PHASE 3: Final Preparation

REVISED THESIS: Holbein’s portraits of Erasmus illustrate how patronage in the Renaissance expanded the social and political functions of art and further developed the status of the artist in society. In this paper I will discuss the changing attitudes toward art and specifically how Erasmus’s personal influence and status was consciously enhanced through Holbein’s genre of portraiture.

SYLLABUS:

Topic: Renaissance Humanism

Introducing Erasmus and the Reformation: How humanist thought became popular and swept the nation

Suggested Readings:

‘First Years of the Reformation,’ page 139-150, Erasmus and the Age of Reformation by Johan Huizinga

Topic: Erasmus’s Biography

Problems with knowing the man behind the portrait: His reputation and public life

Suggested Readings:

Preface,  page viii-xviii, Erasmus of Europe: The Making of a Humanist by R.J. Schoeck

‘Erasmus’s Character,’ page 117-129, Erasmus and the Age of Reformation by Johan Huizinga

Topic: Holbein’s Reformation of Art: Increasing status of the artist

Holbein’s naturalistic techniques as an artist

Suggested Readings:

‘Historical introduction: the idea of the artist,’ page 7, and  ‘The Status of the artist in Northern Europe in the sixteenth century’ page 109-128, Changing Status of the Artist, Barket, Emma, Nick Webb, and Kim Woo.

Topic: Portraiture, Likeness and Lifelikeness

Erasmus of Rotterdam as a subject of portraiture

Suggested Readings:

‘Likeness,’  page 59-74, Erasmus of Rotterdam by Stefan Zweig

‘Translating nature into art: Portraying Erasmus,’ page 177-182, Translating Nature Into Art: Holbein, the Reformation, and Renaissance Rhetoric by Jeanne Nuechterlein

WHY ART HISTORY?:

Renaissance art has played a prominent role in the history and development of the art world as it is today. The study of art history in general has provided a unique way of understanding the world and its manmade creations, which is integral to the functioning of a culturally vivid and innovative society. My personal study of art history has defined a large portion of my life already, as I have chosen it as my major and hope to pursue a career that utilizes the knowledge I have gained about visual culture and society. The choice to study art history may be stereotyped as a obscure or elite field, but I continually see the topic of art history come up in everyday conversation with friends, acquaintances and strangers – it appears that everyone at one point in their life has noticed art and have made an attempt to be slightly knowledgeable about its history.

The study of art history has been relevant to my life in interconnected ways, but our study of Renaissance art specifically has provided me with a greater appreciation and context for truly foreign items and their culture, which has encouraged me to look at things out of the ordinary with more curiosity and make meaningful connections where I may have not imagined there could be any. The course material has provided me with a broad exposure to European Renaissance art and thought that has collectively created the discipline of art history. And while this was a thorough introduction to the dynamic Renaissance period, there is still much left to discover for myself in the works of the great European artists. As we traveled through the art of from the Mediaeval ages to the 16th century, I learned how studying visual culture came about and how different frameworks for thinking about it were developed during the Renaissance. By examining the works of art that are world and exploring this sophisticated view of art history, I engaged with the key concepts of Renaissance art and the type of intellectual thought these works encompassed. Discussing works of art and cultural trends in class from the students’ point of view made me realize how liberal the discipline of art history has become, and how we have come to study it as a discipline led me to ponder about the importance of art – it’s purpose, it’s place in society, why it was created by the artist, how important past works perhaps should have been, in the grand scheme of things.

