List_of_paintings_by_Hans_Holbein_the_Younger

List of paintings by Hans Holbein the Younger

List of paintings by Hans Holbein the Younger

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Hans Holbein the Younger (c. 1497–1543) was a German artist and printmaker who worked in a Northern Renaissance style. He is best known as one of the greatest portraitists of the 16th century.[1] He also made a significant contribution to the history of book design, and produced religious art, satire, and Reformation propaganda.

Self-portrait, c. 1542–43. Coloured c of the artist's best-known paintings, as well as a few copiePaul Ganz, by Roy Strong, and by John Rowlands; the catalogue of Holbein's Basel years by Christian Müller, Stephan Kemperdick, Maryan W. Ainsworth et al; and Susan Foister's catalogue of the Holbein in England exhibition of 2006 (all listed in References section).

Born in Augsburg, Holbein worked mainly in Basel as a young artist, painting murals and religious works and drawing designs for stained glass and printed books. He produced the occasional portrait, and made his international mark with portraits of the famous humanist Desiderius Erasmus of Rotterdam. When the Reformation reached Basel, Holbein produced works for reformist clients while continuing to serve traditional religious patrons. His late-Gothic style was influenced by artistic trends in Italy, France and the Netherlands, as well as by Renaissance humanism, resulting in a combined aesthetic that was uniquely his own.

Holbein travelled to England in 1526 in search of work, armed with a recommendation from Erasmus. He was welcomed into the humanist circle of Thomas More, where he soon built a high reputation. After returning to Basel for four years, in 1532 he resumed his career in England, where he worked for Anne Boleyn and Thomas Cromwell, and was appointed King's Painter to Henry VIII. In this role, he produced designs for jewellery, plate, and other precious objects, as well as for festive decorations. His portraits of the king and his family and courtiers provide a vivid record of a brilliant court, during a momentous period when Henry was assuming power as the Supreme Head of the English church.

