Hans Holbein the Younger Journey, a prominent figure of the Northern Renaissance, made a lasting impact on the art world through his exceptional portraits and diverse contributions. He was born around 1497 in Augsburg, part of the Holy Roman Empire. Holbein’s artistic journey took him to various places, significantly shaping his work.
Initially, Holbein developed his skills in Basel, where he worked on murals, religious pieces, and illustrations for books. His talent attracted attention, particularly from Desiderius Erasmus, for whom he created compelling portraits. Embracing Renaissance humanism, Holbein blended different artistic influences, merging Gothic traditions with styles from Italy, France, and the Netherlands.
In 1526, Holbein ventured to England in search of new opportunities. He found acclaim among the circle of Thomas More for his detailed portraits. After a brief return to Basel, he settled in England again in 1532, receiving support from influential figures like Anne Boleyn and Thomas Cromwell. His appointment as King’s Painter to Henry VIII marked the peak of his career, allowing him to capture the essence of the Tudor court during a time of significant religious and political change.
Holbein’s portraits went beyond mere likeness; he infused them with symbolism and insight into human nature. His attention to detail and ability to capture his subjects’ personalities earned him praise as “the Apelles of our time.” From his portrayal of Erasmus to his dignified depiction of Thomas More, Holbein’s portraits offer glimpses into the lives and aspirations of Renaissance Europe’s elite.
Despite his premature death in 1543, Holbein’s legacy lives on. Revered for his exceptional talent, he remains a symbol of artistic excellence. Recent exhibitions have showcased his versatility, highlighting his proficiency in various mediums, from intricate jewelry designs to grand frescoes.
In art history, Hans Holbein is a testament to portraiture’s power. His ability to capture the human spirit with precision and depth ensures his place among the greatest Renaissance artists. As art historian Ellis Waterhouse aptly stated, Holbein’s portraits are unmatched in their clarity, insight into character, and richness of style.
The Artistry of Hans Holbein The Younger: Portraits, Politics, and Personal Life
Early Life and Training: Holbein was born in Augsburg, where he and his brother followed their father’s profession as painters. They later moved to Basel, where they were apprenticed to Hans Herbster, a leading painter.
Early Works and Influences: Holbein’s early works, including marginal drawings for Erasmus’s “The Praise of Folly” and portraits like that of Jakob Meyer zum Hasen, show his early style influenced by his father’s.
Projects in Lucerne: In Lucerne, Holbein worked on murals for Jakob von Hertenstein and designed cartoons for stained glass. He possibly visited northern Italy during this time, studying the work of masters like Andrea Mantegna.
Return to Basel: Holbein returned to Basel in 1519, marrying Elsbeth Binsenstock-Schmid and establishing himself rapidly in the city. He engaged in various projects, including murals for The House of the Dance and religious paintings.
Book Illustrations and Portraits: Holbein illustrated works for the publisher Johann Froben, designed woodcuts for the Dance of Death and the Old Testament, and created alphabets. He also painted portraits of Jakob Meyer, Bonifacius Amerbach, and Erasmus.
Venture to England: In 1526, Holbein decided to seek employment in England, as recommended by Erasmus. He first stopped in Antwerp, where he received a recommendation to the Court of England from Pieter Gillis.
Commissions in England: Holbein worked for a humanist circle with ties to Erasmus, painting portraits of Sir Thomas More, his family, and other notable figures like Archbishop William Warham and astronomer Nicholas Kratzer.
Works for the Court: Although Holbein did not initially work for the king, he painted portraits of courtiers like Sir Henry Guildford and Anne Lovell. He also created panoramic paintings for events, such as the siege of Thérouanne for the visit of French ambassadors
Basel, 1528–1532: Holbein bought houses in Basel in 1528 and 1531, indicating his financial success.
He painted “The Artist’s Family,” a significant work depicting his wife and children.
Basel was experiencing religious turmoil with the rise of Reformers like Zwingli, impacting art and iconography.
Holbein’s religious views were ambiguous; he faced scrutiny for not attending reformed communion but was later deemed acceptable.
England, 1532–1540: Holbein returned to England amidst significant political and religious changes, including Henry VIII’s break with Rome.
Commissioned portraits included Lutheran merchants and courtiers.
Created “The Ambassadors,” a renowned painting full of symbolism.
Worked for Anne Boleyn’s circle, including designing objects and sketching her entourage.
Produced reformist and royalist images for Thomas Cromwell.
Holbein became the King’s Painter and painted Henry VIII in various poses, including one destroyed mural.
Painted portraits of Jane Seymour and Edward VI, among others.
