Louis Benjamin van Dam, Fanny Adelheid van Dam-Wesly, Benjamin Leonard van Dam and Jenny Elizabeth van Dam Groningen | Гронинген, 11-05-2024.
De bewoners van P. Hendrikszstraat 28 op Joods Monument (Dutch)
Stolpersteine on Wikipedia (Dutch)
My Groningen City 2024 set in my The Netherlands Collection and my Stolpersteine set .
Louis Benjamin van Dam, Fanny Adelheid van Dam-Wesly, Benjamin Leonard van Dam and Jenny Elizabeth van Dam Groningen | Гронинген, 11-05-2024.
De bewoners van P. Hendrikszstraat 28 op Joods Monument (Dutch)
Stolpersteine on Wikipedia (Dutch)
My Groningen City 2024 set in my The Netherlands Collection and my Stolpersteine set .
Louis Benjamin van Dam, Fanny Adelheid van Dam-Wesly, Benjamin Leonard van Dam and Jenny Elizabeth van Dam Groningen | Гронинген, 11-05-2024.
De bewoners van P. Hendrikszstraat 28 op Joods Monument (Dutch)
Stolpersteine on Wikipedia (Dutch)
My Groningen City 2024 set in my The Netherlands Collection and my Stolpersteine set .
7Q5A9866 From the rubble of the past rises the foundation for the future
We took an exciting step forward for the community this morning by demolishing the unutilized structure at 54 Front Street, paving the way for the next phase of the Great Falls Youth Center expansion! This milestone moment marks the beginning of the construction of a new indoor gymnasium — a $10M project which will provide students with a much-needed space for recreation, physical activity, and community events.
Special thanks to Mayor Andre Sayegh, NJCDC staff, and community leaders for joining us to celebrate this exciting development. Together, we’re nurturing creativity, community, and growth and building brighter futures for the incredible teens who call Paterson home! (Photos by Elizabeth Lara-Collado / NJCDC)
Advent wreath at St. Stephen's, Belvedere Submitted by Elizabeth Gravely, Parish Administrator
Advent 2 wreath at St. Stephen's, Belvedere Submitted by Elizabeth Gravely, Parish Administrator
Advent 2 wreath at St. Stephen's, Belvedere Submitted by Elizabeth Gravely, Parish Administrator
7Q5A9578 Our Full Service Community Schools (FSCS) program at JFK High School hosted its1st Family Holiday Pajama Movie Night in partnership with the JFK Teen Center! Dressed in their coziest pajamas, students and families watched Home Alone, with popcorn and nachos, hot chocolate, and enjoyed dinner from the Fast Break Cafe food truck. It was the perfect way to spend time with family and friends right before the holidays.(Photo by Elizabeth Lara-Collado / NJCDC)
7Q5A9577 Our Full Service Community Schools (FSCS) program at JFK High School hosted its1st Family Holiday Pajama Movie Night in partnership with the JFK Teen Center! Dressed in their coziest pajamas, students and families watched Home Alone, with popcorn and nachos, hot chocolate, and enjoyed dinner from the Fast Break Cafe food truck. It was the perfect way to spend time with family and friends right before the holidays.(Photo by Elizabeth Lara-Collado / NJCDC)
7Q5A9581 Our Full Service Community Schools (FSCS) program at JFK High School hosted its1st Family Holiday Pajama Movie Night in partnership with the JFK Teen Center! Dressed in their coziest pajamas, students and families watched Home Alone, with popcorn and nachos, hot chocolate, and enjoyed dinner from the Fast Break Cafe food truck. It was the perfect way to spend time with family and friends right before the holidays.(Photo by Elizabeth Lara-Collado / NJCDC)
7Q5A9601 Our Full Service Community Schools (FSCS) program at JFK High School hosted its1st Family Holiday Pajama Movie Night in partnership with the JFK Teen Center! Dressed in their coziest pajamas, students and families watched Home Alone, with popcorn and nachos, hot chocolate, and enjoyed dinner from the Fast Break Cafe food truck. It was the perfect way to spend time with family and friends right before the holidays.(Photo by Elizabeth Lara-Collado / NJCDC)
