Choice ID Image Painting (From A to Z) Details
7518
Adam and Eve f
1517
Paper, mounted on pine, 302 x 357 mm
Kunstmuseum, Öffentliche Kunstsammlung, Basle
42645
Allegory of the Old and the New Testament
MK169
ca. 1530 oil Paint on panel 50.2x61cm
National Gallery or Scotland
76398
Boy with marmoset
ca. 1532-1536
Medium Oil
cyf
63708
Christina of Denmark
1538 Oil on oak National Gallery, London Christina's black gown, which she wore as a widow, contrasts strikingly with her flawless ivory skin. The viewer's gaze is also attracted to the well-shaped, delicate hands holding a glove, leaving an impression of perfect charm and elegance.Artist:HOLBEIN, Hans the Younger Title: Christina of Denmark, Ducchess of Milan (detail) Painted in 1501-1550 , German - - painting : portrait
7586
Christina of Denmark, Ducchess of Milan sf
1538
Oil on oak, 179 x 83 cm
National Gallery, London
40338
Damstadt Madonna
mk156
c.1528
Oil on lindenwood
146x102cm
63712
Darmstadt Madonna
1526 and after 1528 Oil on limewood Schlossmuseum, Darmstadt The presentation of the Madonna and Child is a triumph of illusionism that ranks with the achievements of Van Eyck in Flanders a century before. The play of light over the fluting of the architectural shell behind the two figures carves out the space into which the delicately shadowed crown, hair and face of the Madonna are set. There is no Raphaelesque regularity in the Madonna's features - as with most northern Madonnas, a specific model was used, a friend of Holbein's, one Magdalena Offenburg who also posed for the Lais and whose lifestyle, ironically, was not considered blameless. However, the compelling physical presence and credibility of the figures is the result of artistic means alone; the twisting of the child's body emphasizes the weight the Madonna's arms must carry, and Christ's projecting feet and the foreshortening of his own and his mother's arms stress the space his torso occupies. The combination of warm green and gold also brings the Madonna forward against the neutral .tone of the stonework.Artist:HOLBEIN, Hans the Younger Title: Darmstadt Madonna (detail) Painted in 1501-1550 , German - - painting : religious
7554
Darmstadt Madonna (detail) sf
1526 and after 1528
Oil on limewood
Schlossmuseum, Darmstadt
7555
Darmstadt Madonna (detail) sf
1526 and after 1528
Oil on limewood
Schlossmuseum, Darmstadt
7553
Darmstadt Madonna (detail) sg
1526 and after 1528
Oil on limewood
Schlossmuseum, Darmstadt
7556
Darmstadt Madonna (detail) sg
1526 and after 1528
Oil on limewood
Schlossmuseum, Darmstadt
7552
Darmstadt Madonna sg
1526 and after 1528
Oil on limewood, 146,5 x 102 cm
Schlossmuseum, Darmstadt
7588
De Vos van Steenwijk
1541
Oil on wood, 47,6 x 36,2 cm
Staatliche Museen, Berlin
63706
Diptych with Christ and the Mater Dolorosa
1520 Limewood, 29 x 19.5 cm (each panel) Kunstmuseum, ?ffentliche Kunstsammlung, Basle Jesus sits exhausted on the plinth of an aedicula decorated in the style of the Italian Renaissance. In contrast to His strong, muscular body, Jesus' face is ravaged by the strains of the Passion, arousing pity in the beholder, who is also summoned to devotion by Mary's gesture towards her Son and by her pain-stricken gaze. Though Jesus wears a large crown of thorns, indicating that the Via Crucis (the Way of the Cross) has begun, the wounds are absent, so that the Crucifixion still lies in the future; he is not yet the Man of Sorrows. The architecture indicates Pilate's palace. Holbein has removed the figures from the scenic setting of the Biblical story and turned the tortured Christ into the main figure of a devotional picture.Artist:HOLBEIN, Hans the Younger Title: Diptych with Christ and the Mater Dolorosa Painted in 1501-1550 , German - - painting : religious