 

THE LIFE OF A FLORENTINE ARTIST:

Venice has played a vital role in the beginning of the Renaissance art period and was a primary force in stimulating artists in Europe to develop formal skills that satisfied patrons from the courts. Societal pressures and attitudes toward artists and art making in Renaissance Italy are different than the artisan culture in northern Europe, where trades like printmaking have dominated the art scene. In contrast, artists from all parts of Europe have traveled to Venice to study the techniques of Renaissance Italian art in order to develop their vocation as an as an artist, fulfilling the desire of many painters and sculptors to be exposed to new ideas of artistic practices and broader artistic issues. This growing consciousness of artists about notions of art and artistic identity in his work can be seen from the work an artist who painted himself in his own works, the self-portrait that helped expand his circle of patrons and enhance the status of the artist as an intellectual and not simply a craftsman. This artist desired to further his artistic career as highly skilled painter by presenting his skills in the creation of several self-portraits and studies. In his series of self-portraits, this artist displays his artistic qualities for potential commissions. Qualities of lifelikeness in the fine detail of his self-portrait along with a pleasing composition demonstrate his talent as an artist. Many of these self-portraits were kept in his studio for prospective patrons, to impress potential buyers or other competitors.

In the context of self-portraiture as a genre, this bold display of artistic self-confidence highlights the new attitudes during the Renaissance period that this artist in particular was compelled to embrace. The connections between portraiture as an art form and the Renaissance attitudes towards individuality, originality, and creativity were important to the changing status of the artist. As an artist, he was emerging toward greater consciousness and articulation of his intellectual capacities, taking control of his social status as well as the future of his artistic career. He gained appreciation from wealthy patrons and other respected members of society, as his artistic technique spoke for itself and efficiently attests to his greatness – viewers of his work should be inclined to support the talented artist that he has depicted his self-portrait.

In conclusion, the Renaissance saw a rise in the status of the artist with the development of painters’ consciousness and changing artistic standards. Renaissance art making techniques and Italian artisan culture was incorporated into the practices of artists all across Europe. He, like so many other artists of this time, desired a powerful artistic career and strongly believed that artisans deserved to be recognized as more than simply craftsmen. This artist’s personal effort to encourage the Renaissance Italian attitude toward artists’ status across Europe was successful in raising his own social standing. His aspirations in creating an ideal image both as an artist and an upwardly mobile member of society were fully realized (and materialized) in his self-portraits. His bold choices were crucial contributions toward the values of early Renaissance artists’ how society valued them in return, encouraging new ideas of the modern artist to flourish during the Renaissance.

PHASE 2: New Reflections

WORKING THESIS STATEMENT:

Holbein’s Erasmus illustrates some of the changing attitudes toward art and the role of the artist during the Renaissance period, specifically how influence and status was depicted through portraiture. The powerful scholar Erasmus and his patronage is an example of how personal or business-related commissions had an impact on the place of the artist in society. My study of Holbein’s work will highlight how patronage expanded the social and political functions of commissioned art and further developed the status of the artist.

TEN QUESTIONS

1) Who was Erasmus and what was he like – politically, socially, economically?

2) What was role of higher education and Greek aesthetic influences in Northern Europe?

3) What did the style of clothing mean for Erasmus and is it related to the typical outfits in paintings in of the scholar in his study – is it practical but also nobler than most?

4) Does his gaze (away from the painter) mean something more revealing, symbolic, and is there significance in the placement of his hands?

5) What type of books is he showing, is the vase a scientific object or a decorative objective – do these hint to him being a polymath?

6) What is the expression on his face, and how does his choice of clothes portray him to others?

7) What characteristics of the still-life portraits during the time are shown in the collection of objects behind the sitter? What is the significance of the composition – is it simply aesthetic or symbolic?

8) What is the Greek imagery on the column depicting? Does it show his refinery and cultured life?

9) Are all the materials of this portrait the finest quality? Lush fabrics, gilded objects, expensive furs, head-to-toe outfit, rare books – what is the purpose of showing these objects of wealth in making a name for himself at this time in society?

10) What do the placement of the inscriptions and illustrations in the books say? Is this a coy way of putting Holbein’s mark on a portrait meant for Erasmus and his identity? Is this technique typical of artists of this time?

