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Hans Holbein
German
1497-1543
Hans Holbein Galleries
Holbein always made highly detailed pencil drawings of his portrait subjects, often supplemented with ink and colored chalk. The drawings emphasize facial detail and usually did not include the hands; clothing was only indicated schematically. The outlines of these drawings were then transferred onto the support for the final painting using tiny holes in the paper through which powdered charcoal was transmitted; in later years Holbein used a kind of carbon paper. The final paintings thus had the same scale as the original drawings. Although the drawings were made as studies for paintings, they stand on their own as independent, finely wrought works of art. How many portraits have been lost can be seen from Holbein's book (nearly all pages in the Royal Collection) containing preparatory drawings for portraits - of eighty-five drawings, only a handful have surviving Holbein paintings, though often copies have survived.
David Hockney has speculated in the Hockney-Falco thesis that Holbein used a concave mirror to project an image of the subject onto the drawing surface. The image was then traced. However this thesis has not met with general acceptance from art historians.
A subtle ability to render character may be noted in Holbein's work, as can be seen in his portraits of Thomas Cromwell, Desiderius Erasmus, and Henry VIII. The end results are convincing as definitive images of the subjects' appearance and personality.
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Konstnarens with wife Katherine and Philipp
mk234
about 1528
77x65cm
Painting ID:: 53765
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Konstnarens_with_wife_Katherine_and_Philipp
mk234
about 1528
77x65cm
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sir richard southwell
mk248 nar det bar par portrattet malades bade soutbwell varit sberiff av suffolk ocb norfolk i tva ar, trots att ban blivit domd for mord, holbein formedlar en viss obebaglig kansla bos mannen men som alltid pa sitt objektiva satt, den orakade bakan nedanfor den banfulla munnen drar askadarens blickar till arret pa balsen.
Painting ID:: 56605
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sir_richard_southwell
mk248 nar det bar par portrattet malades bade soutbwell varit sberiff av suffolk ocb norfolk i tva ar, trots att ban blivit domd for mord, holbein formedlar en viss obebaglig kansla bos mannen men som alltid pa sitt objektiva satt, den orakade bakan nedanfor den banfulla munnen drar askadarens blickar till arret pa balsen.
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anna av kleve
mk248 tudorperioden var intrigernas ocb svekens tid. i det bar portattet av henrik viii s fjarde bustru bar holbein kanske med sin omsorgfulla penselforing slatat over de drag som fick kungen att kalla balla marren fran flandern nar ban traffade benne forsta gangen . hennes dyrbart utmyckade kladsel drar blickarna fran ansiktsuttrycket. kan det ba varit en ledtrad for nar kungen ocb anna val bade gift sig var henrik var henrik redan beredd att bestalla holbeins portratt av busteu nummer fem.
Painting ID:: 56606
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anna_av_kleve
mk248 tudorperioden var intrigernas ocb svekens tid. i det bar portattet av henrik viii s fjarde bustru bar holbein kanske med sin omsorgfulla penselforing slatat over de drag som fick kungen att kalla balla marren fran flandern nar ban traffade benne forsta gangen . hennes dyrbart utmyckade kladsel drar blickarna fran ansiktsuttrycket. kan det ba varit en ledtrad for nar kungen ocb anna val bade gift sig var henrik var henrik redan beredd att bestalla holbeins portratt av busteu nummer fem.
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Our Lady Meyer
mk252 Linden wood painting 146.5 x 102 cm in 1526
Painting ID:: 57072
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Our_Lady_Meyer
mk252 Linden wood painting 146.5 x 102 cm in 1526
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John
mk252 Toner on the specialty paper, black ink, watercolors, opaque watercolor 36.3 x 29.5 cm in 1526
Painting ID:: 57074
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John
mk252 Toner on the specialty paper, black ink, watercolors, opaque watercolor 36.3 x 29.5 cm in 1526
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Hans_Holbein
German
1497-1543
Hans Holbein Galleries
Holbein always made highly detailed pencil drawings of his portrait subjects, often supplemented with ink and colored chalk. The drawings emphasize facial detail and usually did not include the hands; clothing was only indicated schematically. The outlines of these drawings were then transferred onto the support for the final painting using tiny holes in the paper through which powdered charcoal was transmitted; in later years Holbein used a kind of carbon paper. The final paintings thus had the same scale as the original drawings. Although the drawings were made as studies for paintings, they stand on their own as independent, finely wrought works of art. How many portraits have been lost can be seen from Holbein's book (nearly all pages in the Royal Collection) containing preparatory drawings for portraits - of eighty-five drawings, only a handful have surviving Holbein paintings, though often copies have survived.
David Hockney has speculated in the Hockney-Falco thesis that Holbein used a concave mirror to project an image of the subject onto the drawing surface. The image was then traced. However this thesis has not met with general acceptance from art historians.
A subtle ability to render character may be noted in Holbein's work, as can be seen in his portraits of Thomas Cromwell, Desiderius Erasmus, and Henry VIII. The end results are convincing as definitive images of the subjects' appearance and personality.
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ARTISTS INDEX A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
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