7548
Double Portrait of Sir Thomas Godsalve and His Son John
1528
Resin tempera on oak, 35 x 36 cm
Gemäldegalerie, Dresden
7549
Double Portrait of Sir Thomas Godsalve and His Son John (detail) sf
1528
Resin tempera on oak
Gemäldegalerie, Dresden
7583
Edward, Prince of Wales d
1543
Oil on wood, diameter 32,4 cm
Metropolitan Museum of Art, New York
7526
Erasmus f
1523
Oil on wood, 43 x 33 cm
Mus??e du Louvre, Paris
42643
Erasmus Van Rotterdam
MK169
ca. 1523 Panel 76.2x51.4cm
63707
Henry VIII after
1537 Oil on canvas, 233,7 x 134,6 Walker Art Gallery, Liverpool The top job of Holbein, the court painter, was quite certainly to paint the king's portrait. In the 1530s, Henry VIII had enlarged his London residence Whitehall Palace, and needed a grand picture for it. It was to feature not only him and his wife Jane Seymour, but also his parents, the first Tudor monarchs, and was also intended to proclaim the fame of the ruling house in word and image. Since the composition probably adorned one wall of the Privy Chamber, a private chamber accessible only to more intimate members of court, the picture was not aimed at a broad public but a select group at court. No contract for the mural survives, but Henry VIII must have commissioned it in the short time during which he was married to Jane Seymour, in other words between May 30, 1536, and October 12, 1537. Both Catharine of Aragon and Anne Boleyn were already dead; in showing Jane together with Elizabeth of York and the Tudor monarchs in the picture, Henry's new connection was presented as the only legitimate one and the children of the marriage as the only rightful heirs. Possibly the picture was commissioned shortly after the wedding: in the surviving section of the cartoon a cartouche is included in the frieze, displaying the initials of Henry and Jane linked in a love knot. According to the copy by the painter Remigius van Leemput (1607-1675) in 1667, the cartouche on the mural as painted bore the date 1537. The picture shows a copy of the figure of Henry VIII from the left side of the mural which was destroyed in the Whitehall fire in 1698. Henry VIII stands in the foreground like a colossus with legs apart and knees straight. His broad shoulders, emphasized by his heavy clothing, exaggerate the already unusual physical presence of this large man, whose sex is additionally stressed by a prominent girdle and codpiece. The king thus appears as the epitome of vigour and potency. This stance, with legs apart and knees locked straight, is very uncommon for the portrait of a king. The reason may be that at the time spread legs were considered improper, as the Frankfurt scholar Jodocus Willich ( 1501-15 52) explains in a treatise on gestures first published in Basle in 1540. However, in visual art the stance was also associated with triumphant heroes; St. George, for example, can stand in a comparable pose after overcoming the dragon.Artist:HOLBEIN, Hans the Younger Title: Henry VIII Painted in 1501-1550 , German - - painting : portrait
7581
Henry VIII and the Barber Surgeons sf
c. 1543
Oak, 180,3 x 312,4 cm
Royal College of Surgeons of England, London
7582
Henry VIII and the Barber Surgeons sf
c. 1543
Paper mounted on canvas, 160 x 280 cm
Royal College of Surgeons of England, London
7571
Jean de Dinteville and Georges de Selve (The Ambassadors) sf
1533
Oil on oak, 207 x 209 cm
National Gallery, London
7542
Lais of Corinth sg
1526
Limewood, 34,6 x 26,8 cm
Kunstmuseum, Öffentliche Kunstsammlung, Basle
7529
Noli me Tangere (detail th
c. 1524
Oil on oak panel