7Q5A9649 Our Full Service Community Schools (FSCS) program at JFK High School hosted its1st Family Holiday Pajama Movie Night in partnership with the JFK Teen Center! Dressed in their coziest pajamas, students and families watched Home Alone, with popcorn and nachos, hot chocolate, and enjoyed dinner from the Fast Break Cafe food truck. It was the perfect way to spend time with family and friends right before the holidays.(Photo by Elizabeth Lara-Collado / NJCDC)
7Q5A9606 Our Full Service Community Schools (FSCS) program at JFK High School hosted its1st Family Holiday Pajama Movie Night in partnership with the JFK Teen Center! Dressed in their coziest pajamas, students and families watched Home Alone, with popcorn and nachos, hot chocolate, and enjoyed dinner from the Fast Break Cafe food truck. It was the perfect way to spend time with family and friends right before the holidays.(Photo by Elizabeth Lara-Collado / NJCDC)
7Q5A9620 Our Full Service Community Schools (FSCS) program at JFK High School hosted its1st Family Holiday Pajama Movie Night in partnership with the JFK Teen Center! Dressed in their coziest pajamas, students and families watched Home Alone, with popcorn and nachos, hot chocolate, and enjoyed dinner from the Fast Break Cafe food truck. It was the perfect way to spend time with family and friends right before the holidays.(Photo by Elizabeth Lara-Collado / NJCDC)
7Q5A9623 Our Full Service Community Schools (FSCS) program at JFK High School hosted its1st Family Holiday Pajama Movie Night in partnership with the JFK Teen Center! Dressed in their coziest pajamas, students and families watched Home Alone, with popcorn and nachos, hot chocolate, and enjoyed dinner from the Fast Break Cafe food truck. It was the perfect way to spend time with family and friends right before the holidays.(Photo by Elizabeth Lara-Collado / NJCDC)
7Q5A9644 Our Full Service Community Schools (FSCS) program at JFK High School hosted its1st Family Holiday Pajama Movie Night in partnership with the JFK Teen Center! Dressed in their coziest pajamas, students and families watched Home Alone, with popcorn and nachos, hot chocolate, and enjoyed dinner from the Fast Break Cafe food truck. It was the perfect way to spend time with family and friends right before the holidays.(Photo by Elizabeth Lara-Collado / NJCDC)
Grey currawong Cape Queen Elizabeth Track - Bruny Island - Tasmania
Australia
Armour Garniture of Henry VIII Armour garniture of Henry VIII for the field and tilt, c1540
Erasmus Kyrkenar
Steel, gold, leather
In 1511, Henry VIII established a royal armour workshop, which from the 1520s was based in Greenwich. Here specialists from across Europe made armour using the latest technologies. The royal workshop became famous for the quality of its output.
Among the masterpieces produced Greenwich is this 'garniture', an armour with additional components to allow it to be used for different purposes. The armour can be used in battles ('the field') or for jousting ('the tilt'). The tilt pieces are displayed to the right of the armour. The garniture is decorated with etched bands of ornament along the edges. Although this decoration has sometimes been attributed to Holbein, there is very little to support this suggestion.
The armour was made for Henry VIII under the supervision of Erasmus Kyrkenar, a German armourer, Kyrkenar worked in England from at least 1519, when he was appointed armourer for the king's body. He had become head of the Greenwich workshop by 1535.
As well as being adaptable according to the occasion, the armour was adjusted to accommodate Henry VIII's increasing waistline, with adjustable waist hasps (a stud and catch with three settings). The current visor of the helmet was added much later and is taken from a second armour garniture made for Henry in 1540.*
From the exhibition
Holbein at the Tudor Court
(November 2023 – April 2024)
Hans Holbein was one of the most talented artists of the 16th century. From his arrival in England in search of work he rose to royal favour, chosen to paint the portraits of Henry VIII, his family and leading figures, among them Anne Boleyn and Sir Thomas More. By his death, Holbein’s work was as admired by his contemporaries as it is today. His portraits inspired the next generation of artists in their depictions of Edward VI, Mary I and Elizabeth I.