REVISED VISUAL ANALYSIS:

Composition, line, and colour:

• The composition of the portrait is characteristic of the Italian Renaissance style of portraiture at this time. The sitter is depicted at half-length with a three-quarter turn of the body, placing the sitter in the foreground with an array of objects placed on a wall in a room as the background.
• The formal qualities of Holbein’s painting style are strong in realism. This portrait does not have a painterly quality but a highly realistic, lifelike quality that has been created by the three-dimensional treatment of the composition. Visually, the use of line is not apparent to the eye. The effectiveness of the composition is in the zig-zag scanning pattern the eye follows to take in the 2D information as 3D images. The painter has focused on the finest details of the sitter and his surroundings, recording the details of his appearance and his status with care.
• Holbein paints the sitter’s facial features realistically using refined techniques of tone and shadows, along with a natural yet vivid colour scheme chosen for the entire composition. This portrait is realism at its best, using colours that are natural and true to history. The elegant brushwork and successful execution of realism in portraiture creates a striking, captivating individual that is easily imagined in real-life.

Focal points:

• There are many layers to this composition. The focus of the composition is clearly on the face of the sitter, which is seen from a slight angle, facing away from the viewer. Aspects of the sitter’s personality or values are depicted in this simple portrait, showing his wealth and status is obvious in the details of his dress: the finely rendered fur coat, the wispy hairs peeking out from under his fur hat, and the gold ring on his ring finger.

Subject of the Work:

• Hans Holbein has painted a striking likeness of Desiderius Erasmus as he looked at the age of the sitting (about 60 years old). In this portrait, the purpose of this somewhat random background is to highlight the interests and passions of the sitter – depicting him as solely a scholar in his chamber with his books. Perhaps because of the distant gaze, the focus immediately shifts to the objects is the background instead. The array of decorative objects, including the Greco-Roman designs on the column pilaster beside or slightly behind the sitter, books and a glass carafe on a shelf next to a half-drawn green curtain, are main features of the composition.

Research Related Analysis:

• The context of this specific portrait is important to the analysis of the visual elements. Erasmus commissioned Holbein to paint portraits to send as gifts to friends and colleagues across Europe, which contributed to his fame as a prominent figure during the Reformation. The books, architecture, luxurious fabrics, and other noble details to the interior depicted in the portrait directly relate to Erasmus as a humanist scholar. The decoration of the column is Greco-Roman-inspired, bringing classical antiquity and the respect garnered by the great thinkers that Erasmus has studied into the painted image of Erasmus.
• The book that Erasmus is resting his hands on has a Latin inscription on the edges of, as well as on the book behind the head, resting conspicuously against the glass carafe. According to sources, this small book has a Latin couplet on the edge, composed by Erasmus, which praises Holbein’s skill. It reads: ‘I am Johannes (i.e. Hans) Holbein, whom it is easier to denigrate than to emulate.’ This stresses the importance of the sitter’s relationship with the painter and reveals the true intention of the portrait and its symbolism.

THE OBJECT: 

The portrait of Desiderius Erasmus of Rotterdam is one of many portraits made of the humanist scholar. In comparison to the nearly identical portraits of Erasmus that Holbein painted in the same year, this particular portrait is significantly more elaborate in its visual elements, including its dimensions which are much larger than the other portraits of Erasmus painted by Holbein. I do not know what drew me to the portraits of Erasmus when I put in a search for the works of Hans Holbein the Younger, but I have discovered their importance in the history of early Renaissance art. I discovered the artist from his illustrations on maps at a museum exhibition and found myself interested in Holbein’s miniature portraits before I finally settled on his portraits of Erasmus. My initial idea was to examine all of the related imagery for portraits of Erasmus and compare their visual and practical qualities, but my interest in the subject of Erasmus as a major figure in Holbein’s artistic life has taken me in a different direction.

The function of portraiture is a fascinating subject. The portrait of Erasmus, like many other notable members of society at, is not merely a record of his physical features but of his profession and status in society portrayed through his choice of dress and the objects placed within the image. This is an important feature of this portrait and a reason why I have decided to uncover what is a seemingly straight-forward work of art from the Renaissance period.

