Hans Holbein

German 1497-1543 Hans Holbein Galleries Holbein always made highly detailed pencil drawings of his portrait subjects, often supplemented with ink and colored chalk. The drawings emphasize facial detail and usually did not include the hands; clothing was only indicated schematically. The outlines of these drawings were then transferred onto the support for the final painting using tiny holes in the paper through which powdered charcoal was transmitted; in later years Holbein used a kind of carbon paper. The final paintings thus had the same scale as the original drawings. Although the drawings were made as studies for paintings, they stand on their own as independent, finely wrought works of art. How many portraits have been lost can be seen from Holbein's book (nearly all pages in the Royal Collection) containing preparatory drawings for portraits - of eighty-five drawings, only a handful have surviving Holbein paintings, though often copies have survived. David Hockney has speculated in the Hockney-Falco thesis that Holbein used a concave mirror to project an image of the subject onto the drawing surface. The image was then traced. However this thesis has not met with general acceptance from art historians. A subtle ability to render character may be noted in Holbein's work, as can be seen in his portraits of Thomas Cromwell, Desiderius Erasmus, and Henry VIII. The end results are convincing as definitive images of the subjects' appearance and personality.


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Hans Holbein Ms. Gaierfude oil


Ms. Gaierfude
Painting ID::  57100
Ms. Gaierfude
mk252 oak panel painting 80 x 65 cm in 1527
mk252_oak_panel_painting_80_x_65_cm_in_1527
   
   
     

Hans Holbein Weilianwoer portrait classes oil


Weilianwoer portrait classes
Painting ID::  57101
Weilianwoer portrait classes
mk252 oak panel painting 82 x 67 cm in 1527
mk252_oak_panel_painting_82_x_67_cm_in_1527
   
   
     

Hans Holbein The artist s wife abuse oil


The artist s wife abuse
Painting ID::  57102
The artist s wife abuse
mk252 paper board painting 77 x 64 cm
mk252_paper_board_painting_77_x_64_cm
   
   
     

Hans Holbein The Last Supper oil


The Last Supper
Painting ID::  57103
The Last Supper
mk252 Oil on canvas 144 x 155 cm
mk252_Oil_on_canvas_144_x_155_cm
   
   
     

Hans Holbein Olive Hill, Christian oil


Olive Hill, Christian
Painting ID::  57104
Olive Hill, Christian
mk252 Oil on canvas 135 x 132 cm
mk252_Oil_on_canvas_135_x_132_cm
   
   
     

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     Hans Holbein
     German 1497-1543 Hans Holbein Galleries Holbein always made highly detailed pencil drawings of his portrait subjects, often supplemented with ink and colored chalk. The drawings emphasize facial detail and usually did not include the hands; clothing was only indicated schematically. The outlines of these drawings were then transferred onto the support for the final painting using tiny holes in the paper through which powdered charcoal was transmitted; in later years Holbein used a kind of carbon paper. The final paintings thus had the same scale as the original drawings. Although the drawings were made as studies for paintings, they stand on their own as independent, finely wrought works of art. How many portraits have been lost can be seen from Holbein's book (nearly all pages in the Royal Collection) containing preparatory drawings for portraits - of eighty-five drawings, only a handful have surviving Holbein paintings, though often copies have survived. David Hockney has speculated in the Hockney-Falco thesis that Holbein used a concave mirror to project an image of the subject onto the drawing surface. The image was then traced. However this thesis has not met with general acceptance from art historians. A subtle ability to render character may be noted in Holbein's work, as can be seen in his portraits of Thomas Cromwell, Desiderius Erasmus, and Henry VIII. The end results are convincing as definitive images of the subjects' appearance and personality.

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