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 William Warham,archeveque de Canterbury en 1504 oil painting


William Warham,archeveque de Canterbury en 1504
Bois H.0.82 L.0.66 Paris,Musee du Louvre
Painting ID::  31029
Hans Holbein
William Warham,archeveque de Canterbury en 1504
Bois H.0.82 L.0.66 Paris,Musee du Louvre
   
   
     

Hans Holbein Anne de Cleves reine d'Angleterre,quatrieme epouse d'Henri VIII oil painting


Anne de Cleves reine d'Angleterre,quatrieme epouse d'Henri VIII
mk70 Toile H.0.65 L.0.48 Paris,Musee du Louvre
Painting ID::  31030
Hans Holbein
Anne de Cleves reine d'Angleterre,quatrieme epouse d'Henri VIII
mk70 Toile H.0.65 L.0.48 Paris,Musee du Louvre
   
   
     

Hans Holbein Erasme ecrivant oil painting


Erasme ecrivant
mk70 Bois H.0.42 L.0.32 Paris,Musee du Louvre
Painting ID::  31032
Hans Holbein
Erasme ecrivant
mk70 Bois H.0.42 L.0.32 Paris,Musee du Louvre
   
   
     

Hans Holbein Recreation by our Gallery oil painting


Recreation by our Gallery
mk79 1526-1528
Painting ID::  32596
Hans Holbein
Recreation by our Gallery
mk79 1526-1528
   
   
     

Hans Holbein John Fisher Bishop of Rochester oil painting


John Fisher Bishop of Rochester
mk160 c.1528
Painting ID::  41377
Hans Holbein
John Fisher Bishop of Rochester
mk160 c.1528
   
   
     

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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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