I chose the portrait of Erasmus specifically because of my interest in and admiration of the humanist movement that developed during the Renaissance. I am interested in learning about the nuances of the liberal arts, the leaders of the humanist movement, and their various supporters with the anchor of a historic object. After uncovering a few great sources on the status of the artist and the historic background to Erasmus’s reputation, I realized there was enough factual information to parallel with an analysis of the work and of the artist. My initial interest in Renaissance humanism was the reason for choosing the portrait and has proven to be a strong basis for my research into this particular work of art.  I hope that my research on Erasmus’s political, religious, and social influence will reveal the underlying circumstances for artists in this rapidly changing time.

Examining the patronage of influential intellectuals will reveal the connection between artistic achievements and artist status from the perspective of patrons and artists themselves. The portrait is an example of how the attitude of patrons and their opinions on art affected the kind of works that were produced, especially art that was commissioned for personal use (for fame and respect in Erasmus’s case). I hope to develop a strong understanding of Holbein as an artist, specifically his status in social and political areas across Europe and how it was enhanced through patronage and his own artistic achievements.

 

BIBLIOGRAPHY

Ames-Lewis, Francis. The Intellectual Life of the Early Renaissance Artist. Yale University Press: New Haven & London (1943).

Barket, Emma, Nick Webb, and Kim Woo. Changing Status of the Artist. Yale University Press:The Open University (1999).

Halkin, Leon-e. Erasmus: A Critical Biography. Blackwell Publishers: Cambridge (1993).

Huizinga, Johan. Erasmus and the Age of Reformation. Harper: New York (1957).

Facer, G.S. Erasmus and His Times: A Selection from the Letters of Erasmus and his Circle. G. Bell & Son Limited: London (1973).

Gordenker, Emilie E. S. “The Rhetoric of Dress in Seventeenth-Century Dutch and Flemish Portraiture,” The Journal of the Walters Art Gallery, Vol. 57, Place and Culture in Northern Art, pp. 87-104. The Walters Art Museum (1999).

Jacobs, Fredrika H. The ‘Living’ Image in Renaissance Art. Cambridge University Press: New York (2004).

Jones, Ann Rosalind. Renaissance Clothing and the Materials of Memory. Cambridge University Press: Cambridge; New York (2000).

Müller, Christian. Hans Holbein the Younger: The Basel Years. Munich; New York: Prestel (2006).

Rublack, Ulinka. 2011. “The Birth of Power Dressing.” History Today, Vol. 61, pages 20-27. Academic Search Complete, EBSCOhost (accessed February 26, 2013).

Schoeck, R.J. Erasmus of Europe: The Making of a Humanist. Edinburgh University Press: Edinburgh (1990).

Woods, Kim W. Making Renaissance Art. Yale University Press: London, (2007).

Zweig, Stefan. Erasmus of Rotterdam. The Viking Press: New York (1934).

PHASE 1: The Object

The object I have chosen to study to launch my investigation into Renaissance art and society is a portrait of Desiderius Erasmus of Rotterdam, a prominent humanist scholar during the Reformation in Europe. This particular portrait was painted by Hans Holbein the Younger in 1523, a German painter whose workshop was located in Basel. It is painted with oil on a wood panel sized 76 x 51 cm. It is located in the National Gallery in London and is one of three portraits of Erasmus identified as the work of Hans Holbein himself and not other artists in his workshop. It is one of many portraits made of the humanist scholar Erasmus, and is, in particular, one of the three painted by Holbein in the same year.

In comparison to the nearly identical portraits of Erasmus that Holbein painted in the same year, this portrait is significantly more elaborate in its visual elements. The dimensions of this work are much larger than the other portraits of Erasmus painted by Holbein, which perhaps draws more attention and increases the importance of the piece. The portrait, titled simply ‘Erasmus’, is not merely a record of his physical features but of his profession and status in society portrayed through his choice of dress and the objects placed within the image. This is an important feature of the portrait and one of the reasons why I was drawn to a seemingly straight-forward work of art in the Renaissance period.

