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Hans Holbein Denmark s Christina oil painting


Denmark s Christina
Painting ID::  57088
Hans Holbein
Denmark s Christina
mk252 oak panel painting 179.1 x 28.6 cm

   
   
     

Hans Holbein Anne Clive oil painting


Anne Clive
Painting ID::  57090
Hans Holbein
Anne Clive
mk252 parchment oil painting 65 x 48 cm

   
   
     

Hans Holbein Ximengqiaozhi oil painting


Ximengqiaozhi
Painting ID::  57092
Hans Holbein
Ximengqiaozhi
mk252 oil painting of wood 31 centimeters in diameter

   
   
     

Hans Holbein Hermann von portrait oil painting


Hermann von portrait
Painting ID::  57093
Hans Holbein
Hermann von portrait
mk252 oil painting of wood 41.9 x 31.8 cm in 1532

   
   
     

Hans Holbein Qiao Zhiji portrait of businessman Serge oil painting


Qiao Zhiji portrait of businessman Serge
Painting ID::  57094
Hans Holbein
Qiao Zhiji portrait of businessman Serge
mk252 oak panel painting 96.3 x 85.7 cm

   
   
     

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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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