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Oil Paintings
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HOLBEIN, Hans the Younger German painter (b. 1497, Augsburg, d. 1543, London).
Hans Holbein the Younger, born in Augsburg, was the son of a painter, Hans Holbein the Elder, and received his first artistic training from his father. Hans the Younger may have had early contacts with the Augsburg painter Hans Burgkmair the Elder. In 1515 Hans the Younger and his older brother, Ambrosius, went to Basel, where they were apprenticed to the Swiss painter Hans Herbster. Hans the Younger worked in Lucerne in 1517 and visited northern Italy in 1518-1519. On Sept. 25, 1519, Holbein was enrolled in the painters' guild of Basel, and the following year he set up his own workshop, became a citizen of Basel, and married the widow Elsbeth Schmid, who bore him four children. He painted altarpieces, portraits, and murals and made designs for woodcuts, stained glass, and jewelry. Among his patrons was Erasmus of Rotterdam, who had settled in Basel in 1521. In 1524 Holbein visited France. Holbein gave up his workshop in Basel in 1526 and went to England, armed with a letter of introduction from Erasmus to Sir Thomas More, who received him warmly. Holbein quickly achieved fame and financial success. In 1528 he returned to Basel, where he bought property and received commissions from the city council, Basel publishers, Erasmus, and others. However, with iconoclastic riots instigated by fanatic Protestants, Basel hardly offered the professional security that Holbein desired. In 1532 Holbein returned to England and settled permanently in London, although he left his family in Basel, retained his Basel citizenship, and visited Basel in 1538. He was patronized especially by country gentlemen from Norfolk, German merchants from the Steel Yard in London, and King Henry VIII and his court. Holbein died in London between Oct. 7 and Nov. 29, 1543. With few exceptions, Holbein's work falls naturally into the four periods corresponding to his alternate residences in Basel and London. His earliest extant work is a tabletop with trompe l'oeil motifs (1515) painted for the Swiss standard-bearer Hans Baer. Other notable works of the first Basel period are a diptych of Burgomaster Jakob Meyer zum Hasen and his wife, Dorothea Kannengiesser (1516); a portrait of Bonifacius Amerbach (1519); an unsparingly realistic Dead Christ (1521); a Madonna and Child Enthroned with Two Saints (1522); several portraits of Erasmus, of which the one in Paris (1523 or shortly after), with its accurate observation of the scholar's concentrated attitude and frail person and its beautifully balanced composition, is particularly outstanding; and woodcuts, among which the series of the Dance of Death (ca. 1521-1525, though not published until 1538) represents one of the high points of the artist's graphic oeuvre. Probably about 1520 Holbein painted an altarpiece, the Last Supper, now somewhat cut down, which is based on Leonardo da Vinci's famous painting, and four panels with eight scenes of the Passion of Christ (possibly the shutters of the Last Supper altarpiece), which contain further reminiscences of Italian painting, particularly Andrea Mantegna, the Lombard school, and Raphael, but with lighting effects that are characteristically northern. His two portraits of Magdalena Offenburg, as Laïs of Corinth and Venus with Cupid (1526), |
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HOLBEIN, Hans the Younger Portrait of Edward, Prince of Wales sg c. 1539
Oil on oak, 57 x 44 cm
National Gallery of Art, Washington
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HOLBEIN, Hans the Younger Portrait of Henry VIII dg 1540
Oil on panel, 88,5 x 74,5 cm
Galleria Nazionale d'Arte Antica, Rome
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HOLBEIN, Hans the Younger Portrait of Catherine Howard s 1540-41
Oil on wood, 74 x 51 cm
Toledo Museum of Art, Toledo, Ohio
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HOLBEIN, Hans the Younger Henry VIII and the Barber Surgeons sf c. 1543
Oak, 180,3 x 312,4 cm
Royal College of Surgeons of England, London
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HOLBEIN, Hans the Younger Henry VIII and the Barber Surgeons sf c. 1543
Paper mounted on canvas, 160 x 280 cm
Royal College of Surgeons of England, London
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HOLBEIN, Hans the Younger Edward, Prince of Wales d 1543
Oil on wood, diameter 32,4 cm
Metropolitan Museum of Art, New York
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HOLBEIN, Hans the Younger Sir Richard Southwell sg 1536
Oil on wood, 47,5 x 38 cm
Galleria degli Uffizi, Florence
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HOLBEIN, Hans the Younger Portrait of Simon George sf 1536-37
Oil on oak, diameter 31 cm
Städelsches Kunstinstitut, Frankfurt
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HOLBEIN, Hans the Younger Christina of Denmark, Ducchess of Milan sf 1538
Oil on oak, 179 x 83 cm
National Gallery, London
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HOLBEIN, Hans the Younger Portrait of a Man Holding Gloves and Letter sg c. 1540
Oil on wood, 32,5 x 26 cm
