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Hans holbein the younger
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.
100% hand painted, 100%
cotton canvas,
100% money back if not satisfaction.
Hans holbein the younger Portrait of an Unknown Man Holding Gloves
new24/Hans holbein the younger-477886.jpg Portrait of an Unknown Man Holding Gloves. Oil and tempera on oak, 44.4 x 34.2 cm, English Heritage, Audley End. Scholars have estimated the approximate date of the painting from the sitter's high collar and short hair.
Date c. 1540 - 43
cjr
Hans holbein the younger Portrait of an Unidentified Man, possibly the goldsmith Hans of Antwerp
new24/Hans holbein the younger-656744.jpg Portrait of an Unidentified Man, possibly the goldsmith Hans of Antwerp. Oil and tempera on oak, 13 cm Date c. 1535 - 40
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Hans holbein the younger Portrait of Thomas More
new25/Hans holbein the younger-789798.jpg Date 1527(1527)
Medium Oil on oak
Dimensions 74.2 x 59 cm (29.2 x 23.2 in)
cjr
Hans holbein the younger Jane Seymour, Queen of England
new25/Hans holbein the younger-387369.jpg Date 1536(1536)
Medium Oil on wood
Dimensions Height: 65.5 cm (25.8 in). Width: 40.5 cm (15.9 in).
cjr
Hans holbein the younger Noli me Tangere
new25/Hans holbein the younger-656638.jpg Date 1524(1524)
Medium Oil on wood
Dimensions Height: 76.8 cm (30.2 in). Width: 94.9 cm (37.4 in).
cjr
Hans holbein the younger Portrait of Thomas More
new25/Hans holbein the younger-374457.jpg 1527(1527)
Medium Oil on oak
Dimensions 74.2 x 59 cm (29.2 x 23.2 in)
cyf
Hans holbein the younger Portrait of a Lady with a Squirrel and a Starling
new25/Hans holbein the younger-637683.jpg between 1527(1527) and 1528(1528)
Medium oil on oak
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Hans holbein the younger Portrait of Catherine Howard
new25/Hans holbein the younger-763996.jpg between 1540(1540) and 1541(1541)
Medium oil on panel
Dimensions Height: 74 cm (29.1 in). Width: 51 cm (20.1 in
cyf
Hans holbein the younger The Artist's Family
new25/Hans holbein the younger-856583.jpg 1528(1528)
Medium Oil on paper mounted on wood
Dimensions Height: 77 cm (30.3 in). Width: 64 cm (25.2 in).
cyf
Hans holbein the younger Portrait of Jakob Meyer zum Hasen.
new25/Hans holbein the younger-249999.jpg 1516(1516)
Medium oil and tempera on linden
Dimensions 38.5 X 30.8 cm (15.2 X 12.1 in)
cjr
Hans holbein the younger Portrait of an unknown man, supposed effigy of Thomas More.
new25/Hans holbein the younger-336888.jpg 1530s
Medium oil on panel
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Hans holbein the younger Portrat des William Warham, Erzbischof von Canterbury
new25/Hans holbein the younger-578576.jpg 1527(1527)
Medium Deutsch: Tempera auf Holz
Dimensions Height: 82 cm (32.3 in). Width: 67 cm (26.4 in).
cjr
Hans holbein the younger Portrait of Derich Berck
new26/Hans holbein the younger-738946.jpg 1536(1536)
Medium oil on canvas transferred from wood
Dimensions 53.3 x 42.5 cm
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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.
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