I believe the careful study of this portrait (and similar paintings made by Holbein and other artists) will provide me with a strong understanding of the role of artists in the Renaissance and how their status in social and political areas across Europe was developed through patronage and artistic achievements. I have chosen a portrait of Erasmus specifically because of my interest in and admiration of the humanist movement that developed during the Renaissance; I am curious to learn more about the nuances of the liberal arts, the leaders of the humanist movement, and their various supporters.

Artist: Hans Holbein the Younger
Title: Erasmus
Date: 1523
Medium: Oil on wood
Size: 76 x 51 cm
Location: National Gallery, London

**CLICK IMAGE FOR CLOSE-UP VIEW**

Visual Analysis (Rough-Draft): Hans Holbein has painted a striking likeness of (what I happily assume) Desiderius Erasmus looked like at the age of the sitting (about 60 years old). The vivid lifelikeness of this portrait has been created by the three-dimensional quality of the composition, which includes the sitter in the foreground and an array of objects placed on a wall in a room as the background. What I notice immediately is the decorative details on the column pilaster beside or slightly behind the sitter. There are many layers to this composition, and while the focal point is the face of Erasmus, I am immediately drawn to the intricate placing of objects in the background: books and a glass carafe on a shelf, separated from the sitter by a half-drawn green curtain. In this portrait, the purpose of this somewhat random background is to highlight the interests and passions of the sitter – depicting him as solely a scholar in his chamber with his books.

These objects directly relate to Erasmus as a humanist scholar. There are books, architecture, luxurious fabrics, and other noble details to the interior depicted. The decoration of the column is Greco-Roman-inspired, bringing classical antiquity and the respect garnered by the great thinkers that Erasmus has studied into the painted image of Erasmus. Once I have followed the zig-zag-like pattern of visual scanning, I am drawn to the book that Erasmus is resting his hands on. There is Latin written on the edges of the book at the front of the image, as well as on the book behind the head, resting conspicuously against the glass carafe. According to sources, this small book has a Latin couplet on the edge, composed by Erasmus, which praises Holbein’s skill. It reads: ‘I am Johannes (i.e. Hans) Holbein, whom it is easier to denigrate than to emulate.’ This stresses the importance of the sitter’s relationship with the painter and reveals the true intention of the portrait and its symbolism.

In terms of formal qualities, the painting style of Holbein is strong in realism. It does not have an incredibly painterly quality – instead, the painter has focused on the finest details of the sitter and his surroundings, recording the details of this famous scholar. His wealth and status is obvious in the details of his dress: finely depicting the fur trim on his coat, the wispy hairs peeking out from under his fur hat, and the gold ring on his (wedding) finger. Holbein is a profound painter: he makes careful, accurate representations of his face with the techniques of tone and shadows, along with the colour scheme chosen for the entire composition. This portrait is realism at its best, using colours that are natural and true to history (which is helpful for our study of historic culture and interior design/fashion trends!).

This portrait style of the half-length with a three-quarter turn of the body is popular in Italian Renaissance portraiture at this time, which suggests that Holbein has followed convention in the composition. However, the context of this specific portrait (Erasmus commissioned Holbein to paint portraits to send as gifts to friends and colleagues across Europe, which contributed to his fame as a prominent figure during the Reformation) draws attention to the uniqueness of this portrait… Aspects of the sitter’s personality or values are depicted in this simple portrait, even without a direct gaze at the viewer. In the case of Erasmus, a sense of sophisticated intellectual ability is paired with a hint of mystery or perhaps humbleness by his distant, but thoughtful, gaze past the viewer who is standing in front of the painting. Overall, the elegant brushwork and successful execution of realism in portraiture creates a striking, captivating individual that is easily imagined in real-life (in my opinion, anyway).