Paintings

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Copies and derivative works

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See also

References

  1. [1]
    Zwingenberger, 9.
  2. [2]
    Müller, Kemperdick, Ainsworth, et al, 136; Rowlands, 125; Strong, 12.
  3. [3]
    Buck, 13–14; Strong, 18.
  4. [4]
    Buck, 13, 15; Strong, 18.
  5. [5]
    Buck, 12; Strong, 20.
  6. [6]
    Buck, 18; Strong, 20.
  7. [7]
    Buck, 20; Strong, 20.
  8. [8]
    Buck, 24–25; Strong, 26.
  9. [9]
    Strong, 28.
  10. [10]
    Buck, 32–33; Strong, 28.
  11. [11]
    Buck, 34; Strong, 30.
  12. [12]
    "Johannes Froben (1460–1527)". Royal Collection Trust. Inventory no. 403035.
  13. [13]
    Buck, 46; Strong, 34.
  14. [14]
    Buck, 46–47; Strong, 34.
  15. [15]
    Buck, 48–49; Strong, 34.
  16. [16]
    Müller, Kemperdick, Ainsworth, et al, 295; Rowlands, 128;
  17. [17]
    Foister, 134; Strong, 34.
  18. [18]
    Buck, 36; Strong, 38.
  19. [19]
    Buck, 38–39; Strong, 38.
  20. [20]
    Buck, 42–43; Strong, 40.
  21. [21]
    Rowlands 1985, 141; Strong, 68.
  22. [22]
    Buck, 78–79; Strong, 40.
  23. [23]
    Foister, 127; Strong, 52.
  24. [24]
    Buck, 54–55; Strong, 42.
  25. [25]
    Buck, 56–57; Strong, 44.
  26. [26]
    Buck, 59–60; Strong, 44.
  27. [27]
    Buck, 59, 61; Strong, 46.
  28. [28]
    Buck, 62–63; Strong, 40.
  29. [29]
    Buck, 64–65; Strong, 46.
  30. [30]
    Buck, 68–69; Strong, 46.
  31. [31]
    Buck, 74–75; Strong, 48.
  32. [32]
    Müller, Kemperdick, Ainsworth, et al, 412.
  33. [33]
    Sander, in Müller, Kemperdick, Ainsworth, et al, 148–49. Scholars have found it difficult to establish which of the many versions of this pattern are by Holbein and which are copies; in the view of Jochen Sander, however, "There can be no doubt that this extraordinary portrait was painted by Holbein himself".
  34. [34]
    Foister, 64; Strong, 50.
  35. [35]
    Buck, 88–89; Strong, 50.
  36. [36]
    Buck, 112; Rowlands 1985, 137–38. Some scholars view this painting as a workshop copy, but Rowlands considers that pentimenti (alterations) indicate a Holbein original.
  37. [37]
    Strong, 50; Rowlands, 136–37.
  38. [38]
    Rowlands, 142; Strong, 58.
  39. [39]
    Foister, 42; Rowlands, 137; Strong, 56.
  40. [40]
    Buck, 71; Strong, 48.
  41. [41]
    Foister, 50; Rowlands, 141; Strong, 68.
  42. [42]
    Button, 169
  43. [43]
    Buck, 94–95; Strong, 62.
  44. [44]
    Rowlands, 139; Strong, 58.
  45. [45]
    Buck, 105; Strong, 62.
  46. [46]
    Buck, 92–93; Foister, 66; Strong, 58.
  47. [47]
    Buck, 92–93; Strong, 58.
  48. [48]
    Foister, 66; Strong, 62.
  49. [49]
    Buck, 99; Strong,
  50. [50]
    Foister, p. 49
  51. [51]
    "A Young Man with a Pink". National Trust. Retrieved 3 February 2015.
  52. [52]
    Bätschmann & Griener, 177; Foister, 131.
  53. [53]
    Foister, 61; Rowlands, 238. Art historian John Rowlands rejected this painting as a Holbein: "Although its attribution is by no means a straightforward question, the stylistic grounds supporting Holbein's authorship of this panel are very slender indeed". Curator Susan Foister, however, attributed it to Holbein in the Holbein in England exhibition at the Tate in 2006, citing trademarks such as the gold arabesque design and a figure of eight mark on the reverse.
  54. [54]
    Foister, 47; Rowlands, 141; Strong, 64.
  55. [55]
    Buck, 102–103; Strong, 68.
  56. [56]
    Buck, 120–23; Foister, 136.
  57. [57]
    Foister, 44; Strong, 70.
  58. [58]
    "Hans Holbein the Younger, Portrait of an Unknown English Lady c. 1535". Oskar Reinhart Collection.
  59. [59]
    Strong, 72.
  60. [60]
    Foister, 46; Rowlands, 151.
  61. [61]
    Buck, 125; Strong, 72.
  62. [62]
    Edmund Pillsbury; William Jordan (1985). "Recent Painting Acquisitions – II: The Kimbell Art Museum: Supplement". The Burlington Magazine. 127 (987): 409–418. JSTOR 882120.
  63. [63]
    Foister, 131; Rowlands, 134; Strong, 46.
  64. [64]
    Buck, 118–19; Strong, 74.
  65. [65]
    Buck, 117; Strong, 74.
  66. [66]
    Royal Collections, The Hague, MI-492; Rowlands, 152, pl. 136; Fitzgerald & MacCulloch, 594.
  67. [67]
    Buck, 126–27; Strong, 78.
  68. [68]
    "Collection:European Art". Yale University Art Gallery. Archived from the original on 29 December 2011. Retrieved 22 July 2013.
  69. [69]
    Foister, 106; Rowlands, 151; Strong, 94.
  70. [70]
    Foister, 150; Strong, 80.
  71. [71]
    Buck, 120–21; Strong, 78.
  72. [72]
    Buck, 109–110; Strong, 80.
  73. [73]
    Foister, 102; Rowlands, 151.
  74. [74]
    Foister, 102; Rowlands 1985, 151; Strong, 94.
  75. [75]
    "Portrait Miniature of Katherine Howard". Strawberry Hill House. Retrieved 2 February 2015.
  76. [76]
    Toledo Museum of Art, ref.1926.57; Rowlands, 146; Strong, 82. The sitter was formerly called Catherine Howard; she is probably a member of Thomas Cromwell's family, perhaps his daughter-in-law Elizabeth Seymour, sister of Jane Seymour.
  77. [77]
    Buck, 124; Foister, 49.
  78. [78]
    Rowlands, 147; Strong, 80.
  79. [79]
    Foister, 147; Rowlands, 147; Strong, 82.
  80. [80]
    Strong, 94.
  81. [81]
    Rowlands, 147.
  82. [82]
    Rowlands, 147; Strong, 82.
  83. [83]
    "Portrait of a Young Woman with a White Coif". Los Angeles County Museum of Art. Retrieved 3 February 2015.
  84. [84]
    Rowlands, 147; Strong, 86.
  85. [85]
    Rowlands 1985, 147–48; Strong, 134.
  86. [86]
    Reynolds, 148; Strong, 131.
  87. [87]
    Buck, 130–31; Strong, 86.
  88. [88]
    Rowlands, 149; Strong, 88.
  89. [89]
    Fitzgerald & MacCulloch 2016, pp. 598–600.
  90. [90]
    Portrait of Johann von Schwarzwaldt, The Division for Looted Art, Ministry of Culture and National Heritage, 29081
  91. [91]
    Buck, 31; Strong, 90.
  92. [92]
    Buck, 127–29; Rowlands 1985, 148–49.
  93. [93]
    Mauritshuis:
  94. [94]
    Rowlands, pp. 134–35.
  95. [95]
    Müller, Kemperdick, Ainsworth, et al, 418–19. 38 or more copies of this pattern are known, this being perhaps the finest.
  96. [96]
    Foister, 122; Rowlands, 233–34.
  97. [97]
    Foister, 114; Rowlands, 232.
  98. [98]
    Parker, 45; Rowlands, 232–33.
  99. [99]
    Foister, 116; Rowlands, 137.
  100. [100]
    Buck, 109; Rowlands 1985, 232; Strong, 74. Strong attributes this version to Holbein, and Buck to Holbein's workshop. Rowlands doubts it is a product of Holbein's workshop.
  101. [101]
    Rowlands, 240.
  102. [102]
    National Portrait Gallery: NPG 6311
  103. [103]
    Buck, 120; Rowlands, 116.
  104. [104]
    Metropolitan Museum of Art:
  105. [105]
    Metropolitan Museum of Art: Lee (Margaret Wyatt, born about 1509)
  106. [106]
    Buck, 106; Hearn, 42–43.
  107. [107]
    Parker, 50–51; Rowlands, 234; Strong, 82.
  108. [108]
    Rowlands 1985, 236; Strong, 86.
  109. [109]
    Rowlands, 239–40.
  110. [110]
    Strong, 1969, 159, suggests that this painting could be by Hans Eworth, who signed a comparable full-length version of the same pattern.
  111. [111]
    Rowlands, 149.
  112. [112]
    Hearn, 44.
  113. [113]
    Metropolitan Museum of Art:
  114. [114]
    Rowlands, 239.
  115. [115]
    Hearn, 128.
  116. [116]
    Buck, 78; Roskill & Hand, 211–221. This version was assumed to be Holbein's original until it was revealed as a copy (and probably a forgery) during the "Holbein Dispute" of 1863–71.
  117. [117]
    Müller, Kemperdick, Ainsworth, et al, 296–98; Rowlands, 129
  118. [118]
    Rowlands, 128
  119. [119]
    Buck, 115; Hearn, 40–41.

