinarkeologi Historisk arkeologi Bildanalys Triangulering Örlogsskepp Skeppskonstruktion Skeppsbyggnad 1400-tal 1500-tal Medeltid Gribshunden Henry Grace a Dieu Santa Maria Mataróskeppet Skeppsristning Kyrkomålning Väggmålning Sandro Botticelli Vittore Carpaccio Kopparstick Santa Catarina do monte Sinai Hans Holbein Pieter brughel Karrack Kravel Nao Kastell Archaeology Arkeologi

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