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 :. | Self-Portrait | Portrait of Anne of Clevers,Queen of England | Detail of | Charles Brandon | Portrait of the Merchant Georg Gisze |
Related Artists:
CAMASSEI, Andrea
Italian painter, Roman school (b. 1602, Bevagna, d. 1649, Roma) Andrea Camassei (1602-1649) was an Italian painter of the Baroque, who was mainly active in Rome under the patronage of the Barberini. He was born in Bevagna. He was active in painting in the Palazzo Barberini as well as in Antonio Barberini's favored church, Santa Maria della Concezione, where he painted the Assumption of the Virgin on the dome. His training was under Domenichino, but he also labored under the direction of Sacchi and Pietro da Cortona. He painted a Triumph of Constantine for the Baptistery of the Lateran Palace. He painted for the Taddeo Barberini, two large canvases (1638-39) depicting Massacre of the Niobids and Hunt of Diana. He also painted a Saints Bonaventura, Bernardino & Ludovico da Tolosa for Santa Caterina in Rapecchiano (Spello).
dahlstrom
1806-1869
Jacob Jordaens
Flemish Baroque Era Painter, 1593-1678 Jacob Jordeans was born on May 19, 1593, the first of eleven children, to the wealthy linen merchant Jacob Jordaens Sr. and Barbara van Wolschaten in Antwerp. Little is known about Jordaens's early education. It can be assumed that he received the advantages of the education usually provided for children of his social class. This assumption is supported by his clear handwriting, his competence in French and in his knowledge of mythology. Jordaens familiarity with biblical subjects is evident in his many religious paintings, and his personal interaction with the Bible was strengthened by his later conversion from Catholicism to Protestantism. Like Rubens, he studied under Adam van Noort, who was his only teacher. During this time Jordaens lived in Van Noort's house and became very close to the rest of the family. After eight years of training with Van Noort, he enrolled in the Guild of St. Luke as a "waterscilder", or watercolor artist. This medium was often used for preparing tapestry cartoons in the seventeenth century. although examples of his earliest watercolor works are no longer extant. In the same year as his entry into the guild, 1616, he married his teacher's eldest daughter, Anna Catharina van Noort, with whom he had three children. In 1618, Jordaens bought a house in Hoogstraat (the area in Antwerp that he grew up in). He would then later buy the adjoining house to expand his household and workspace in 1639, mimicking Rubens's house built two decades earlier. He lived and worked here until his death in 1678. Jordaens never made the traditional trip to Italy to study classical and Renaissance art. Despite this, he made many efforts to study prints or works of Italian masters available in northern Europe. For example, Jordaens is known to have studied Titian, Veronese, Caravaggio, and Bassano, either through prints, copies or originals (such as Caravaggio's Madonna of the Rosary). His work, however, betrays local traditions, especially the genre traditions of Pieter Bruegel the Elder, in honestly depicting Flemish life with authenticity and showing common people in the act of celebratory expressions of life. His commissions frequently came from wealthy local Flemish patrons and clergy, although later in his career he worked for courts and governments across Europe. Besides a large output of monumental oil paintings he was a prolific tapestry designer, a career that reflects his early training as a "watercolor" painter. Jordaens' importance can also be seen by his number of pupils; the Guild of St. Luke records fifteen official pupils from 1621 to 1667, but six others were recorded as pupils in court documents and not the Guild records, so it is probable that he had more students than officially recorded. Among them were his cousin and his son Jacob. Like Rubens and other artists at that time, Jordaens' studio relied on his assistants and pupils in the production of his paintings. Not many of these pupils went on to fame themselves,however a position in Jordaens's studio was highly desirable for young artists from across Europe.