b. 1497, Augsburg, d. 1543, London 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.[2] He also produced religious art, satire and Reformation propaganda, and made a significant contribution to the history of book design. He is called "the Younger" to distinguish him from his father, Hans Holbein the Elder, an accomplished painter of the Late Gothic school. Born in Augsburg, Holbein worked mainly in Basel as a young artist. At first he painted murals and religious works and designed for stained glass windows and printed books. He also painted the occasional portrait, making his international mark with portraits of the humanist Desiderius Erasmus of Rotterdam. When the Reformation reached Basel, Holbein worked for reformist clients while continuing to serve traditional religious patrons. His Late Gothic style was enriched by artistic trends in Italy, France, and the Netherlands, as well as by Renaissance Humanism. The result was a combined aesthetic uniquely his own. Holbein travelled to England in 1526 in search of work, with a recommendation from Erasmus. He was welcomed into the humanist circle of Thomas More, where he quickly built a high reputation. After returning to Basel for four years, he resumed his career in England in 1532. This time he worked for the twin founts of patronage, Anne Boleyn and Thomas Cromwell. By 1535, he was King's Painter to King Henry VIII. In this role, he produced not only portraits and festive decorations but designs for jewellery, plate, and other precious objects. His portraits of the royal family and nobles are a vivid record of a brilliant court in the momentous years when Henry was asserting his supremacy over the English church. Holbein's art was prized from early in his career. The French poet and reformer Nicholas Bourbon dubbed him "the Apelles of our time".[3] Holbein has also been described as a great "one-off" of art history, since he founded no school.[4] After his death, some of his work was lost, but much was collected, and by the 19th century, Holbein was recognised among the great portrait masters. Recent exhibitions have also highlighted his versatility.   Related Paintings of Hans holbein the younger :. | Portrait of Erasmus of Rotterdam | Portrait of John Chambers | Man in a Black Cap | Portrait of a Member of the Wedigh Family | Portrait of the Merchant Georg Gisze |
Related Artists:
Francis Grant
Scottish Painter, 1803-1878 Scottish portrait painter. He was self-taught in painting, for which he abandoned a career in law. He began as a painter of hunting scenes (The Melton Hunt and The Cottesmore Hunt) but gained success as a fashionable portrait painter. Among his sitters were Scott, Macaulay, Disraeli, Palmerston, and Landseer. Sir Francis was president (1866 C 78) of the Royal Academy.
SPADA, Lionello
Italian Baroque Era Painter, 1576-1622 Italian painter, active mainly in Emilia. His signature was an L placed across a sword [Ital. spada=sword]. His work shows influence of the grand manner of the Carracci, as in The Burning of Heretical Books (San Domenico, Bologna), and of Caravaggio's naturalism, seen in dramatic religious and genre scenes such as The Way to Calvary (Parma). In his late works his manner became softer and warmer under Correggio's influence. An example is The Marriage of St. Catherine (Parma).
Charles Laval
(1862-1894) was a French painter born March 17, 1862 in Paris and who died April 27, 1894. He is associated with the Synthetic movement and Pont-Aven School, and he was a contemporary and friend of Paul Gauguin and Vincent van Gogh. Gauguin created a portrait of him in 1886 looking at one of Gauguin's Ceramic sculptures, entitled "Still Life with Profile of Laval". Paul Gauguin and Laval both came to Pension Gloanec in Pont-Aven in 1886 and became friends. In search of an exoticism that could provide the key to art, Gauguin and Laval went to Panama in 1887. To gain some subsidies, Laval performs academic portraits (all lost), using his experience received from Leon Bonnat. A series of mishaps caused Laval and Gauguin to leave the Central America for the island of Martinique.