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 Sir Thomas Wyatt oil


Sir Thomas Wyatt
Painting ID::  41421
Sir Thomas Wyatt
mk160 diplomat
mk160 diplomat
   
   
     

Hans Holbein The Virgin and the Nino oil


The Virgin and the Nino
Painting ID::  41974
The Virgin and the Nino
mk166 1499 I Wave on wood National Museum Germanico Nuremberg
   
   
     

Hans Holbein The Younger oil


The Younger
Painting ID::  50903
The Younger
mk216 Sir Henry Guildford Holbein was the supreme portrait painted of the northen Renaissance
   
   
     

Hans Holbein Edward VI as a child oil


Edward VI as a child
Painting ID::  53763
Edward VI as a child
mk234 probably about 1538 57x44cm
mk234_ probably_ about_1538_ 57x44cm
   
   
     

Hans Holbein Sir Brian Tuk oil


Sir Brian Tuk
Painting ID::  53764
Sir Brian Tuk
mk234 about 1527 49x39cm
mk234_ about_1527_ 49x39cm
   
   
     

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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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