This exhibition showcases one of the most important surviving collections of his work, and includes drawings, paintings, miniatures and book illustrations. Celebrating Holbein’s artistic skill, it explores the career of the artist and the lives of those who commissioned portraits from him, bringing us face-to-face with some of the most famous people of 16th-century England.
Hans Holbein (1497/8-1543) travelled to England from the Swiss city of Basel in 1526. He was seeking work at the English court, where Henry VIII employed artists from across Europe to celebrate the power and glory of the Tudor dynasty.
Over the next 17 years, Holbein would become one of the most successful artists working in England. His clients included senior courtiers, leading nobles and members of the Tudor royal family.
Holbein's success in England was due to his skill at portraiture. He came from a family of artists from Augsburg in Germany and learned to draw and paint at an early age. Contemporaries praised him as an 'incomparable painter' and a 'wonderful artist'. His portrait paintings and miniatures depicted sitters who, as the inscription on one painting proclaimed, only needed a voice to appear alive.
Holbein's portraits started with drawings of his sitters, taken from the life. Although made as working studies, these drawings are beautiful works of art in their own right. Their detail reveals much about Holbein's working practice as he developed and refined his composition, a process which continued as he began to paint.
[*King's Gallery]
Unless otherwise stated, the item is by Holbein
Taken in King's Gallery
Armour Garniture of Henry VIII Armour garniture of Henry VIII for the field and tilt, c1540
Erasmus Kyrkenar
Steel, gold, leather
In 1511, Henry VIII established a royal armour workshop, which from the 1520s was based in Greenwich. Here specialists from across Europe made armour using the latest technologies. The royal workshop became famous for the quality of its output.
Among the masterpieces produced Greenwich is this 'garniture', an armour with additional components to allow it to be used for different purposes. The armour can be used in battles ('the field') or for jousting ('the tilt'). The tilt pieces are displayed to the right of the armour. The garniture is decorated with etched bands of ornament along the edges. Although this decoration has sometimes been attributed to Holbein, there is very little to support this suggestion.
The armour was made for Henry VIII under the supervision of Erasmus Kyrkenar, a German armourer, Kyrkenar worked in England from at least 1519, when he was appointed armourer for the king's body. He had become head of the Greenwich workshop by 1535.
As well as being adaptable according to the occasion, the armour was adjusted to accommodate Henry VIII's increasing waistline, with adjustable waist hasps (a stud and catch with three settings). The current visor of the helmet was added much later and is taken from a second armour garniture made for Henry in 1540.*
From the exhibition
Holbein at the Tudor Court
(November 2023 – April 2024)
Hans Holbein was one of the most talented artists of the 16th century. From his arrival in England in search of work he rose to royal favour, chosen to paint the portraits of Henry VIII, his family and leading figures, among them Anne Boleyn and Sir Thomas More. By his death, Holbein’s work was as admired by his contemporaries as it is today. His portraits inspired the next generation of artists in their depictions of Edward VI, Mary I and Elizabeth I.
This exhibition showcases one of the most important surviving collections of his work, and includes drawings, paintings, miniatures and book illustrations. Celebrating Holbein’s artistic skill, it explores the career of the artist and the lives of those who commissioned portraits from him, bringing us face-to-face with some of the most famous people of 16th-century England.
Hans Holbein (1497/8-1543) travelled to England from the Swiss city of Basel in 1526. He was seeking work at the English court, where Henry VIII employed artists from across Europe to celebrate the power and glory of the Tudor dynasty.
Over the next 17 years, Holbein would become one of the most successful artists working in England. His clients included senior courtiers, leading nobles and members of the Tudor royal family.
