HOLBEIN, Hans the YoungerGerman painter (b. 1497, Augsburg, d. 1543, London). | |||
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The Passion Måleriet identifieringen:: 63719 Titta min galleri i Sverige |
The Passion 1524-25 Oil on limewood, 41 x 31 cm (size of detail) Kunstmuseum, ?ffentliche Kunstsammlung, Basle The picture shows a detail of the scene Entombment.Artist:HOLBEIN, Hans the Younger Title: The Passion (detail) Painted in 1501-1550 , German - - painting : religious 1524-25_Oil_on_limewood,_41_x_31_cm_(size_of_detail)_Kunstmuseum,_?ffentliche_Kunstsammlung,_Basle_The_picture_shows_a_detail_of_the_scene_Entombment.Artist:HOLBEIN,_Hans_the_Younger_Title:_The_Passion_(detail)___Painted_in__1501-1550___,__German__-_-_painting__:_religious |
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Portrait of Dorothea Meyer Måleriet identifieringen:: 63721 Titta min galleri i Sverige |
Portrait of Dorothea Meyer Kannengiesser 1516 Limewood, 38,5 x 30,8 cm Kunstmuseum, ?ffentliche Kunstsammlung, Basle There is a companion-piece of this painting, the portrait of the sitter's husband, Jakob Meyer zum Hasen. The architecture provides a link between the two portraits and creates a shared space for the figures; prior to Holbein, such a pictorial concept was unknown in Basle panel painting. The same applies to the decorative elements on the architecture, derived from the Italian Renaissance, such as the coffered vault and the acanthus leaf frieze, which incorporates two putti. The gilded coffering and pillar enhance the appearance of sober opulence in this striking and forthright depiction of Dorothea Kannengiesser, the second wife of Jakob Meyer. Their double-portrait, signed and dated 1516, was probably commissioned to celebrate Meyer's election as burgomaster. This had crucial repercussions for Holbein's career; evidently pleased with such an impressive diptych from so young an artist, Meyer gained Holbein numerous commissions in the following few years. Meyer was a member of the increasingly important mercantile class in Basle and the first of its members to achieve significant administrative power. (The coin he holds signifies his money-dealing role and also perhaps Basle's new-found permission to mint coins.) His friends and colleagues were therefore in the financial position to aid Holbein through their patronage. Meyer's tenure was brief, however - in 1521 he was impeached for accepting a larger bribe than was permitted from the French, imprisoned when he protested at his treatment and barred from office thereafter. He remained a Catholic after the city's secession to the reformed religion and led the Catholic party in the city: Holbein would perceive such strength of character again, in the analogous determination of Sir Thomas More to remain true to his faith .Artist:HOLBEIN, Hans the Younger Title: Portrait of Dorothea Meyer, n?e Kannengiesser Painted in 1501-1550 , German - - painting : portrait Kannengiesser_1516_Limewood,_38,5_x_30,8_cm_Kunstmuseum,_?ffentliche_Kunstsammlung,_Basle_There_is_a_companion-piece_of_this_painting,_the_portrait_of_the_sitter's_husband,_Jakob_Meyer_zum_Hasen._The_architecture_provides_a_link_between_the_two_portraits_and_creates_a_shared_space_for_the_figures;_prior_to_Holbein,_such_a_pictorial_concept_was_unknown_in_Basle_panel_painting._The_same_applies_to_the_decorative_elements_on_the_architecture,_derived_from_the_Italian_Renaissance,_such_as_the_coffered_vault_and_the_acanthus_leaf_frieze,_which_incorporates_two_putti._The_gilded_coffering_and_pillar_enhance_the_appearance_of_sober_opulence_in_this_striking_and_forthright_depiction_of_Dorothea_Kannengiesser,_the_second_wife_of_Jakob_Meyer._Their_double-portrait,_signed_and_dated_1516,_was_probably_commissioned_to_celebrate_Meyer's_election_as_burgomaster._This_had_crucial_repercussions_for_Holbein's_career;_evidently_pleased_with_such_an_impressive_diptych_from_so_young_an_artist,_Meyer_gained_Holbein_numerous_commissions_in_the_following_few_years._Meyer_was_a_member_of_the_increasingly_important_mercantile_class_in_Basle_and_the_first_of_its_members_to_achieve_significant_administrative_power._(The_coin_he_holds_signifies_his_money-dealing_role_and_also_perhaps_Basle's_new-found_permission_to_mint_coins.)_His_friends_and_colleagues_were_therefore_in_the_financial_position_to_aid_Holbein_through_their_patronage._Meyer's_tenure_was_brief,_however_-_in_1521_he_was_impeached_for_accepting_a_larger_bribe_than_was_permitted_from_the_French,_imprisoned_when_he_protested_at_his_treatment_and_barred_from_office_thereafter._He_remained_a_Catholic_after_the_city's_secession_to_the_reformed_religion_and_led_the_Catholic_party_in_the_city:_Holbein_would_perceive_such_strength_of_character_again,_in_the_analogous_determination_of_Sir_Thomas_More_to_remain_true_to_his_faith_.Artist:HOLBEIN,_Hans_the_Younger_Title:_Portrait_of_Dorothea_Meyer,_n?e_Kannengiesser___Painted_in__1501-1550___,__German__-_-_painting__:_portrait |