Royal Collection, Hampton Court
7528
Noli me Tangere f
1524
Oil on wood, 76,8 x 94,9 cm
Royal Collection, Hampton Court
7547
Portrait of a Lady with a Squirrel and a Starling (detail) sf
1527-28
Oil on oak
National Gallery, London
7587
Portrait of a Man Holding Gloves and Letter sg
c. 1540
Oil on wood, 32,5 x 26 cm
Kunstmuseum, Öffentliche Kunstsammlung, Basle
41319
Portrait of a Member of the Wedigh Family
mk161
Tempera and oil on wood
16x12
7559
Portrait of a Member of the Wedigh Family sf
1532
Oil on wood, 42,2 x 32,4 cm
Metropolitan Museum of Art, New York
7564
Portrait of a Member of the Wedigh Family sf
1533
Oak, 39 x 30 cm
Staatliche Museen, Berlin
82385
Portrait of a Young Woman with a White Coif
1541(1541)
Medium Oil and tempera on panel
Dimensions 11.11 cm (4.4 in)
cyf
80911
Portrait of an English Lady
ca. 1533 - 1536
Medium Oil and tempera on oak
Dimensions 29.8 x 24.8 cm
cyf
63722
Portrait of an Unknown Lady
1541 Vellum mounted on playing card, diameter 5,1 cm Royal Collection, Windsor The first portrait miniatures were produced in France, their precursors being the small circular works commissioned by Francis I to celebrate the victory of Marignano in 1515. Jean Clouet was among the early practitioners of this format, which seems to have arrived in England by 1526 in the form of French royal portraits. Ten years elapsed before Holbein's contribution, but his work marks an immediate advance over the productions of earlier native practitioners like Lucas Horenbout. The small scale and different medium - vellum mounted on playing card (and termed `miniature' because of the lead, Latin minium, used in the paint) did nothing to hamper Holbein's sturdy realism. The identity of the lady is uncertain - the Romantic view of the 1840s judged it to be a portrait of Henry VIII's tragic fifth wife, Catherine Howard, executed for alleged adultery, although no ascertainable portrait of her exists elsewhere. What is certain is that Holbein's powers of characterization lost nothing in the confined space. Features of his late style include the clarity and simplicity of the background, often eschewing even the standard biographical information so as to maintain as direct a perception of the sitter as possible.Artist:HOLBEIN, Hans the Younger Title: Portrait of an Unknown Lady Painted in 1501-1550 , German - - painting : portrait
7577
Portrait of Anne of Cleves sf
c. 1539
Parchment mounted on canvas, 65 x 48 cm
Mus??e du Louvre, Paris
7520
Portrait of Benedikt von Hertenstein af
1517
Paper, mounted on wood, 52,4 x 38,1 cm
Metropolitan Museum of Art, New York
7521
Portrait of Bonifacius Amerbach a
1519
Oil on pinewood, 28,5 x 27,4 cm
Kunstmuseum, Öffentliche Kunstsammlung, Basle
7580
Portrait of Catherine Howard s
1540-41
Oil on wood, 74 x 51 cm
Toledo Museum of Art, Toledo, Ohio
7570
Portrait of Charles de Solier, Lord of Morette ag
1534-35
Oak, 92,5 x 75,4 cm
Gemäldegalerie, Dresden
7565
Portrait of Derich Born af
1533
Oil on oak, 60,3 x 45,1 cm
Royal Collection, Windsor
7567
Portrait of Dirk Tybis fgbs
1533
Oil on oak, 47,7 x 34,8 cm
Kunsthistorisches Museum, Vienna
63721
Portrait of Dorothea Meyer
