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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.
Hans Holbein Portrait of Dirck Tybis 1533
Art History Museum, Vienna
Painting ID:: 2422
X
Hans Holbein Henry Howard The Earl of Surrey 1541-43
Museum of Art, Sao Paolo
Painting ID:: 2423
X
Hans Holbein Dierick Berck 1536
Metropolitan Museum of Art, New York
Painting ID:: 2424
X
Hans Holbein Portrait of Jane Seymour 1536-37
Art History Museum, Vienna
Painting ID:: 2425
X
Hans Holbein Christina of Denmark Duchess of Milan 1538
National Gallery, London
Painting ID:: 2426
X
Hans Holbein Erasmus 1523
Musee du Louvre, Paris
Painting ID:: 2427
X
Hans Holbein George Gisze 1532
Gemalegalerie, Berlin
Painting ID:: 2428
X
Hans Holbein Portrait of a Member of the Wedigh Family 1532
Metropolitan Museum of Art, New York
Painting ID:: 2429
X
Hans Holbein Portrait of Henry VIII 1540
Painting ID:: 2430
X
Hans Holbein Edward VI as a Child 1538
National Gallery of Art, Washington DC
Painting ID:: 2431
X
Hans Holbein Sir Richard Southwell 1536
Galleria degli Uffizi, Florence
Painting ID:: 2432
X
Hans Holbein The Ambassadors 1533
The National Gallery, London
Painting ID:: 2433
X
Hans Holbein The Artist's Wife with Katherine and Philip 1528
Offentliche Kunstsammlung, Basel
Painting ID:: 2434
X
Hans Holbein Erasmus of Rotterdam Metropolitan Museum of Art, New York
Painting ID:: 20190
X
Hans Holbein Erasmus (mk05) Wood,16 1/2 x 121/2''(42 x 32 cm)Collections of Charles I,Eberhard Jabach,and Louis XIV;acquired in 1671
Painting ID:: 20191
X
Hans Holbein Sir Henry Wyatt (mk05) Wood,151/4 x 12 1/4''(39 x 31 cm).Collections of Eberhard Jabach and Louis XIV;acquired in 1671.
Painting ID:: 20192
X
Hans Holbein Anne of Cleves (mk05) Vellum,25 1/2x 19''(65 x 48 cm).Collections of Eberhard Jabach and Louis XIV;acquired in 1662
Painting ID:: 20193
X
Hans Holbein William Warham (mk05) 1527
Wood,32 1/4 x 26''(82 x 66 cm).Collections of the Earl of Arundel,Eberhard Jabach,and Louis XIV;acquired in 1671
Painting ID:: 20194
X
Hans Holbein Nicholas Kratzer (mk05) 1528
Wood,32 1/2 x 26 1/2''(83 x 67 cm).Collections of the Earl of Arundel,Eberhard Jabach,and Louis XIV;acquired in 1671
Painting ID:: 30483
X
Hans Holbein Portrait of Nikolaus Kratzer mk68
Tempera on oak
Paris
1528
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.
