The Ambassadors, a painting by 16th century Dutch
artist Hans Holbein the Younger, is an impressive example
of Northern Renaissance portraiture. The painting depicts
two elegantly dressed men, 1 although their fine robes
and jewelry indicating their wealth and worldliness. Below
the two ambassadors looms a strange figure. At first glance,
it appears to be an odd, abstract shape, slashing across the
lower third of the canvas like a specter. When seen from
another angle, however, a surprising image appears: viewed
from the right side, the strange shape is revealed to be a
grinning skull. 2
The earliest known anamorphic work is attributed to
Leonardo da Vinci. During the late 15th century, Da Vinci
and other Renaissance artists were interested in exploring
the rules of visual perspective; they used anamorphosis
as a means to develop their understanding of perspective
and to showcase their technical proficiency. Holbein,
on the other hand, used anamorphosis to achieve more
sophisticated artistic and intellectual goals. While the
anamorphic paintings of earlier artists were little more than
impressive tricks of perspective, The Ambassadors employs
anamorphosis to make a more complex statement.
Upon viewing the painting from the front, 3 the
confident ambassadors are seen by the careful observer
standing amongst symbols of prosperity, above the hazy
and abstract anamorphic image. But as the viewer begins to
examine Holbein’s painting more closely, several surprising
details fall into sharp relief: the string on the prominently
displayed lute is 4 broken; the faces of the sundial appear
not to match; and the globe is tipped upside-down, though
several regions are labeled right-side up. As the observer
moves to the right-hand side of the painting, the only
clearly recognizable shape becomes the anamorphic skull.
5 Its Holbein’s reminder that the wealth and worldly
knowledge of the ambassadors will not protect them from
their ultimate fate—one which no human can avoid.
artist Hans Holbein the Younger, is an impressive example
of Northern Renaissance portraiture. The painting depicts
two elegantly dressed men, 1 although their fine robes
and jewelry indicating their wealth and worldliness. Below
the two ambassadors looms a strange figure. At first glance,
it appears to be an odd, abstract shape, slashing across the
lower third of the canvas like a specter. When seen from
another angle, however, a surprising image appears: viewed
from the right side, the strange shape is revealed to be a
grinning skull. 2
The earliest known anamorphic work is attributed to
Leonardo da Vinci. During the late 15th century, Da Vinci
and other Renaissance artists were interested in exploring
the rules of visual perspective; they used anamorphosis
as a means to develop their understanding of perspective
and to showcase their technical proficiency. Holbein,
on the other hand, used anamorphosis to achieve more
sophisticated artistic and intellectual goals. While the
anamorphic paintings of earlier artists were little more than
impressive tricks of perspective, The Ambassadors employs
anamorphosis to make a more complex statement.
Upon viewing the painting from the front, 3 the
confident ambassadors are seen by the careful observer
standing amongst symbols of prosperity, above the hazy
and abstract anamorphic image. But as the viewer begins to
examine Holbein’s painting more closely, several surprising
details fall into sharp relief: the string on the prominently
displayed lute is 4 broken; the faces of the sundial appear
not to match; and the globe is tipped upside-down, though
several regions are labeled right-side up. As the observer
moves to the right-hand side of the painting, the only
clearly recognizable shape becomes the anamorphic skull.
5 Its Holbein’s reminder that the wealth and worldly
knowledge of the ambassadors will not protect them from
their ultimate fate—one which no human can avoid.