Holbein the Younger: Portrait Drawings & Paintings (Annotated)
Biography & Memoir, Artists, Architects & Photographers, Nonfiction, Art & Architecture
| Author: | Raya Yotova | ISBN: | 1230002690209 |
| Publisher: | Classic & Annotated | Publication: | October 16, 2018 |
| Imprint: | Language: | English |
| Author: | Raya Yotova |
| ISBN: | 1230002690209 |
| Publisher: | Classic & Annotated |
| Publication: | October 16, 2018 |
| Imprint: | |
| Language: | English |
Concise, essential and annotated by Raya Yotova, this Art Book contains annotated reproductions of Hans Holbein portrait paintings and drawings, date and interesting facts page below.
Hans Holbein the Younger was German painter, draftsman, and designer renowned for the precise rendering of his drawings and the compelling realism of his portraits. Holbein was one of the greatest portraitists and most exquisite draftsmen of all time. It is the artist's record of the court of King Henry VIII of England, as well as the taste that he virtually imposed upon that court, that was his most remarkable achievement.
Holbein was a member of a family of important artists. His father, Hans Holbein the Elder, and his uncle Sigmund were renowned for their somewhat conservative examples of late Gothic painting in Germany. One of Holbein's brothers, Ambrosius, became a painter as well, but he apparently died about 1519 before reaching maturity as an artist. The Holbein brothers no doubt first studied with their father in Augsburg; they both also began independent work about 1515 in Basle, Switzerland. It should be noted that this chronology places Holbein firmly in the second generation of 16th-century German artists. Albrecht Durer, Matthias Grunewald, and Lucas Cranach the Elder all were born between 1470 and 1480 and were producing their mature masterpieces by the time Holbein was just beginning his career.
Holbein was associated early on with the Basle publishers and their humanist circle of acquaintances. In Basle, Holbein was also active in designing woodcuts for title pages and book illustrations. He increased his reputation as a book illustrator by a series of woodcuts for the German translation of the Bible by Martin Luther. The artist's most famous work in this area, a series of 41 scenes illustrating the medieval allegorical concept of the Dance of Death, was designed by him and cut by another artist as early as about 1523 to 1526 but was not published until 1538. Its scenes display an immaculate sense of order, packing much information about the lifestyles and habits of Death's victims into a very small format. He completed also a series of pen-and-ink sketches for The Praise of Folie by the Dutch scholar Desiderius Erasmus.
Holbein left Basle late in 1526, to travel by way of the Netherlands to England. Only about 28 years old he would achieve remarkable success in England. His most impressive works of this time were executed for the statesman and author Sir Thomas More.
Holbein acted not only as a portraitist but also as a fashion designer for the court. The artist made designs for all the state robes of the king; he left, in addition, more than 250 delicate drawings for everything from buttons and buckles to pageant weapons, horse out-fittings, and book-bindings for the royal household. This choice of work indicates Holbein's Mannerist concentration on surface texture and detail of design, a concern that in some ways precluded the incorporation of great psychological depth in his portraits.
Concise, essential and annotated by Raya Yotova, this Art Book contains annotated reproductions of Hans Holbein portrait paintings and drawings, date and interesting facts page below.
Hans Holbein the Younger was German painter, draftsman, and designer renowned for the precise rendering of his drawings and the compelling realism of his portraits. Holbein was one of the greatest portraitists and most exquisite draftsmen of all time. It is the artist's record of the court of King Henry VIII of England, as well as the taste that he virtually imposed upon that court, that was his most remarkable achievement.
Holbein was a member of a family of important artists. His father, Hans Holbein the Elder, and his uncle Sigmund were renowned for their somewhat conservative examples of late Gothic painting in Germany. One of Holbein's brothers, Ambrosius, became a painter as well, but he apparently died about 1519 before reaching maturity as an artist. The Holbein brothers no doubt first studied with their father in Augsburg; they both also began independent work about 1515 in Basle, Switzerland. It should be noted that this chronology places Holbein firmly in the second generation of 16th-century German artists. Albrecht Durer, Matthias Grunewald, and Lucas Cranach the Elder all were born between 1470 and 1480 and were producing their mature masterpieces by the time Holbein was just beginning his career.
Holbein was associated early on with the Basle publishers and their humanist circle of acquaintances. In Basle, Holbein was also active in designing woodcuts for title pages and book illustrations. He increased his reputation as a book illustrator by a series of woodcuts for the German translation of the Bible by Martin Luther. The artist's most famous work in this area, a series of 41 scenes illustrating the medieval allegorical concept of the Dance of Death, was designed by him and cut by another artist as early as about 1523 to 1526 but was not published until 1538. Its scenes display an immaculate sense of order, packing much information about the lifestyles and habits of Death's victims into a very small format. He completed also a series of pen-and-ink sketches for The Praise of Folie by the Dutch scholar Desiderius Erasmus.
Holbein left Basle late in 1526, to travel by way of the Netherlands to England. Only about 28 years old he would achieve remarkable success in England. His most impressive works of this time were executed for the statesman and author Sir Thomas More.
Holbein acted not only as a portraitist but also as a fashion designer for the court. The artist made designs for all the state robes of the king; he left, in addition, more than 250 delicate drawings for everything from buttons and buckles to pageant weapons, horse out-fittings, and book-bindings for the royal household. This choice of work indicates Holbein's Mannerist concentration on surface texture and detail of design, a concern that in some ways precluded the incorporation of great psychological depth in his portraits.
