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Hans Holbein
The birth of Christ
mk252 oak plank oil painting 74.9 x 60.3 centimeters in 1527
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Hans Holbein
Childhood portrait of Edward V
mk252 oak oil painting 57 x 44 cm
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Hans Holbein
Queen s portrait of Farmer Zhansai
mk252 oil painting oak 65.4 x 40.7 cm
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Hans Holbein
Henry VIII portrait
mk252 oak panel painting 28 x 20 cm
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Hans Holbein
Rotterdam's Erasmus and the Renaissance portrait Bizhu
mk252 Oil painting of wood 73.6 x 51.4 cm in 1523
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Hans Holbein
Denmark s Christina
mk252 oak panel painting 179.1 x 28.6 cm
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Hans Holbein
Anne Clive
mk252 parchment oil painting 65 x 48 cm
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Hans Holbein
Ximengqiaozhi
mk252 oil painting of wood 31 centimeters in diameter
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Hans Holbein
Hermann von portrait
mk252 oil painting of wood 41.9 x 31.8 cm in 1532
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Hans Holbein
Qiao Zhiji portrait of businessman Serge
mk252 oak panel painting 96.3 x 85.7 cm
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Hans Holbein
Diplomats
mk252 oak panel painting 206 x 209 cm in 1533
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Hans Holbein
Graves of the dead in Christ
mk252 linden wood canvas 30.5 x 200
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Hans Holbein
Molette the Lord
mk252 oak panel painting 92.5 x 75.4 cm
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Hans Holbein
Sir Richard Shaoenweier
mk252 oil painting of wood 47.5 x 38.8 cm in 1536
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Hans Holbein
Henry geyl Forder Knight
mk252 plank oil painting 82.6 x 66.4 centimeters in 1527
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Hans Holbein
Ms. Gaierfude
mk252 oak panel painting 80 x 65 cm in 1527
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Hans Holbein
Weilianwoer portrait classes
mk252 oak panel painting 82 x 67 cm in 1527
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Hans Holbein
The artist s wife abuse
mk252 paper board painting 77 x 64 cm
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Hans Holbein
The Last Supper
mk252 Oil on canvas 144 x 155 cm
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Hans Holbein
Olive Hill, Christian
mk252 Oil on canvas 135 x 132 cm
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| Hans Holbein
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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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