Holbein's success in England was due to his skill at portraiture. He came from a family of artists from Augsburg in Germany and learned to draw and paint at an early age. Contemporaries praised him as an 'incomparable painter' and a 'wonderful artist'. His portrait paintings and miniatures depicted sitters who, as the inscription on one painting proclaimed, only needed a voice to appear alive.
Holbein's portraits started with drawings of his sitters, taken from the life. Although made as working studies, these drawings are beautiful works of art in their own right. Their detail reveals much about Holbein's working practice as he developed and refined his composition, a process which continued as he began to paint.
[*King's Gallery]
Unless otherwise stated, the item is by Holbein
Taken in King's Gallery
Jane Seymour, 1536-7 Black and coloured chalks with pen and ink and green watercolour on pink prepared paper
Jane Seymour married Henry VIII on 30 May 1536 and died on 24 October 1537, shortly after giving birth to his son Edward, later Edward VI. Jane's status as the mother of the future king ensured her portrait was widely circulated, and the sheet shows signs of reuse, with horizontal lines indicating different lengths and a strip of paper added at the bottom to extend the composition. This drawing was the basis for the depiction of Jane in the Whitehall mural, painted by Holbein in 1537.*
From the exhibition
Holbein at the Tudor Court
(November 2023 – April 2024)
Hans Holbein was one of the most talented artists of the 16th century. From his arrival in England in search of work he rose to royal favour, chosen to paint the portraits of Henry VIII, his family and leading figures, among them Anne Boleyn and Sir Thomas More. By his death, Holbein’s work was as admired by his contemporaries as it is today. His portraits inspired the next generation of artists in their depictions of Edward VI, Mary I and Elizabeth I.
This exhibition showcases one of the most important surviving collections of his work, and includes drawings, paintings, miniatures and book illustrations. Celebrating Holbein’s artistic skill, it explores the career of the artist and the lives of those who commissioned portraits from him, bringing us face-to-face with some of the most famous people of 16th-century England.
Hans Holbein (1497/8-1543) travelled to England from the Swiss city of Basel in 1526. He was seeking work at the English court, where Henry VIII employed artists from across Europe to celebrate the power and glory of the Tudor dynasty.
Over the next 17 years, Holbein would become one of the most successful artists working in England. His clients included senior courtiers, leading nobles and members of the Tudor royal family.
Holbein's success in England was due to his skill at portraiture. He came from a family of artists from Augsburg in Germany and learned to draw and paint at an early age. Contemporaries praised him as an 'incomparable painter' and a 'wonderful artist'. His portrait paintings and miniatures depicted sitters who, as the inscription on one painting proclaimed, only needed a voice to appear alive.
Holbein's portraits started with drawings of his sitters, taken from the life. Although made as working studies, these drawings are beautiful works of art in their own right. Their detail reveals much about Holbein's working practice as he developed and refined his composition, a process which continued as he began to paint.
[*King's Gallery]
Unless otherwise stated, the item is by Holbein
Taken in King's Gallery
Field and Tilt Armour Armour garniture of Henry VIII for the field and tilt, c1540
Erasmus Kyrkenar
Steel, gold, leather
In 1511, Henry VIII established a royal armour workshop, which from the 1520s was based in Greenwich. Here specialists from across Europe made armour using the latest technologies. The royal workshop became famous for the quality of its output.
Among the masterpieces produced Greenwich is this 'garniture', an armour with additional components to allow it to be used for different purposes. The armour can be used in battles ('the field') or for jousting ('the tilt'). The tilt pieces are displayed to the right of the armour. The garniture is decorated with etched bands of ornament along the edges. Although this decoration has sometimes been attributed to Holbein, there is very little to support this suggestion.
The armour was made for Henry VIII under the supervision of Erasmus Kyrkenar, a German armourer, Kyrkenar worked in England from at least 1519, when he was appointed armourer for the king's body. He had become head of the Greenwich workshop by 1535.