Kannengiesser 1516 Limewood, 38,5 x 30,8 cm Kunstmuseum, ?ffentliche Kunstsammlung, Basle There is a companion-piece of this painting, the portrait of the sitter's husband, Jakob Meyer zum Hasen. The architecture provides a link between the two portraits and creates a shared space for the figures; prior to Holbein, such a pictorial concept was unknown in Basle panel painting. The same applies to the decorative elements on the architecture, derived from the Italian Renaissance, such as the coffered vault and the acanthus leaf frieze, which incorporates two putti. The gilded coffering and pillar enhance the appearance of sober opulence in this striking and forthright depiction of Dorothea Kannengiesser, the second wife of Jakob Meyer. Their double-portrait, signed and dated 1516, was probably commissioned to celebrate Meyer's election as burgomaster. This had crucial repercussions for Holbein's career; evidently pleased with such an impressive diptych from so young an artist, Meyer gained Holbein numerous commissions in the following few years. Meyer was a member of the increasingly important mercantile class in Basle and the first of its members to achieve significant administrative power. (The coin he holds signifies his money-dealing role and also perhaps Basle's new-found permission to mint coins.) His friends and colleagues were therefore in the financial position to aid Holbein through their patronage. Meyer's tenure was brief, however - in 1521 he was impeached for accepting a larger bribe than was permitted from the French, imprisoned when he protested at his treatment and barred from office thereafter. He remained a Catholic after the city's secession to the reformed religion and led the Catholic party in the city: Holbein would perceive such strength of character again, in the analogous determination of Sir Thomas More to remain true to his faith .Artist:HOLBEIN, Hans the Younger Title: Portrait of Dorothea Meyer, n?e Kannengiesser Painted in 1501-1550 , German - - painting : portrait
7517
Portrait of Dorothea Meyer, nee Kannengiesser sf
1516
Limewood, 38,5 x 30,8 cm
Kunstmuseum, Öffentliche Kunstsammlung, Basle
7594
Portrait of Duke Antony the Good of Lorraine sf
c. 1543
Oil on oak, 51 x 37 cm
Staatliche Museen, Berlin
7578
Portrait of Edward, Prince of Wales sg
c. 1539
Oil on oak, 57 x 44 cm
National Gallery of Art, Washington
82846
Portrait of Elihu Yale
Date 1717
cyf
7558
Portrait of Erasmus of Rotterdam sf
1530
Oil on wood, 33 x 25 cm
Galleria Nazionale, Parma
7527
Portrait of Erasmus of Rotterdam sg
1523
Wood, 76 x 51 cm
National Gallery, London
7590
Portrait of Henry Howard, the Earl of Surrey s
1541-43
Oil on wood, 55,5 x 44 cm
Museu de Arte, São Paolo
52042
Portrait of Henry VIII
1536
Oil on wood,
28 x 19 cm
7579
Portrait of Henry VIII dg
1540
Oil on panel, 88,5 x 74,5 cm
Galleria Nazionale d'Arte Antica, Rome
7576
Portrait of Henry VIII SG
1536
Oil on wood, 28 x 19 cm
Thyssen-Bornemisza Collection, Madrid
7516
Portrait of Jakob Meyer zum Hasen
1516
Limewood, 38,5 x 30,8 cm
Kunstmuseum, Öffentliche Kunstsammlung, Basle
52046
Portrait of Jane Pemberton
c. 1540
Vellum mounted on playing card, diameter 5,3 cm
7593
Portrait of John Chambers dg
1543
Oil on oak, 58 x 39,7 cm
Kunsthistorisches Museum, Vienna
7592
Portrait of Lady Margaret Butts sg
1543
Oil on wood, 46 x 37 cm
Isabella Stewart Gardner Museum, Boston
7544
Portrait of Lady Mary Guildford sf
1527
Oak, 87 x 70,5 cm
Saint Louis Art Museum, Saint Louis
52043
Portrait of Margaret Wyatt, Lady Lee
c. 1540
Oil on wood,
42,5 x 32,7 cm
7551
Portrait of Nikolaus Kratzer (detail) sg
1528
Tempera on oak
Mus??e du Louvre, Paris
7550
Portrait of Nikolaus Kratzer gw
1528
Tempera on oak, 83 x 67 cm
Mus??e du Louvre, Paris
40343
Portrait of Nikolaus Kratzer,Astronomer
mk156
1528
Tempera on oak
83x67cm
82799
Portrait of Prince Edward
1538(1538)
Medium Oil and tempera on oak
Dimensions 56.8 x 44 cm (22.4 x 17.3 in)
cyf
7585
Portrait of Simon George sf
1536-37
Oil on oak, diameter 31 cm
Städelsches Kunstinstitut, Frankfurt
7543
Portrait of Sir Henry Guildford sf
1527
Oak, 82,6 x 66,4 cm
Royal Collection, Windsor
7563
Portrait of Sir Nicholas Carew sg
