Hans Holbein the Younger(1497 — 1543)

Hans Holbein the Younger

Suisse, France, Saint-Empire romain germanique

6 min read

Visual ArtsArtisteRenaissanceNorthern Renaissance, first half of the 16th century, marked by humanism, the Protestant Reformation and the rise of court portraiture

Hans Holbein the Younger was a German painter and engraver of the Renaissance, famous for his portraits of striking precision. Having become court painter to Henry VIII of England, he immortalized the great figures of the Tudor era and the humanists of his time.

Frequently asked questions

Hans Holbein the Younger was a German painter and printmaker of the Northern Renaissance (1497-1543), best known for his portraits of almost photographic precision. The key thing to remember is that he managed to capture the soul of the powerful figures of his time: he became court painter to Henry VIII and immortalized the key figures of the Tudor court and humanists such as Erasmus. His gift for the detail of fabrics and jewels, combined with a keen sense of psychology, makes him one of the greatest portrait painters in history.

Key Facts

  • Born around 1497 in Augsburg, Germany, into a family of painters
  • Worked in Basel from 1515, where he mingled with the humanist Erasmus, of whom he painted several portraits
  • Painted “The Ambassadors” (1533), famous for its anamorphosis of a skull
  • Became official court painter to Henry VIII of England from 1536 onwards
  • Died in London in 1543, probably of the plague

Works & Achievements

Portrait of Erasmus of Rotterdam (1523)

A profile image of the greatest humanist of the age, writing at his desk. The portrait spread Erasmus's face throughout Europe.

The Dance of Death (woodcuts) (circa 1526)

A series of small engravings in which Death carries off people from every walk of society. A masterpiece of Renaissance graphic art.

The Body of the Dead Christ in the Tomb (1521-1522)

A raw and realistic depiction of Christ's body laid out. A striking work that left a lasting impression on viewers.

Portrait of Thomas More (1527)

A portrait of the famous humanist and Lord Chancellor of England, author of “Utopia.” Holbein displays here all his mastery of the detail of fabrics.

The Ambassadors (1533)

A double portrait of two French envoys surrounded by objects of learning, with a skull in anamorphosis. One of the most analyzed works in the history of art.

Portrait of Henry VIII (circa 1537)

A powerful, frontal image of the king in majesty, which fixed the image of the Tudor sovereign for centuries.

Portrait of Anne of Cleves (1539)

A diplomatic portrait made for the planned royal marriage. It played a direct role in a political decision by Henry VIII.

Portrait of Georg Gisze (1532)

A portrait of a German Hanseatic merchant in London, surrounded by the tools of his trade. A pinnacle of meticulous detail and symbolism.

Anecdotes

In his painting *The Ambassadors* (1533), Holbein painted a strange, elongated, blurry shape in the foreground. Seen from the side, at a certain angle, it reveals a human skull: it is an anamorphosis, a reminder that death lies in wait even for the powerful, amid their riches and their learning.

In 1539, **Henry VIII** sent Holbein to paint **Anne of Cleves** to decide whether he should marry her. Charmed by the portrait, the king agreed to the marriage, but was disappointed when he met the princess in person. The union was quickly annulled; Holbein, however, kept his position as court painter.

When Holbein arrived in England in **1526**, he carried a letter of recommendation from the great humanist **Erasmus**, addressed to his friend **Thomas More**. Thanks to this network of humanists, the German painter gained entry into the best circles of London.

Holbein did not only paint: he also designed jewellery, goldsmiths' cups, bookbindings, and decorations for the court. Many of these precious objects have been lost, but his preparatory drawings have survived.

Before becoming famous as a portraitist, Holbein created in **Basel** a series of woodcuts titled *The Dance of Death*, in which a skeleton comes to seize in turn the pope, the emperor, the merchant, or the peasant, reminding everyone that death spares no one.

Primary Sources

Letter from Erasmus of Rotterdam to Pieter Gillis (1526)
Here, the arts are frozen stiff; that is why he [Holbein] is travelling to England to gather a few angels there.
Inscription on Holbein's portrait of Erasmus (1523)
The portrait of Erasmus of Rotterdam, captured from life.
Karel van Mander, The Book of Painters (Schilder-boeck) (1604)
Holbein painted King Henry VIII and many lords of his court with such truthfulness that one believed one saw them alive.
Inscription on “The Ambassadors” (1533)
Jean de Dinteville, lord of Polisy, aged twenty-nine; Georges de Selve, bishop of Lavaur, aged twenty-five.

Key Places

Augsburg

A prosperous Imperial city in southern Germany where Holbein was born, in the workshop of his father, a painter. A great merchant and artistic center.

Basel

A Swiss city of printing and humanism where Holbein trained, became a master, and met Erasmus. There he painted portraits and made engravings.

London

The English capital where Holbein settled and became court painter to Henry VIII. He died there, most likely of the plague, in 1543.

Palace of Whitehall

Henry VIII's royal residence where Holbein created the great mural of the Tudor dynasty, destroyed in a fire in the 17th century.

See also