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 Lady with a Squirrel oil on canvas


Lady with a Squirrel
Lady with a Squirrel
Painting ID::  78709
  1526 - 28 Oil on oak 56 x 38.8 cm cjr
  1526 - 28 Oil on oak 56 x 38.8 cm cjr

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Hans holbein the younger Portrait of a Young Woman with a White Coif oil on canvas


Portrait of a Young Woman with a White Coif
Portrait of a Young Woman with a White Coif
Painting ID::  79453
  1541(1541) Oil and tempera on panel 11.11 cm (4.4 in) cjr
  1541(1541) Oil and tempera on panel 11.11 cm (4.4 in) cjr

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Hans holbein the younger Portrait of a Man oil on canvas


Portrait of a Man
Portrait of a Man
Painting ID::  80394
  Portrait of a Man, possibly Hans of Antwerp. Oil and tempera on oak, 61 x 46.8 cm, Royal Collection, Windsor Castle cjr
  Portrait of a Man, possibly Hans of Antwerp. Oil and tempera on oak, 61 x 46.8 cm, Royal Collection, Windsor Castle cjr

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Hans holbein the younger Portrait of Sir Thomas Wyatt oil on canvas


Portrait of Sir Thomas Wyatt
Portrait of Sir Thomas Wyatt
Painting ID::  80676
  Portrait of Sir Thomas Wyatt. Oil on panel, 47 cm diameter, National Portrait Gallery, London. cjr
  Portrait of Sir Thomas Wyatt. Oil on panel, 47 cm diameter, National Portrait Gallery, London. cjr

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Hans holbein the younger The Body of the Dead Christ in the Tomb and a detail oil on canvas


The Body of the Dead Christ in the Tomb and a detail
The Body of the Dead Christ in the Tomb and a detail
Painting ID::  80768
  The Body of the Dead Christ in the Tomb and a detail. Oil and tempera on linden, 30.5 x 200 cm, Kunstmuseum Basel. Date 1521 - 1522 cjr
  The Body of the Dead Christ in the Tomb and a detail. Oil and tempera on linden, 30.5 x 200 cm, Kunstmuseum Basel. Date 1521 - 1522 cjr

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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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