sitting in a deep chair

    Angelo Bronzino portrait of Lucrezia Panciatichi, beetle embedded in amber. Anna von Cleve, shady pearl mounted in design of Hans Holbein the goldsmith.


    Moment of deflected glance freed from framing blinders straight course control of M.Souch. registered by Holbein through conspiracy of compassion.


    Dürer in latest fashion Venice looks dressed up and knows it. Cf Bronzino come in one piece elegant Young Man With Book perfectly comfortable. On other hand relaxation of latter robotic numbness about it, like somebody lost in desert of the present. Dürer more of kid try out clothes and shoes of grown-ups. No numbness because recollect future by impersonation, what young people tend to do.


    Bronzino painted impenetrable face of social distinction happen to resemble composure of stoicism but is more of ungrounded equanimity.

  • [1787]

    Did not Holbein dupe his clients believe he painted neutrality and impenetrability of social distinction while in fact torture of rank?

  • [1788]

    Dürer and Holbein lived double life: cultivated official and private aesthetic side by side, whereas Leonardo and Michelangelo were just as private in official commissions as they were public in private inventions.


    Compare Hans Memling diptych portrait of Martin Nieuvenhoeven in Adoration of The Madonna and Dürer Self Portrait from 1500. Dürer, like Martin in adoration, only rotated full-face look through himself and beyond.