As well as being adaptable according to the occasion, the armour was adjusted to accommodate Henry VIII's increasing waistline, with adjustable waist hasps (a stud and catch with three settings). The current visor of the helmet was added much later and is taken from a second armour garniture made for Henry in 1540.*
From the exhibition
Holbein at the Tudor Court
(November 2023 – April 2024)
Hans Holbein was one of the most talented artists of the 16th century. From his arrival in England in search of work he rose to royal favour, chosen to paint the portraits of Henry VIII, his family and leading figures, among them Anne Boleyn and Sir Thomas More. By his death, Holbein’s work was as admired by his contemporaries as it is today. His portraits inspired the next generation of artists in their depictions of Edward VI, Mary I and Elizabeth I.
This exhibition showcases one of the most important surviving collections of his work, and includes drawings, paintings, miniatures and book illustrations. Celebrating Holbein’s artistic skill, it explores the career of the artist and the lives of those who commissioned portraits from him, bringing us face-to-face with some of the most famous people of 16th-century England.
Hans Holbein (1497/8-1543) travelled to England from the Swiss city of Basel in 1526. He was seeking work at the English court, where Henry VIII employed artists from across Europe to celebrate the power and glory of the Tudor dynasty.
Over the next 17 years, Holbein would become one of the most successful artists working in England. His clients included senior courtiers, leading nobles and members of the Tudor royal family.
Holbein's success in England was due to his skill at portraiture. He came from a family of artists from Augsburg in Germany and learned to draw and paint at an early age. Contemporaries praised him as an 'incomparable painter' and a 'wonderful artist'. His portrait paintings and miniatures depicted sitters who, as the inscription on one painting proclaimed, only needed a voice to appear alive.
Holbein's portraits started with drawings of his sitters, taken from the life. Although made as working studies, these drawings are beautiful works of art in their own right. Their detail reveals much about Holbein's working practice as he developed and refined his composition, a process which continued as he began to paint.
[*King's Gallery]
Unless otherwise stated, the item is by Holbein
Taken in King's Gallery
Henry Howard, Earl of Surrey, c1535-6 Black and coloured chalks with black ink on pink prepared paper
[One of two drawings] taken at the same sitting. For some reason, Holbein has abandoned the sheet showing Surrey turned to the left, and worked up another drawing with the earl facing forward. Comparison of the two drawings shows how Holbein built up Surrey's fine, straight hair in individual lines of black chalk and red chalk modelling to deepen his eye sockets and bring a flush to his cheeks. The inscription misnames the sitter as Thomas.
Henry Howard, Earl of Surrey, was a poet and soldier, whose friends included Thomas Wyatt and Mary Shelton. He was bold and impetuous, and his lack of public popularity was remarked upon. His conviction for treason in 1546 rested partly on the testimony of Richard Southwell, a childhood companion.*
From the exhibition
Holbein at the Tudor Court
(November 2023 – April 2024)
Hans Holbein was one of the most talented artists of the 16th century. From his arrival in England in search of work he rose to royal favour, chosen to paint the portraits of Henry VIII, his family and leading figures, among them Anne Boleyn and Sir Thomas More. By his death, Holbein’s work was as admired by his contemporaries as it is today. His portraits inspired the next generation of artists in their depictions of Edward VI, Mary I and Elizabeth I.
This exhibition showcases one of the most important surviving collections of his work, and includes drawings, paintings, miniatures and book illustrations. Celebrating Holbein’s artistic skill, it explores the career of the artist and the lives of those who commissioned portraits from him, bringing us face-to-face with some of the most famous people of 16th-century England.
Hans Holbein (1497/8-1543) travelled to England from the Swiss city of Basel in 1526. He was seeking work at the English court, where Henry VIII employed artists from across Europe to celebrate the power and glory of the Tudor dynasty.
Over the next 17 years, Holbein would become one of the most successful artists working in England. His clients included senior courtiers, leading nobles and members of the Tudor royal family.