1532-33
Tempera on wood, 90,8 x 101,5 cm
Drumlanrig Castle, Thornhill, Scotland
7591
Portrait of Sir William Butts sg
1543
Oil on wood, 47 x 36,8 cm
Isabella Stewart Gardner Museum, Boston
7519
Portrait of the Artist's Wife
c. 1517
Tempera on wood, 45 x 34 cm
Mauritshuis, The Hague
63716
Portrait of the Merchant Georg Gisze
1532 Oil on wood Staatliche Museen, Berlin On the rear wooden wall Holbein paints cartellino, supposedly attached to the wall with sealing wax, with a Latin couplet written on it saying: "Couplet on the portrait of Georg Gisze. What you see here is Georg's portrait showing his features; this is how lively his eye is, this is how his cheeks are shaped. In his 34th year, anno Domini 1532."Artist:HOLBEIN, Hans the Younger Title: Portrait of the Merchant Georg Gisze (detail) Painted in 1501-1550 , German - - painting : portrait
7561
Portrait of the Merchant Georg Gisze (detail) sf
1532
Oil on wood
Staatliche Museen, Berlin
7560
Portrait of the Merchant Georg Gisze sg
1532
Oil on wood, 96,3 x 85,7 cm
Staatliche Museen, Berlin
7568
Portrait of Thomas Cromwell f
c. 1533
Oak, 76 x 61 cm
Frick Collection, New York
7545
Portrait of William Warham, Archbishop of Canterbury f
1527
Oil on oak, 82 x 67 cm
Mus??e du Louvre, Paris
7566
Robert Cheseman sg
1533
Oil on oak, 59 x 62,5 cm
Mauritshuis, The Hague
52593
Signboard for a Schoolmaster
1516 Pine panel
7546
Sir Brian Tuke af
c. 1527
Oil on wood, 49 x 39 cm
National Gallery of Art, Washington
7584
Sir Richard Southwell sg
1536
Oil on wood, 47,5 x 38 cm
Galleria degli Uffizi, Florence
52193
St Barbara
1516
Wood, 150 x 47 cm
63711
St Ursula
1523 Tempera on wood, 96,4 x 41,9 cm Staatliche Kunsthalle, Karlsruhe The panel probably belonged to a dismembered altarpiece. It was executed in the workshop of Holbein.Artist:HOLBEIN, Hans the Younger Title: St Ursula Painted in 1501-1550 , German - - painting : religious
7524
St Ursula sg
c. 1523
Tempera on wood, 96,4 x 41,9 cm
Staatliche Kunsthalle, Karlsruhe
63714
The Ambassadors
1533 Oil on oak National Gallery, London No preparatory drawings survive for The Ambassadors, nor is it clear how the commission for the work came about. Only the character and employment of the sitters are known. The identification of Jean de Dinteville has been aided through a portrait drawing by Jean Clouet of about the same date as the painting. Though Holbein's style changed little over the course of his career, the subtlety and opulence of the colours in this work are different from the starker tonalities he used in Basle. The green backdrop and the pink slashed shirt of the diplomat add a zest which is further enhanced by the juxtaposition of different textures of silk and woven cloth. Like Titian, Holbein was an assured painter of fur (a crucial ability for a court painter) and the contrast between the soft ermine and the glistening metal chain serves as a rich textural counterbalance. The intense realism Holbein achieved here was due to his prodigious visual memory and refusal to let either draughtsmanship or the application of paint alone dominate the execution.Artist:HOLBEIN, Hans the Younger Title: The Ambassadors (detail) Painted in 1501-1550 , German - - painting : portrait
7572
The Ambassadors (detail) g
1533
Oil on oak
National Gallery, London
7574
The Ambassadors (detail) s
1533
Oil on oak
National Gallery, London
7573
The Ambassadors (detail) sg
1533
Oil on oak
National Gallery, London
7575
The Ambassadors (detail) sg
1533
Oil on oak
National Gallery, London
7557
The Artist's Family sf
1528
Oil on paper mounted on wood, 77 x 64 cm
Öffentliche Kunstsammlung, Basle
44871
The French Ambassadors
mk176
6.8x6.9