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Portrait of an Unknown Lady Måleriet identifieringen:: 63722 Titta min galleri i Sverige |
Portrait of an Unknown Lady 1541 Vellum mounted on playing card, diameter 5,1 cm Royal Collection, Windsor The first portrait miniatures were produced in France, their precursors being the small circular works commissioned by Francis I to celebrate the victory of Marignano in 1515. Jean Clouet was among the early practitioners of this format, which seems to have arrived in England by 1526 in the form of French royal portraits. Ten years elapsed before Holbein's contribution, but his work marks an immediate advance over the productions of earlier native practitioners like Lucas Horenbout. The small scale and different medium - vellum mounted on playing card (and termed `miniature' because of the lead, Latin minium, used in the paint) did nothing to hamper Holbein's sturdy realism. The identity of the lady is uncertain - the Romantic view of the 1840s judged it to be a portrait of Henry VIII's tragic fifth wife, Catherine Howard, executed for alleged adultery, although no ascertainable portrait of her exists elsewhere. What is certain is that Holbein's powers of characterization lost nothing in the confined space. Features of his late style include the clarity and simplicity of the background, often eschewing even the standard biographical information so as to maintain as direct a perception of the sitter as possible.Artist:HOLBEIN, Hans the Younger Title: Portrait of an Unknown Lady Painted in 1501-1550 , German - - painting : portrait 1541_Vellum_mounted_on_playing_card,_diameter_5,1_cm_Royal_Collection,_Windsor_The_first_portrait_miniatures_were_produced_in_France,_their_precursors_being_the_small_circular_works_commissioned_by_Francis_I_to_celebrate_the_victory_of_Marignano_in_1515._Jean_Clouet_was_among_the_early_practitioners_of_this_format,_which_seems_to_have_arrived_in_England_by_1526_in_the_form_of_French_royal_portraits._Ten_years_elapsed_before_Holbein's_contribution,_but_his_work_marks_an_immediate_advance_over_the_productions_of_earlier_native_practitioners_like_Lucas_Horenbout._The_small_scale_and_different_medium_-_vellum_mounted_on_playing_card_(and_termed_`miniature'_because_of_the_lead,_Latin_minium,_used_in_the_paint)_did_nothing_to_hamper_Holbein's_sturdy_realism._The_identity_of_the_lady_is_uncertain_-_the_Romantic_view_of_the_1840s_judged_it_to_be_a_portrait_of_Henry_VIII's_tragic_fifth_wife,_Catherine_Howard,_executed_for_alleged_adultery,_although_no_ascertainable_portrait_of_her_exists_elsewhere._What_is_certain_is_that_Holbein's_powers_of_characterization_lost_nothing_in_the_confined_space._Features_of_his_late_style_include_the_clarity_and_simplicity_of_the_background,_often_eschewing_even_the_standard_biographical_information_so_as_to_maintain_as_direct_a_perception_of_the_sitter_as_possible.Artist:HOLBEIN,_Hans_the_Younger_Title:_Portrait_of_an_Unknown_Lady___Painted_in__1501-1550___,__German__-_-_painting__:_portrait |
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Boy with marmoset Måleriet identifieringen:: 76398 Titta min galleri i Sverige |
Boy with marmoset ca. 1532-1536 Medium Oil cyf ca._1532-1536 _ Medium_Oil _ cyf |
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Portrait of an English Lady Måleriet identifieringen:: 80911 Titta min galleri i Sverige |
Portrait of an English Lady ca. 1533 - 1536 Medium Oil and tempera on oak Dimensions 29.8 x 24.8 cm cyf ca._1533_-_1536 _ Medium_Oil_and_tempera_on_oak _ Dimensions_29.8_x_24.8_cm _ cyf |
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| Föregående Konstnär Nästa Konstnär | ||||||||||
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| HOLBEIN, Hans the Younger | ||||||||||
| German painter (b. 1497, Augsburg, d. 1543, London). | ||||||||||
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