Holbein's success in England was due to his skill at portraiture. He came from a family of artists from Augsburg in Germany and learned to draw and paint at an early age. Contemporaries praised him as an 'incomparable painter' and a 'wonderful artist'. His portrait paintings and miniatures depicted sitters who, as the inscription on one painting proclaimed, only needed a voice to appear alive.
Holbein's portraits started with drawings of his sitters, taken from the life. Although made as working studies, these drawings are beautiful works of art in their own right. Their detail reveals much about Holbein's working practice as he developed and refined his composition, a process which continued as he began to paint.
[*King's Gallery]
Unless otherwise stated, the item is by Holbein
Taken in King's Gallery
Henry Howard, Earl of Surrey, c1535-6 Black and coloured chalks with black ink on pink prepared paper
[One of two drawings] taken at the same sitting. For some reason, Holbein has abandoned the sheet showing Surrey turned to the left, and worked up another drawing with the earl facing forward. Comparison of the two drawings shows how Holbein built up Surrey's fine, straight hair in individual lines of black chalk and red chalk modelling to deepen his eye sockets and bring a flush to his cheeks. The inscription misnames the sitter as Thomas.
Henry Howard, Earl of Surrey, was a poet and soldier, whose friends included Thomas Wyatt and Mary Shelton. He was bold and impetuous, and his lack of public popularity was remarked upon. His conviction for treason in 1546 rested partly on the testimony of Richard Southwell, a childhood companion.*
From the exhibition
Holbein at the Tudor Court
(November 2023 – April 2024)
Hans Holbein was one of the most talented artists of the 16th century. From his arrival in England in search of work he rose to royal favour, chosen to paint the portraits of Henry VIII, his family and leading figures, among them Anne Boleyn and Sir Thomas More. By his death, Holbein’s work was as admired by his contemporaries as it is today. His portraits inspired the next generation of artists in their depictions of Edward VI, Mary I and Elizabeth I.
This exhibition showcases one of the most important surviving collections of his work, and includes drawings, paintings, miniatures and book illustrations. Celebrating Holbein’s artistic skill, it explores the career of the artist and the lives of those who commissioned portraits from him, bringing us face-to-face with some of the most famous people of 16th-century England.
Hans Holbein (1497/8-1543) travelled to England from the Swiss city of Basel in 1526. He was seeking work at the English court, where Henry VIII employed artists from across Europe to celebrate the power and glory of the Tudor dynasty.
Over the next 17 years, Holbein would become one of the most successful artists working in England. His clients included senior courtiers, leading nobles and members of the Tudor royal family.
Holbein's success in England was due to his skill at portraiture. He came from a family of artists from Augsburg in Germany and learned to draw and paint at an early age. Contemporaries praised him as an 'incomparable painter' and a 'wonderful artist'. His portrait paintings and miniatures depicted sitters who, as the inscription on one painting proclaimed, only needed a voice to appear alive.
Holbein's portraits started with drawings of his sitters, taken from the life. Although made as working studies, these drawings are beautiful works of art in their own right. Their detail reveals much about Holbein's working practice as he developed and refined his composition, a process which continued as he began to paint.
[*King's Gallery]
Unless otherwise stated, the item is by Holbein
Taken in King's Gallery
Princess Mary, 1537-43 Black and coloured chalks with black ink and blue watercolour on pink prepared paper
This drawing has been significantly rubbed and much of the chalk detail lost. Despite the damage it is possible to make out the sitter's blue eyes and the shading on her hood. As the daughter of Katherine of Aragon, Mary was exiled from court after 1533. In 1537, she was reconciled with her father and became godmother to her younger stepbrother Edward. Praised for her intelligence and learning, she would inherit the throne as Mary I after Edward's death.*
From the exhibition
Holbein at the Tudor Court
(November 2023 – April 2024)
Hans Holbein was one of the most talented artists of the 16th century. From his arrival in England in search of work he rose to royal favour, chosen to paint the portraits of Henry VIII, his family and leading figures, among them Anne Boleyn and Sir Thomas More. By his death, Holbein’s work was as admired by his contemporaries as it is today. His portraits inspired the next generation of artists in their depictions of Edward VI, Mary I and Elizabeth I.
