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Portrait of Sir Thomas More,
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Portrait_of_Sir_Thomas_More,
Portrait of Sir Thomas More, 1527. Oil and tempera on oak, Frick Collection, New York City.
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The Artist Family
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The_Artist_Family
The Artist's Family, c. 1528. Oil and tempera on paper, cut out and mounted on wood. Kunstmuseum Basel.
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Double Portrait of Jean de Dinteville and Georges de Selve
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Double_Portrait_of_Jean_de_Dinteville_and_Georges_de_Selve
Double Portrait of Jean de Dinteville and Georges de Selve ("The Ambassadors"), 1533. Oil and tempera on oak, National Gallery, London.
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Portrait of Henry VIII,
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Portrait_of_Henry_VIII,
Portrait of Henry VIII, c. 1536. Oil and tempera on oak, Thyssen-Bornemisza Museum, Madrid.
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Portrait of Edward VI as a Child
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Portrait_of_Edward_VI_as_a_Child
Portrait of Edward VI as a Child, c. 1538. Oil and tempera on oak, National Gallery of Art, Washington D. C.
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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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