References

  • Bätschmann, Oskar, & Pascal Griener. Hans Holbein. London: Reaktion Books, 1997. ISBN 1-86189-040-0.
  • Buck, Stephanie. Hans Holbein, Cologne: Könemann, 1999, ISBN 3-8290-2583-1.
  • Fitzgerald, Teri; MacCulloch, Diarmaid (2016). "Gregory Cromwell: two portrait miniatures by Hans Holbein the Younger". The Journal of Ecclesiastical History. 67 (3): 587–601. doi:10.1017/S0022046915003322.(subscription required)
  • Foister, Susan. Holbein in England. London: Tate: 2006. ISBN 1-85437-645-4.
  • Franklin-Harkrider, Melissa. Women, Reform and Community in Early Modern England. Boydell Press, 2008. google books preview
  • Ganz, Paul. The Paintings of Hans Holbein: First Complete Edition. London: Phaidon, 1956. OCLC 2105129.
  • Hearn, Karen. Dynasties: Painting in Tudor and Jacobean England, 1530–1630. London: Tate Publishing, 1995. ISBN 1-85437-157-6.
  • de Lisle, Leanda. The Sisters Who Would Be Queen. Random House Publishing Group, 2009. google books preview
  • Müller, Christian; Stephan Kemperdick; Maryan W. Ainsworth; et al.. Hans Holbein the Younger: The Basel Years, 1515–1532. Munich: Prestel, 2006. ISBN 3-7913-3580-4.
  • Parker, K. T. The Drawings of Hans Holbein at Windsor Castle. Oxford: Phaidon, 1945. OCLC 822974.
  • Roskill, Mark, & John Oliver Hand (eds). Hans Holbein: Paintings, Prints, and Reception. Washington: National Gallery of Art, 2001. ISBN 0-300-09044-7.
  • Rowlands, John. The Age of Dürer and Holbein. London: British Museum, 1988. ISBN 0-7141-1639-4.
  • Rowlands, John. Holbein: The Paintings of Hans Holbein the Younger. Boston: David R. Godine, 1985. ISBN 0-87923-578-0.
  • Strong, Roy. Holbein: The Complete Paintings. London: Granada, 1980. ISBN 0-586-05144-9.
  • Strong, Roy. Tudor & Jacobean Portraits. London: HMSO, 1969. OCLC 71370718.
  • Zwingenberger, Jeanette. The Shadow of Death in the Work of Hans Holbein the Younger. London: Parkstone Press, 1999. ISBN 1-85995-492-8.
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