All HOLBEIN, Hans the Younger 's Paintings

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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

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