All Hans Holbein Oil Paintings

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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Hans Holbein Konstnarens with wife Katherine and Philipp oil on canvas


Konstnarens with wife Katherine and Philipp
Konstnarens with wife Katherine and Philipp
Painting ID::  53765
  mk234 about 1528 77x65cm
  mk234 about 1528 77x65cm

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Hans Holbein sir richard southwell oil on canvas


sir richard southwell
sir richard southwell
Painting ID::  56605
  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.
  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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Hans Holbein anna av kleve oil on canvas


anna av kleve
anna av kleve
Painting ID::  56606
  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.
  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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Hans Holbein Our Lady Meyer oil on canvas


Our Lady Meyer
Our Lady Meyer
Painting ID::  57072
  mk252 Linden wood painting 146.5 x 102 cm in 1526
  mk252 Linden wood painting 146.5 x 102 cm in 1526

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Hans Holbein John oil on canvas


John
John
Painting ID::  57074
  mk252 Toner on the specialty paper, black ink, watercolors, opaque watercolor 36.3 x 29.5 cm in 1526
  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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