Anne of Cleves Portrait: Holbein elaborately painted Anne of Cleves, but Henry VIII was disillusioned with her appearance.
The discrepancy between the portrait and Anne’s appearance contributed to Cromwell’s downfall.
Impact of Political Events on Holbein’s Career: Survival through the downfall of patrons like Thomas More and Anne Boleyn.
Cromwell’s arrest and execution in 1540 negatively affected Holbein’s career.
Holbein’s portrait of Anne of Cleves contributed to Cromwell’s downfall, but there’s no evidence of Henry blaming Holbein for it.
Holbein’s Commissions and Private Life: Engaged in private commissions post-Cromwell’s death.
Created portraits of Steelyard merchants and miniatures of Henry Brandon and Charles Brandon.
Close relationship with Anthony Denny, borrowing money from him and receiving commissions like designing a clock-salt.
Holbein’s marriage to Elsbeth was distant since 1532; had two infant children in England.
Speculations on Holbein’s Personal Life: Speculations about Holbein’s relationships, including the possibility of a mistress, Magdalena Offenburg.
Supported wife and children financially; Elsbeth was well off at the time of her death.
Holbein’s Death: Died between 7 October and 29 November 1543, aged 45.
Circumstances of death are uncertain; suggestions range from plague to infection.
He made his will on 7 October, not witnessed by a lawyer; goldsmith John of Antwerp administered his last wishes.
List of Holbein the Younger Drawings
Simon George (c. 1535):
Medium: Black and colored chalks, pen and ink, brush and ink, and metal point on pale pink prepared paper.
Size: 27.9 × 19.1 cm.
Simon George of Cornwall, an English nobleman, is depicted in this portrait.
This drawing is related to a circular painting by Holbein housed in the Städel Museum, Frankfurt. X-ray radiograms revealed that the sitter’s beard in the painting was initially shorter, similar to the drawing.
William Reskimer (c. 1532 – c. 1534):
Medium: Black and colored chalks, pen and ink, and metal point on pale pink prepared paper.
Size: 29.0 × 21.0 cm.
William Reskimer, who held various minor positions at Henry VIII’s court, is the subject of this portrait.
The drawing served as a study for a painted portrait by Holbein, also found in the Royal Collection.
Unidentified Woman (c. 1532 – 1543):
Medium: Black and colored chalks, white body color, and pen with black and brown ink on pale pink prepared paper, which has been trimmed to outlines and pasted onto another sheet.
Size: 27.1 × 16.9 cm.
She was formerly thought to be Amalia of Cleves, sister of Anne of Cleves, the fourth wife of Henry VIII.
The current identity of the Woman remains unidentified.
Audley (c. 1538):
Medium: Black and colored chalks, pen and ink, and metal point on pale pink prepared paper.
Size: 29.3 × 20.8 cm.
Depicts Elizabeth, Lady Audley, the second wife of Thomas Audley, 1st Baron Audley of Walden, and daughter of Thomas Grey, 2nd Marquess of Dorset.
This drawing is related to a circular miniature by Holbein, also in the Royal Collection. There are other portraits of her family members as well.
Anne Boleyn (c. 1533 – c. 1536):
Medium: Black and colored chalks on pale pink prepared paper.
Size: 28.2 × 19.3 cm.
They are traditionally believed to depict Anne Boleyn, the second wife of Henry VIII and mother of Elizabeth I. The drawing aligns with contemporary depictions and descriptions of Anne Boleyn.
James Butler (c. 1537):
Medium: Black and colored chalks, white body color, red, blue-grey, brown wash, pen and ink, and brush and ink on pale pink prepared paper.
Size: 40.1 × 29.2 cm.
Depicts James Butler, 9th Earl of Ormond and 2nd Earl of Ossory, formerly identified as his cousin Thomas Boleyn, 1st Earl of Wiltshire, father of Anne Boleyn.
The costume resembles what Henry VIII wore in the Whitehall Mural cartoon, suggesting a date around 1537.
Alice London, Lady Borough (c. 1541):
Medium: Black and colored chalks on pale pink prepared paper.
Size: 27.2 × 19.6 cm.
She was initially considered Catherine Parr but recently identified as Lady Borough. The portrait was likely done during Lord Burgh’s stay at court from 1540 to 1542.
Nicholas Bourbon (1535):
Medium: Black and colored chalks, and pen and ink on pale pink prepared paper.
Size: 30.8 × 25.9 cm.
Depicts Nicholas Bourbon, a French poet at the court of Henry VIII and a friend of Holbein. He wrote verses for an edition of Holbein’s works.
The drawing served as a study for a painted portrait by Holbein, possibly recorded in a 1535 woodcut.