All Hans holbein the younger Oil Paintings

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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Hans holbein the younger Portrait of Sir Thomas More, oil on canvas


Portrait of Sir Thomas More,
Portrait of Sir Thomas More,
Painting ID::  59394 		  Portrait of Sir Thomas More, 1527. Oil and tempera on oak, Frick Collection, New York City.
  Portrait of Sir Thomas More, 1527. Oil and tempera on oak, Frick Collection, New York City.

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Hans holbein the younger The Artist Family oil on canvas


The Artist Family
The Artist Family
Painting ID::  59395 		  The Artist's Family, c. 1528. Oil and tempera on paper, cut out and mounted on wood. Kunstmuseum Basel.
  The Artist's Family, c. 1528. Oil and tempera on paper, cut out and mounted on wood. Kunstmuseum Basel.

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Hans holbein the younger Double Portrait of Jean de Dinteville and Georges de Selve oil on canvas


Double Portrait of Jean de Dinteville and Georges de Selve
Double Portrait of Jean de Dinteville and Georges de Selve
Painting ID::  59396 		  Double Portrait of Jean de Dinteville and Georges de Selve ("The Ambassadors"), 1533. Oil and tempera on oak, National Gallery, London.
  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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Hans holbein the younger Portrait of Henry VIII, oil on canvas


Portrait of Henry VIII,
Portrait of Henry VIII,
Painting ID::  59397 		  Portrait of Henry VIII, c. 1536. Oil and tempera on oak, Thyssen-Bornemisza Museum, Madrid.
  Portrait of Henry VIII, c. 1536. Oil and tempera on oak, Thyssen-Bornemisza Museum, Madrid.

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Hans holbein the younger Portrait of Edward VI as a Child oil on canvas


Portrait of Edward VI as a Child
Portrait of Edward VI as a Child
Painting ID::  59398 		  Portrait of Edward VI as a Child, c. 1538. Oil and tempera on oak, National Gallery of Art, Washington D. C.
  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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