This exhibition showcases one of the most important surviving collections of his work, and includes drawings, paintings, miniatures and book illustrations. Celebrating Holbein’s artistic skill, it explores the career of the artist and the lives of those who commissioned portraits from him, bringing us face-to-face with some of the most famous people of 16th-century England.
Hans Holbein (1497/8-1543) travelled to England from the Swiss city of Basel in 1526. He was seeking work at the English court, where Henry VIII employed artists from across Europe to celebrate the power and glory of the Tudor dynasty.
Over the next 17 years, Holbein would become one of the most successful artists working in England. His clients included senior courtiers, leading nobles and members of the Tudor royal family.
Holbein's success in England was due to his skill at portraiture. He came from a family of artists from Augsburg in Germany and learned to draw and paint at an early age. Contemporaries praised him as an 'incomparable painter' and a 'wonderful artist'. His portrait paintings and miniatures depicted sitters who, as the inscription on one painting proclaimed, only needed a voice to appear alive.
Holbein's portraits started with drawings of his sitters, taken from the life. Although made as working studies, these drawings are beautiful works of art in their own right. Their detail reveals much about Holbein's working practice as he developed and refined his composition, a process which continued as he began to paint.
[*King's Gallery]
Unless otherwise stated, the item is by Holbein
Taken in King's Gallery
Thomas Howard, 3rd Duke of Norfolk, c1539 Oil on panel
This portrait is an assertion of authority. Holbein shows Norfolk wearing the collar of the Order of the Garter and holding the white baton of the Lord Treasurer and the gold baton of Earl Marshal. Holbein has excelled in the depiction of the different textures of the duke's many layers of clothing, from the black velvet gown lined with lynx fur to his red satin doublet. Norfolk was an ambitious, ruthless and violent man who was estranged from his wife and oversaw the execution of two of his nieces.*
From the exhibition
Holbein at the Tudor Court
(November 2023 – April 2024)
Hans Holbein was one of the most talented artists of the 16th century. From his arrival in England in search of work he rose to royal favour, chosen to paint the portraits of Henry VIII, his family and leading figures, among them Anne Boleyn and Sir Thomas More. By his death, Holbein’s work was as admired by his contemporaries as it is today. His portraits inspired the next generation of artists in their depictions of Edward VI, Mary I and Elizabeth I.
This exhibition showcases one of the most important surviving collections of his work, and includes drawings, paintings, miniatures and book illustrations. Celebrating Holbein’s artistic skill, it explores the career of the artist and the lives of those who commissioned portraits from him, bringing us face-to-face with some of the most famous people of 16th-century England.
Hans Holbein (1497/8-1543) travelled to England from the Swiss city of Basel in 1526. He was seeking work at the English court, where Henry VIII employed artists from across Europe to celebrate the power and glory of the Tudor dynasty.
Over the next 17 years, Holbein would become one of the most successful artists working in England. His clients included senior courtiers, leading nobles and members of the Tudor royal family.
Holbein's success in England was due to his skill at portraiture. He came from a family of artists from Augsburg in Germany and learned to draw and paint at an early age. Contemporaries praised him as an 'incomparable painter' and a 'wonderful artist'. His portrait paintings and miniatures depicted sitters who, as the inscription on one painting proclaimed, only needed a voice to appear alive.
Holbein's portraits started with drawings of his sitters, taken from the life. Although made as working studies, these drawings are beautiful works of art in their own right. Their detail reveals much about Holbein's working practice as he developed and refined his composition, a process which continued as he began to paint.
[*King's Gallery]
Unless otherwise stated, the item is by Holbein
Taken in King's Gallery