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Hans Holbein
Portrait of Dirck Tybis
1533
Art History Museum, Vienna
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Hans Holbein
Henry Howard The Earl of Surrey
1541-43
Museum of Art, Sao Paolo
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Hans Holbein
Dierick Berck
1536
Metropolitan Museum of Art, New York
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Hans Holbein
Portrait of Jane Seymour
1536-37
Art History Museum, Vienna
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Hans Holbein
Christina of Denmark Duchess of Milan
1538
National Gallery, London
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Hans Holbein
Erasmus
1523
Musee du Louvre, Paris
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Hans Holbein
George Gisze
1532
Gemalegalerie, Berlin
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Hans Holbein
Portrait of a Member of the Wedigh Family
1532
Metropolitan Museum of Art, New York
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Hans Holbein
Portrait of Henry VIII
1540
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Hans Holbein
Edward VI as a Child
1538
National Gallery of Art, Washington DC
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Hans Holbein
Sir Richard Southwell
1536
Galleria degli Uffizi, Florence
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Hans Holbein
The Ambassadors
1533
The National Gallery, London
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Hans Holbein
The Artist's Wife with Katherine and Philip
1528
Offentliche Kunstsammlung, Basel
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Hans Holbein
Erasmus of Rotterdam
Metropolitan Museum of Art, New York
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Hans Holbein
Erasmus (mk05)
Wood,16 1/2 x 121/2''(42 x 32 cm)Collections of Charles I,Eberhard Jabach,and Louis XIV;acquired in 1671
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Hans Holbein
Sir Henry Wyatt (mk05)
Wood,151/4 x 12 1/4''(39 x 31 cm).Collections of Eberhard Jabach and Louis XIV;acquired in 1671.
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Hans Holbein
Anne of Cleves (mk05)
Vellum,25 1/2x 19''(65 x 48 cm).Collections of Eberhard Jabach and Louis XIV;acquired in 1662
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Hans Holbein
William Warham (mk05)
1527
Wood,32 1/4 x 26''(82 x 66 cm).Collections of the Earl of Arundel,Eberhard Jabach,and Louis XIV;acquired in 1671
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Hans Holbein
Nicholas Kratzer (mk05)
1528
Wood,32 1/2 x 26 1/2''(83 x 67 cm).Collections of the Earl of Arundel,Eberhard Jabach,and Louis XIV;acquired in 1671
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Hans Holbein
Portrait of Nikolaus Kratzer
mk68
Tempera on oak
Paris
1528
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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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