SOURCES:
http://en.wikipedia.org/wiki/Hans_Holbein_the_Younger & http://en.wikipedia.org/wiki/Desiderius_Erasmus

RELATED IMAGES:

Artist: Hans Holbein the Younger
Title: Portrait of Erasmus of Rotterdam
Date: 1523
Medium: Oil on wood

This portrait is one of the three paintings done by Hans Holbein in the same year of Erasmus – it shows a different style of painting his facial features but includes the feature of a book in the composition, as well as the same robe. Comparing this image is helpful in my investigation of patronage and portrait demands and what is considered more flattering or desirable for the sitter.

SOURCE: http://www.wikipaintings.org/en/hans-holbein-the-younger/portrait-of-desiderius-erasmus-1523

Artist: Hans Holbein the Younger
Title: Portrait of Erasmus of Rotterdam
Date: 1523
Medium: Oil and tempera on wood panel
Dimensions: 32 x 42 cm
Location: Musée du Louvre, Paris, France

This is the other portrait in this ‘series’ of Hans Holbein originals. This is perhaps a more pleasing composition and portrays Erasmus in a less obvious or flashy way – without the gaze of the sitter, the focus is on the activity in the image and not necessarily about the celebrity status of the scholar.  Comparing this image to the other portraits of Erasmus highlights the subtle and more obvious variation that was employed by Holbein in the hope of satisfying his patron’s wishes.

SOURCE: http://www.wikipaintings.org/en/hans-holbein-the-younger/portrait-of-desiderius-erasmus-1523

Artist: Hans Holbein the Younger
Title: Portrait of Erasmus von Rotterdam in a Round Frame
Date: 1532
Medium: Tempera on wood
Size: 76 x 51 cm
Location: Kunstmuseum, Basel, Switzerland

This is a miniature created by Holbein – yet another version of the prominent scholar and active figure in Holbein’s artistic practice. I am curious about this version of portraiture and want to look into how this style was created and what miniatures were used for. I am interested in learning about patronage trends and what was stylish work for emerging, up-and-coming artists who were influenced by different areas of Europe.

SOURCE: http://www.friendsofart.net/en/art/hans-holbein-the-younger/portrait-of-erasmus-von-rotterdam-in-a-round-frame

Artist: Albrecht Dürer
Title: Erasmus of Rotterdam
Date: 1526
Medium:
Engraving
Dimensions: 9 7/8 x 7 5/8 in. (24.9 x 19.3 cm)
Location: National Gallery, London – Fletcher Fund, 1999 (19.73.120)

This is not a work of Holbein’s but of a prominent  artist who was integral to the Renaissance art movement in Germany. I am interested in this portrayal of Erasmus and wonder what his reception of this would be – it seems, to me, much less regal and poised than the half-length portraits that Holbein painted for him. I wonder where this engraving was printed and who saw it.

SOURCE: http://www.metmuseum.org/toah/works-of-art/19.73.120

Artist: Hans Holbein the Younger
Title: Self-portrait
Date: c. 1543
Medium: Coloured chalks and pen on paper
Dimensions: 32 cm × 26 cm (13 in × 10 in)
Location: Uffizi Gallery, Florence

This is simply a self-portrait of Hans Holbein created many years after his portraits of Erasmus. I am curious to track the changes in Holbein’s artistic style since moving on from portraying Erasmus to the English courts. I think it is important to look at how an artist paints themselves and compare it to how they paint their sitters, if there are few differences in the honesty or realism of the face and details in the paintings.

SOURCE: http://en.wikipedia.org/wiki/Self-portrait_%28Hans_Holbein_the_Younger%29

***NOTE:  Many of the Holbein portraits of Erasmus had interchangeable names. I tried to be as accurate as possible, but I do not know whether ‘Erasmus’, ‘Erasmus of Rotterdam,’ or ‘Portrait of Erasmus of Rotterdam’ is preferred.