German artist Hans Holbein (junior): biography, creativity

Hans Holbein the eldest (≈1465-1524) headed the art workshop. In it worked his brother, and later also two sons. A special, outstanding role in the art of the Northern Renaissance was played by his younger son, full namesake of his father - Hans Holbein (1497-1543).

In the rich Augsburg

In the old Bavarian Augsburg, where Hans Holbein (father) was born, he kept a workshop and went into the workshop of craftsmen, since art at that time was not considered art. It has been so since ancient times, when art was considered to be arithmetic. The words "mathematics" from the ancient Greeks were not, and painting was only a craft. Hans' workshop became a family one. Things prospered, he had enough orders for himself, and for his brother Zygmund and his assistant Leonard. Augsburg at the turn of the two centuries was a huge city. It developed trade, workshops grew, which produced weapons and jewelry. The painters of the patrons were wealthy families. In the 16th century, the merchants of this city were among the wealthiest in Europe. The city was often visited by the Emperor Maximilian I. It was he and his entourage brought here new knowledge about the artists of the Italian Renaissance, for example. It was a time when medieval gothic was giving way to a fresh view of the world.

In workshop

Hans Holbein absorbed a new aesthetic and was able to organically express the ideals of the Renaissance. His fame began to spread throughout South Germany. At first they invite him to work in Ulm, then in Frankfurt am Main. With the sons of Ambrosius (1494-1519) and Hans he makes murals in Lucerne. This is a lot of work that is done both inside the building and outside. In the images there are genre scenes and hunting. Later, Hans Holbein will depart from active work and settle in Isenheim, where he will then die. In Augsburg, the Holbein house destroyed during the war was restored, and in the Gallery of the Old Masters and the cathedral there are works that Hans Holbein performed. His paintings are the pride of the city.

The Life of Hans Holbein the Son

After working with his father and brother, Hans moved to Switzerland in 1515. For ten years he settled in Basel. Here he meets Erasmus of Rotterdam, illustrates his "Praise of Stupidity", creates his portrait. His patron is Mayor 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, the Virgin Mary holds the baby Jesus under the cover of the scallop shell. It is believed that he was posed by a lover named Magdalena Offenburg. Below, under the protection of the cloak of the Blessed Virgin, the whole family of Meyer is located on either side of it. It was believed that thanks to her intercession, you can receive the mercy of the Heavenly Father. The scallop shell symbolizes the divine space and femininity. The golden crown on the head of the Virgin means the independence of its power. To the left is Meyer himself with two sons. In the foreground in a white dress is Meyer's daughter Anna. Then - his second wife, Dorothea, and, finally, the profile depicts the first, already deceased wife of Meyer - Magdalena. So this is a religious portrait with serious connotations. It is not known what he was thinking about, leaving Basel, Hans Holbein. In those years his biography was composed of crossings. Where did he go?

Hans Holbein, Jr. in England

For two years, the artist leaves for England, where he is hospitably received, then returns to Basel, finishes the town hall with scenes from the Old Testament and in 1532 permanently settles on the island. Here he reveals his gift to the portraitist in full. Now we will see his works, 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 they influenced the development of portrait painting in Britain.

"Ambassadors", 1533

Hans Holbein Jr. painted portraits of French ambassadors the year the princess Elizabeth was born. This picture is also a double portrait, and a still-life of several objects, which became the cause of numerous discussions.

Men are dressed in different clothes, on the right Jean de Danteville - in the secular, on the left Bishop Georges de Selv - in the official. This shows the conflict between secular and religious authorities, between the lords and the Church. On the principle of discord between scientists (the anthems of Martin Luther) and the Catholic clergy indicates the lute with a bursting string. Between ambassadors there 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 form. It is unclear why Holbein suggests recalling death, but it is possible that the artist is a three-level picture. On the upper shelf there are astrolabes, a quadrant, a multifaceted sundial and other objects of the heavenly world, on the lower - the terrestrial world, as evidenced by books and a lute, and finally, on the floor, a reminder of death in the form of an oblique cut. This is also indicated by the crucifix in the upper left corner, and the medallion of Jean de Danteville. So the painter turns a direct, simple view of life into a phantasmagoric vision.

Lost portrait of the King

In 1536 Holbein became the court painter of King Henry. And in 1536-1537 he created his portrait. The original is not preserved, it was burned in the fire of 1698, it is known to us only from numerous copies. At this time, Henry was married to the uncomplaining Jane Seymour. The portrait of the humble third wife of Henry has survived to this day, as is the portrait of the young prince Edward, the long-awaited heir, at a tender age.

Portrait of Henry VIII, late copy

As it was said, the portraits of Henry VIII burned down. They were meant for decorating Whitehall. But there were copies. In addition to the king himself, his wife Jane Seymour and his parents, Henry VII and Elizabeth York, were also depicted. These were murals, completed by 1537, to celebrate the birth of a beloved son. For us in the original there was only a cardboard on which Henry VIII and his father, Henry VII , were painted .

Henry VIII (copy) is depicted in full length without a sword, crown and scepter. The greatness of the king is conveyed by a pose. He proudly and aggressively stands directly in front of the viewer, his legs are apart, his hands occupy the fighter's position. In one hand he holds a glove, the other is located next to a dagger with a richly decorated dagger hanging from the belt. He wears a lot of jewelry, including several large rings and a pair of necklaces. Clothes with wide cotton-wool shoulders strengthen the impression of male 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 already suffers heavily from a wound that was received in an unsuccessful tournament. Henry VIII liked this portrait so much that he ordered to create his copies, intended as gifts for ambassadors and nobles.

The only surviving portrait of the work of Holbein

This portrait is not in England, but in the Thyssen-Bornemisza Museum in Madrid, where the King is depicted to the waist with an unfolded face to the viewer in three-quarters. For many years this picture belonged to the Spencer family, but the financial problems forced the seventh count of Spencer to part with it. This is an example of the typical monumental style of Holbein. Frontly deployed shoulders of the royal person, the position of his hands, decorated with rings, a massive chain, majestic posture immediately show that the audience is an outstanding strong personality. The domineering heavy face of the monarch is absolutely calm. His beautiful features did not disfigure either wrinkles or excessive fullness. His eyes are suspiciously narrowed, but he does not look at anyone closely. There is no hint of a smile on his face. This is a tough man, who has got used to solving everything on his own, dealing with real and imaginary oppositionists.

Holbein died during the plague in London. It was at the peak of his talent and skill. The painter was only 46 years old.