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 an English Lady | Portrait of Fane Seymour,Queen of England | Self-Portrait | The Body of the Dead Christ in the Tomb and a detail | Christina of Denmark |
Related Artists:
anna dorothea therbusch
1721-82 German painter of Polish descent. She was taught by her father, the portrait painter Georg Lisiewski (1674-1751), and received further training from Antoine Pesne in Paris. She worked for Charles-Eugene, Count of W?rttemberg, in Stuttgart from 1761 to 1762, and for Charles Theodore Wittelsbach, Elector Palatine of the Rhine, in Mannheim from 1763 to 1764. In 1765 she returned, via Stuttgart and Hohenzollern-Hechingen, to Paris, where in 1767 she became a member of the Academie Royale. She met Denis Diderot and Philipp Hackert, both of whom she painted, and Charles-Nicolas Cochin , but, despite consistent support from Prince Galitsyn, she was unable to establish herself in Paris. In 1769 she returned to Berlin where she received commissions for mythological paintings (e.g. Diana and her Nymphs, 1771; Potsdam, Neues Pal.) from Frederick II, King of Prussia. She painted portraits of members of the Prussian court, and the Berlin bourgeoisie, and in 1773 was commissioned by Catherine II, Empress of Russia, to paint a portrait of the Prussian royal family.
ALBERTINELLI Mariotto
Italian Early Renaissance Painter, 1474-1515 Already as a 12-year old boy, he became a pupil of Cosimo Rosselli, and a fellow-pupil with Fra Bartolomeo with whom he formed such an intimate brotherly rapport that in 1494 the two started their own studio in Florence. Vasari's opinion was that Mariotto was not so well grounded in drawing as Bartolomeo, and he tells that, to improve his hand he had taken to drawing the antiquities in the Medici garden, where he was encouraged by Madonna Alfonsina, the mother of Duke Lorenzo II de' Medici. When the Medici were temporarily banished in 1494, he returned to his friend, whose manner he copied so assiduously, according to Vasari, that his works were taken for Baccio's. When, in the wake of Savonarola's morality campaign, Baccio joined the Dominican order as Fra Bartolomeo in 1500 and gave up painting, Albertinelli, beside himself with the loss, would have joined him; but, spurred by his success in completing an unfinished Last Judgment of Bartolomeo's, he resolved to carry on alone. Among his many students were Jacopo da Pontormo, Innocenzo di Pietro Francucci da Imola and Giuliano Bugiardini. Albertinelli's paintings bear the imprint of Perugino's sense of volumes in space and perspective, Fra Bartolomeo's coloring, the landscape portrayal of Flemish masters like Memling, and Leonardo's Sfumato technique. His chief paintings are in Florence, notably his masterpiece, the Visitation (1503) at the Uffizi.
Jean de Beaumetz
Artois,active from 1361-Dijon 1396