Hans Holbein Sr. (≈1465-1524) led an art workshop. His brother worked in her, and later two sons. A special, outstanding role in the art of the Northern Renaissance was played by his youngest son, full of his father's namesake - Hans Holbein (1497-1543).
In rich Augsburg
In the ancient Bavarian Augsburg, where Hans Holbein (father) was born, he kept a workshop and entered the artisans workshop, since painting was not considered art at that time. This has been the case since ancient times, when arithmetic was considered an art. The ancient Greeks did not have the word "mathematics", and painting was only a craft. Hans workshop has become a family. Things flourished, orders were enough for him, and brother Sigmund, and assistant Leonard. Augsburg at the turn of the century was a huge city. It developed trade, grew workshops that made weapons and jewelry. The painters' patrons were wealthy families. In the XVI century, the merchants of this city were among the wealthiest in Europe. Emperor Maximilian I often came to the city. It was he and his retinue who brought here new knowledge about the artists of the Italian Renaissance, for example. It was a time when medieval Gothic gave way to a fresh view of the world.
In workshop
Hans Holbein absorbed a new aesthetic and managed to organically express the ideals of the Renaissance. His fame began to spread throughout southern Germany. First, they invite him to work in Ulm, then in Frankfurt. With his sons Ambrosius (1494-1519) and Hans, he makes murals in Lucerne. This is a lot of work that is being done both inside the building and outside. The images contain both genre scenes and hunting. Later, Hans Holbein departed from active work and settled in Isenheim, where he later died. The Holbein House, which was destroyed during the war, was restored in Augsburg, and there are works by the Hans Holbein in the Gallery of Ancient Masters and the Cathedral. His paintings are the pride of the city.
The Life of Hans Holbein the Son
Having worked with his father and brother, Hans moved to Switzerland in 1515. He settled in Basel for ten years. Here he meets Erasmus of Rotterdam, illustrates his "Praise of Nonsense", creates his portrait. His patron is the burgomaster Meyer, for whom he will write before leaving Germany forever, the painting "Madonna of the Meyer family", one of his masterpieces of this period.
In the upper central part of the Virgin Mary is holding the baby Jesus under the cover of a scallop shell. It is believed that a lover by the name of Magdalena Offenburg posed for him. Below, under the protection of the cloak of the Blessed Virgin, the entire Meyer family was located on either side of it. It was believed that thanks to her intercession, one could receive the mercy of the Heavenly Father. The crest of the shell symbolizes divine space and femininity. The golden crown on the head of the Virgin means the independence of her power. To the left is Meyer himself with his two sons. In the foreground in a white dress is Meyer's daughter Anna. Then - his second wife, Dorothea, and finally, the profile shows the first, already deceased wife of Meyer - Magdalena. So this is a religious portrait with serious connotations. It is not known what he thought, leaving Basel, Hans Holbein. His biography in these years consisted of moving. Where did he go?
Hans Holbein the Younger in England
For two years, the artist leaves for England, where he is warmly received, then returns to Basel, finishes painting the town hall with scenes from the Old Testament, and in 1532 permanently relocates to the island. Here he reveals his gift as a portrait painter in full. Now before us will pass his work, which created him unfading glory. The accuracy of the characteristics, the brightness of the images - this is what Hans Holbein creates. The works did not immediately find followers, but it was they who influenced the development of portraiture in Britain.
The Ambassadors, 1533
Hans Holbein, Jr. painted portraits of the French ambassadors the year Princess Elizabeth was born. This picture is a double portrait, and a still life of several objects, which have caused numerous discussions.
Men are dressed in various clothes, on the right, Jean de Dentewil - in the secular, on the left - Bishop Georges de Selv - in the official. This shows a conflict between secular and religious authorities, between sovereign lords and the Church. The principle of discord between scholars ( Martin Luther’s hymns ) and the Catholic clergy is indicated by a lute with a broken string. Between the ambassadors is an open Lutheran psalter as a symbol of religious knowledge. At the same time, he unites them through the Mother of God. At the bottom of the picture on the floor in the center is a skull in a long, distorted shape. It is not clear why Holbein suggests recalling death, but it is possible that the artist makes a three-level picture. On the upper shelf there are astrolabes, a quadrant, many-sided sundials and other objects of the heavenly world, on the lower shelf there is the earthly world, as evidenced by books and a lute, and, finally, on the floor there is a reminder of death in the form of an oblique slice. This is also indicated by the crucifix in the upper left corner, and the medallion of Jean de Denteville. So the painter turns a direct, unpretentious look at life into a phantasmagoric vision.
Lost King Portrait
In 1536, Holbein became the court painter of King Henry. And in 1536-1537 he creates his portrait. The original has not been preserved, it burned down in the fire of 1698, and is known to us only from numerous copies.
At this time, Henry was married to the meek Jane Seymour. The portrait of the humble third wife of Henry came to our days, as well as the portrait of the young prince Edward, the long-awaited heir, at a tender age.
Portrait of Henry VIII, late copy
As was said, the portraits of Henry VIII burned down. They were intended to decorate Whitehall. But there were copies. Besides the king himself, his wife Jane Seymour and his parents, Henry VII and Elizabeth York, were also depicted.
These were frescoes completed by 1537 to celebrate the birth of a beloved son. For us, only the cardboard remained on the original, on which Henry VIII and his father, Henry VII, are painted.
Henry VIII (copy) is depicted in full growth without a sword, crown and scepter.
The greatness of the king is transmitted by pose. He proudly and aggressively stands directly opposite the viewer, his legs are spread apart, his hands occupy the position of a fighter. In one hand he holds a glove, the other is located next to a richly decorated dagger hanging on his belt. He wears a lot of jewelry, including several large rings and a pair of necklaces. Clothing with wide cotton shoulders reinforces the impression of masculine power emanating from the king. Holbein deliberately distorts the figure of
Henry VIII to make it more impressive. In the portrait, the king is young and healthy, although in fact he is already seriously suffering from a wound received during an unsuccessful tournament. Henry VIII liked this portrait so much that he ordered to create copies of it, intended as gifts for ambassadors and nobles.
The only surviving portrait of Holbein
This portrait is not in England, but in the Thyssen-Bornemisza Museum in Madrid, where the king is depicted waist-deep with his quarters facing the viewer in three quarters. For many years this picture belonged to the Spencer family, but financial problems forced the seventh Earl of Spencer to part with it.
This is an example of a typical monumental Holbein style. The frontally unfolded shoulders of the royal person, the position of his hands, decorated with rings, a massive chain, majestic posture immediately show that in front of the viewer an extraordinary strong personality. The monarch’s domineering heavy face is perfectly calm. Its beautiful features did not disfigure either wrinkles or excessive fullness. His eyes narrowed in disbelief, but he did not gaze at anyone intently. There is no hint of a smile on his face. This is a tough person, accustomed to decide everything on his own, cracking down on real and imaginary opposition.
Holbein died during a plague in London. It was at the height of his talent and skill. The painter was only 46 years old.