Hans Holbein the Younger at the National Gallery

Note: This is part of a series of a write-up vis-a-vis room 12 of the National Gallery. It is a breathtaking collection of portrait masterpieces of the Renaissance.

Hans Holbein the Younger was the 16th century German artist who — like successful Renaissance artists generally — spent much of their career attached to a court. In this case, Henry VIII’s court.  

He is one of the great painters in the history of art. His reputation emerging from his ability to draw and paint with such compelling verisimilitude — as if the subject were alive. In today’s photographic era, we take these kinds of paintings for granted — but in the 16th century this was considered a wonder.

Due to the Protestant Reformation, a wave of iconoclasm swept across Northern Europe in which religious work, even made under the auspices of the Catholic Church, was destroyed. The artist’s livelihood was severely compromised. The severity of Protestantism meant that his earlier work was too indulgent for the residents of Basel. So, Holbein fashioned a new career in Catholic England.

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“The Ambassadors”

Really compelling, and huge. The sheer detail is incredible.

In the 16th century, this must have been mesmerising.

A paean to two scholarly diplomats (to the court of Henry VIII) and to the artist’s virtuosity (in using anamorphic perspective).

Between them, Holbein has depicted a broad array of wide interests — a compendium of the culture of their age. A celestial globe, astronomical and navigational instruments

On the marble floor, between them, is a distorted skull. Memento mori. The brevity of life.

The threads in the tapestry is sumptuous defined. 

From the anamorphic perspective, the viewer is reminded that all their wealth and power is void in the end by inescapable death.

Painting from the perspective of the left-hand side.

The skull “seen” from the right-hand side.

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Portrait of Erasmus of Rotterdam

Really like it.

The humanist scholar Erasmus rests his hands on a book. I love the soft tawny furry sleeves and interior, and the sharp nose and slight-wrinkled lips.

The book inscription says “The Labours of Hercules of Erasmus of Rotterdam”. Reference to his editions of the Holy Scriptures. Graco-Romano columns and books in the background tell us about his interests. 

A man of wealth and luxury, but also a reserved & serious scholar. A man of distinction.

The beautiful wooden frame seems so fitting.

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Christina of Denmark, Duchess of Milan

Beautiful painting by Holbein.

This is a portrait of the 16-year-old widow (widowed in black) Christina of Denmark. 

This painting was commissioned by King Henry VIII. She lived in Brussels, and he lived in London; and before the internet, he needed to “see” her. He sent Holbein to capture her. She piqued the King’s interest as he was looking for a new bride. He kept the painting even though they never married. Sadly Holbein lost favour with the King after the Anne of Cleves portrait.

There is some interesting shadowing (against the wall) and she is wearing exquisite black robes with browny fur. She is certainly tall, she has charming elegant pursed lips and engaging eyes. Her hands are beautiful and elegant — made more striking by the white ruffle. And the gloves between her fingers are a sweet homely charm.

Beautiful and elegant, propitious.

A large & imposing painting.

There is an interesting talk on this painting on YouTube by the National Gallery:

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A Lady with a Squirrel and a Starling (Anne Lovell?)

Another lovely portrait. Beautifully painted. Simple but elegant clothing, and a stoic look.

The squirrel and starling allude to a special family connected to Henry VIII.

Apparently, the pet squirrel is a heraldic symbol. He sits on the woman's arm; nibbling away. He seems to be chained.