22 facts about Hans Holbein the Younger

Hans Holbein the Younger ( HOL-byne, HOHL-byne, HAWL;German: Hans Holbein der Jüngere; c. 1497 – between 7 October and 29 November 1543) was a German painter and printmaker who worked in a Northern Renaissance style, and is considered one of the greatest portraitists of the 16th century. He in addition to produced religious art, satire, and Reformation propaganda, and he made a significant contribution to the archives of wedding album design. He is called “the Younger” to distinguish him from his dad Hans Holbein the Elder, an accomplished painter of the Late Gothic school.

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Holbein was born in Augsburg, but he worked mainly in Basel as a young artist. At first, he painted murals and religious works, designed stained glass windows, and printed books. He furthermore painted an occasional portrait, making his international mark behind portraits of humanist Desiderius Erasmus of Rotterdam. When the Reformation reached Basel, Holbein worked for reformist clients while continuing to serve customary religious patrons. His Late Gothic style was enriched by artistic trends in Italy, France, and the Netherlands, as capably as by Renaissance humanism. The repercussion was a mass aesthetic uniquely his own.

Holbein travelled to England in 1526 in search of work, with a assistance from Erasmus. He was welcomed into the humanist circle of Thomas More, where he quickly built a high reputation. He returned to Basel for four years, then resumed his career in England in 1532 below the patronage of Anne Boleyn and Thomas Cromwell. By 1535, he was King’s Painter to Henry VIII of England. In this role, he produced portraits and festive decorations, as without difficulty as designs for jewellery, plate, and additional precious objects. His portraits of the royal relatives and nobles are a folder of the court in the years behind Henry was asserting his supremacy higher than the Church of England.

Holbein’s art was prized from before in his career. French poet and reformer Nicholas Bourbon (the elder) dubbed him “the Apelles of our time,” a typical accolade at the time. Holbein has with been described as a great “one-off” of art history, since he founded no school. Some of his feint was floating after his death, but much was collected, and he was recognised accompanied by the great portrait masters by the 19th century. Recent exhibitions have afterward highlighted his versatility. He created designs ranging from intricate jewellery to monumental frescoes.

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Holbein’s art has sometimes been called realist, since he drew and painted next a rare precision. His portraits were Famous in their epoch for their likeness, and it is through his eyes that many well-known figures of his daylight are pictured today, such as Erasmus and More. He was never content similar to outward appearance, however; he embedded layers of symbolism, allusion, and paradox in his art, to the lasting interest of scholars. In the view of art historian Ellis Waterhouse, his portraiture “remains unsurpassed for sureness and economy of statement, penetration into character, and a combined richness and purity of style”.

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