7530
The Last Supper g
1524-25
Limewood, 115,5 x 97,3 cm
Kunstmuseum, Öffentliche Kunstsammlung, Basle
63713
The Oberried Altarpiece
1521-22 Tempera on wood Cathedral, Freiburg The picture shows a detail of the Adoration of the Magi.Artist:HOLBEIN, Hans the Younger Title: The Oberried Altarpiece (detail) Painted in 1501-1550 , German - - painting : religious
7535
The Oberried Altarpiece (detail) sf
1521-22
Tempera on wood
Cathedral, Freiburg
7533
The Oberried Altarpiece (detail) sg
1521-22
Tempera on wood
Cathedral, Freiburg
7532
The Oberried Altarpiece (left wing) sg
1521-22
Tempera on wood, 231 x 109 cm
Cathedral, Freiburg
7534
The Oberried Altarpiece (right wing) sf
1521-22
Tempera on wood, 230 x 110 cm
Cathedral, Freiburg
63717
The Passion
1524-25 Oil on limewood, 39 x 31 cm (size of detail) Kunstmuseum, ?ffentliche Kunstsammlung, Basle The picture shows a detail of the scene Via Crucis. The background of the scene opens up as a broad landscape. The perspective effect of distance is achieved by traditional colourist means, with the foreground, centre ground, and background being clearly distinguished in brown, greenish, and blue tones respectively. Continuity is provided by a procession of riders and infantry, whose size diminishes steadily towards the background, taking the eye into the landscape.Artist:HOLBEIN, Hans the Younger Title: The Passion (detail) Painted in 1501-1550 , German - - painting : religious
63718
The Passion
1524-25 Oil on limewood Kunstmuseum, ?ffentliche Kunstsammlung, Basle Here the Italianate influences are slightly stronger than in the scene of Christ before Pilate above, though no direct borrowing is observable. Holbein has adapted the smoothly elegant contrapposto stance that Andrea Mantegna had rediscovered in Roman statuary to suggest the nonchalance of the guards, just doing their job. Mantegna's frescoes in the Eremitani chapel at Padua (now damaged) are oblique sources for Holbein's, perhaps through engravings. The parallel placement of limbs, as with the green-cloaked soldier's right leg and the left arm of the guard casting lots, and the antique-style leggings and body-hugging jerkin of the guard in yellow, are southern in design. Otherwise, a sense of northern flurry and activity displaces Mantegna's calm grandeur; the touch of orientalism in the turbaned figure to the right may imply Venetian influence (through artists like Vittore Carpaccio) and contemporary chain-mail, armour and axes underpin the stark emotionalism of the figure of Saint John, with his fists clenched, behind the grieving Virgin; a combination that balances the dourly painful chiaroscuro treatment of the crucified trio overhead.Artist:HOLBEIN, Hans the Younger Title: The Passion (detail) Painted in 1501-1550 , German - - painting : religious
63719
The Passion
1524-25 Oil on limewood, 41 x 31 cm (size of detail) Kunstmuseum, ?ffentliche Kunstsammlung, Basle The picture shows a detail of the scene Entombment.Artist:HOLBEIN, Hans the Younger Title: The Passion (detail) Painted in 1501-1550 , German - - painting : religious
7537
The Passion (detail) af
1524-25
Oil on limewood, 39 x 31 cm (size of detail)
Kunstmuseum, Öffentliche Kunstsammlung, Basle
7539
The Passion (detail) f
1524-25
Oil on limewood, 39 x 31 cm (size of detail)
Kunstmuseum, Öffentliche Kunstsammlung, Basle
7540
The Passion (detail) sf
1524-25
Oil on limewood
Kunstmuseum, Öffentliche Kunstsammlung, Basle
7541
The Passion (detail) sf
1524-25
Oil on limewood, 39 x 31 cm (size of detail)
Kunstmuseum, Öffentliche Kunstsammlung, Basle
7538
The Passion (detail) sg
1524-25
Oil on limewood
Kunstmuseum, Öffentliche Kunstsammlung, Basle