Kunstmuseum, Öffentliche Kunstsammlung, Basle
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HOLBEIN, Hans the Younger De Vos van Steenwijk 1541
Oil on wood, 47,6 x 36,2 cm
Staatliche Museen, Berlin
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HOLBEIN, Hans the Younger Unknown Young Man at his Office Desk sf 1541
Oil on wood, 47 x 34,9 cm
Kunsthistorisches Museum, Vienna
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HOLBEIN, Hans the Younger Portrait of Henry Howard, the Earl of Surrey s 1541-43
Oil on wood, 55,5 x 44 cm
Museu de Arte, São Paolo
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HOLBEIN, Hans the Younger Portrait of Sir William Butts sg 1543
Oil on wood, 47 x 36,8 cm
Isabella Stewart Gardner Museum, Boston
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HOLBEIN, Hans the Younger Portrait of Lady Margaret Butts sg 1543
Oil on wood, 46 x 37 cm
Isabella Stewart Gardner Museum, Boston
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HOLBEIN, Hans the Younger Portrait of John Chambers dg 1543
Oil on oak, 58 x 39,7 cm
Kunsthistorisches Museum, Vienna
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HOLBEIN, Hans the Younger Portrait of Duke Antony the Good of Lorraine sf c. 1543
Oil on oak, 51 x 37 cm
Staatliche Museen, Berlin
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HOLBEIN, Hans the Younger Portrait of Nikolaus Kratzer,Astronomer mk156
1528
Tempera on oak
83x67cm
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HOLBEIN, Hans the Younger Damstadt Madonna mk156
c.1528
Oil on lindenwood
146x102cm
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HOLBEIN, Hans the Younger Portrait of a Member of the Wedigh Family mk161
Tempera and oil on wood
16x12
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HOLBEIN, Hans the Younger
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German painter (b. 1497, Augsburg, d. 1543, London).
Hans Holbein the Younger, born in Augsburg, was the son of a painter, Hans Holbein the Elder, and received his first artistic training from his father. Hans the Younger may have had early contacts with the Augsburg painter Hans Burgkmair the Elder. In 1515 Hans the Younger and his older brother, Ambrosius, went to Basel, where they were apprenticed to the Swiss painter Hans Herbster. Hans the Younger worked in Lucerne in 1517 and visited northern Italy in 1518-1519. On Sept. 25, 1519, Holbein was enrolled in the painters' guild of Basel, and the following year he set up his own workshop, became a citizen of Basel, and married the widow Elsbeth Schmid, who bore him four children. He painted altarpieces, portraits, and murals and made designs for woodcuts, stained glass, and jewelry. Among his patrons was Erasmus of Rotterdam, who had settled in Basel in 1521. In 1524 Holbein visited France. Holbein gave up his workshop in Basel in 1526 and went to England, armed with a letter of introduction from Erasmus to Sir Thomas More, who received him warmly. Holbein quickly achieved fame and financial success. In 1528 he returned to Basel, where he bought property and received commissions from the city council, Basel publishers, Erasmus, and others. However, with iconoclastic riots instigated by fanatic Protestants, Basel hardly offered the professional security that Holbein desired. In 1532 Holbein returned to England and settled permanently in London, although he left his family in Basel, retained his Basel citizenship, and visited Basel in 1538. He was patronized especially by country gentlemen from Norfolk, German merchants from the Steel Yard in London, and King Henry VIII and his court. Holbein died in London between Oct. 7 and Nov. 29, 1543. With few exceptions, Holbein's work falls naturally into the four periods corresponding to his alternate residences in Basel and London. His earliest extant work is a tabletop with trompe l'oeil motifs (1515) painted for the Swiss standard-bearer Hans Baer. Other notable works of the first Basel period are a diptych of Burgomaster Jakob Meyer zum Hasen and his wife, Dorothea Kannengiesser (1516); a portrait of Bonifacius Amerbach (1519); an unsparingly realistic Dead Christ (1521); a Madonna and Child Enthroned with Two Saints (1522); several portraits of Erasmus, of which the one in Paris (1523 or shortly after), with its accurate observation of the scholar's concentrated attitude and frail person and its beautifully balanced composition, is particularly outstanding; and woodcuts, among which the series of the Dance of Death (ca. 1521-1525, though not published until 1538) represents one of the high points of the artist's graphic oeuvre. Probably about 1520 Holbein painted an altarpiece, the Last Supper, now somewhat cut down, which is based on Leonardo da Vinci's famous painting, and four panels with eight scenes of the Passion of Christ (possibly the shutters of the Last Supper altarpiece), which contain further reminiscences of Italian painting, particularly Andrea Mantegna, the Lombard school, and Raphael, but with lighting effects that are characteristically northern. His two portraits of Magdalena Offenburg, as Laïs of Corinth and Venus with Cupid (1526),
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