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Hans holbein the younger
b. 1497, Augsburg, d. 1543, London
was a German artist and printmaker who worked in a Northern Renaissance style. He is best known as one of the greatest portraitists of the 16th century.[2] He also produced religious art, satire and Reformation propaganda, and made a significant contribution to the history of book design. He is called "the Younger" to distinguish him from his father, Hans Holbein the Elder, an accomplished painter of the Late Gothic school. Born in Augsburg, Holbein worked mainly in Basel as a young artist. At first he painted murals and religious works and designed for stained glass windows and printed books. He also painted the occasional portrait, making his international mark with portraits of the humanist Desiderius Erasmus of Rotterdam. When the Reformation reached Basel, Holbein worked for reformist clients while continuing to serve traditional religious patrons. His Late Gothic style was enriched by artistic trends in Italy, France, and the Netherlands, as well as by Renaissance Humanism. The result was a combined aesthetic uniquely his own. Holbein travelled to England in 1526 in search of work, with a recommendation from Erasmus. He was welcomed into the humanist circle of Thomas More, where he quickly built a high reputation. After returning to Basel for four years, he resumed his career in England in 1532. This time he worked for the twin founts of patronage, Anne Boleyn and Thomas Cromwell. By 1535, he was King's Painter to King Henry VIII. In this role, he produced not only portraits and festive decorations but designs for jewellery, plate, and other precious objects. His portraits of the royal family and nobles are a vivid record of a brilliant court in the momentous years when Henry was asserting his supremacy over the English church. Holbein's art was prized from early in his career. The French poet and reformer Nicholas Bourbon dubbed him "the Apelles of our time".[3] Holbein has also been described as a great "one-off" of art history, since he founded no school.[4] After his death, some of his work was lost, but much was collected, and by the 19th century, Holbein was recognised among the great portrait masters. Recent exhibitions have also highlighted his versatility.
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Portrait of an Unknown Man Holding Gloves
Portrait of an Unknown Man Holding Gloves. Oil and tempera on oak, 44.4 x 34.2 cm, English Heritage, Audley End. Scholars have estimated the approximate date of the painting from the sitter's high collar and short hair.
Date c. 1540 - 43
cjr
Painting ID:: 81833
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Portrait_of_an_Unknown_Man_Holding_Gloves
Portrait of an Unknown Man Holding Gloves. Oil and tempera on oak, 44.4 x 34.2 cm, English Heritage, Audley End. Scholars have estimated the approximate date of the painting from the sitter's high collar and short hair.
Date c. 1540 - 43
cjr
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Duchess of Milan
1538(1538)
Medium Oil on oak
Dimensions 179.1 x 82.6 cm
cyf
Painting ID:: 82069
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Duchess_of_Milan
1538(1538)
Medium Oil on oak
Dimensions 179.1 x 82.6 cm
cyf
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Portrait of an Unidentified Man, possibly the goldsmith Hans of Antwerp
Portrait of an Unidentified Man, possibly the goldsmith Hans of Antwerp. Oil and tempera on oak, 13 cm Date c. 1535 - 40
cjr
Painting ID:: 83860
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Portrait_of_an_Unidentified_Man,_possibly_the_goldsmith_Hans_of_Antwerp
Portrait of an Unidentified Man, possibly the goldsmith Hans of Antwerp. Oil and tempera on oak, 13 cm Date c. 1535 - 40
cjr
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Portrait of a Man
Oil and tempera on oak, 61 x 46.8 cm
cyf
Painting ID:: 84639
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Portrait_of_a_Man
Oil and tempera on oak, 61 x 46.8 cm
cyf
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Portrait of Thomas More
Date 1527(1527)
Medium Oil on oak
Dimensions 74.2 x 59 cm (29.2 x 23.2 in)
cjr
Painting ID:: 84711
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Portrait_of_Thomas_More
Date 1527(1527)
Medium Oil on oak
Dimensions 74.2 x 59 cm (29.2 x 23.2 in)
cjr
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Hans_holbein_the_younger
b. 1497, Augsburg, d. 1543, London
was a German artist and printmaker who worked in a Northern Renaissance style. He is best known as one of the greatest portraitists of the 16th century.[2] He also produced religious art, satire and Reformation propaganda, and made a significant contribution to the history of book design. He is called "the Younger" to distinguish him from his father, Hans Holbein the Elder, an accomplished painter of the Late Gothic school. Born in Augsburg, Holbein worked mainly in Basel as a young artist. At first he painted murals and religious works and designed for stained glass windows and printed books. He also painted the occasional portrait, making his international mark with portraits of the humanist Desiderius Erasmus of Rotterdam. When the Reformation reached Basel, Holbein worked for reformist clients while continuing to serve traditional religious patrons. His Late Gothic style was enriched by artistic trends in Italy, France, and the Netherlands, as well as by Renaissance Humanism. The result was a combined aesthetic uniquely his own. Holbein travelled to England in 1526 in search of work, with a recommendation from Erasmus. He was welcomed into the humanist circle of Thomas More, where he quickly built a high reputation. After returning to Basel for four years, he resumed his career in England in 1532. This time he worked for the twin founts of patronage, Anne Boleyn and Thomas Cromwell. By 1535, he was King's Painter to King Henry VIII. In this role, he produced not only portraits and festive decorations but designs for jewellery, plate, and other precious objects. His portraits of the royal family and nobles are a vivid record of a brilliant court in the momentous years when Henry was asserting his supremacy over the English church. Holbein's art was prized from early in his career. The French poet and reformer Nicholas Bourbon dubbed him "the Apelles of our time".[3] Holbein has also been described as a great "one-off" of art history, since he founded no school.[4] After his death, some of his work was lost, but much was collected, and by the 19th century, Holbein was recognised among the great portrait masters. Recent exhibitions have also highlighted his versatility.
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