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.  Related Paintings of Hans Holbein :. | Darmstadt Madonna, | Sir Brian Tuk | Sir Richard Southwell | Portrait of Derich Berck | Erasmus |
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TIBALDI, Pellegrino
Italian Painter, 1527-1596 Painter and architect. Pellegrino Tibaldi's early paintings show the influence of Bagnacavallo and of other Bolognese followers of Raphael, but his actual teacher is unknown. Vasari's claim that his own works in S Michele in Bosco, Bologna, formed Tibaldi's artistic education is hardly borne out by the latter's first efforts. The Mystic Marriage of St Catherine (c. 1545; Bologna, Pin. N.) is, in its classical, hierarchical simplicity, clearly inspired by Raphael's manner as interpreted by his Bolognese imitators; although it also bears delicate marks of Parmigianino's grace, the power of its expressive dignity and the architectural background hint at Tibaldi's future development. Tibaldi's Adoration of the Shepherds
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Alexander Young Jackson
(October 3, 1882 - April 5, 1974) was a Canadian painter and a founding member of the Group of Seven. As a young boy, Jackson worked as an office boy for a lithograph company, after his father abandoned his family of six children. It was at this company that Jackson began his art training. In the evenings, he took classes at Montreal's Monument-National In 1905, Jackson worked his way to Europe on a cattle boat, returning by the same means and travelling on to Chicago. In Chicago, he joined a commercial art firm and took courses at the Art Institute of Chicago. He saved his earnings and, by 1907, was able to visit France to study Impressionism. In France, Jackson decided to become a professional painter, studying at Paris' Academie Julian under J.P. Laurens.