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 Portrait of young people oil


Portrait of young people
Painting ID::  57110
Portrait of young people
mk252 canvas board 44 x 32.5 cm
mk252_canvas_board_44_x_32.5_cm
   
   
     

Hans Holbein Mr Benedict Hetengsitan portrait oil


Mr Benedict Hetengsitan portrait
Painting ID::  57111
Mr Benedict Hetengsitan portrait
mk252 oil painting of wood paper 52.4 x 38.1 cm in 1517
mk252_oil_painting_of_wood_paper_52.4_x_38.1_cm_in_1517
   
   
     

Hans Holbein Yuehanfuluo the portrait oil


Yuehanfuluo the portrait
Painting ID::  57112
Yuehanfuluo the portrait
mk252 Oil on canvas 39.5 x 33.5 cm in 1520-1526
mk252__Oil_on_canvas_39.5_x_33.5_cm_in_1520-1526
   
   
     

Hans Holbein Erasmus portrait oil


Erasmus portrait
Painting ID::  57113
Erasmus portrait
mk252 oil painting pine board 37 x 30.5 cm in 1523
mk252_oil_painting_pine_board_37_x_30.5_cm_in_1523
   
   
     

Hans Holbein Thomas Cromwell oil


Thomas Cromwell
Painting ID::  57114
Thomas Cromwell
mk252 drawing board 78.4 x 64.4 cm
mk252_drawing_board_78.4_x_64.4_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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