Alla HOLBEIN, Hans the Youngers Oljemålningar

1 2 Nästa

Bilder

Oljemålningar Från A till Z

Information

7518

Adam and Eve f

1517 Paper, mounted on pine, 302 x 357 mm Kunstmuseum, Öffentliche Kunstsammlung, Basle

42645

Allegory of the Old and the New Testament

MK169 ca. 1530 oil Paint on panel 50.2x61cm National Gallery or Scotland

76398

Boy with marmoset

ca. 1532-1536 Medium Oil cyf

63708

Christina of Denmark

1538 Oil on oak National Gallery, London Christina's black gown, which she wore as a widow, contrasts strikingly with her flawless ivory skin. The viewer's gaze is also attracted to the well-shaped, delicate hands holding a glove, leaving an impression of perfect charm and elegance.Artist:HOLBEIN, Hans the Younger Title: Christina of Denmark, Ducchess of Milan (detail) Painted in 1501-1550 , German - - painting : portrait

7586

Christina of Denmark, Ducchess of Milan sf

1538 Oil on oak, 179 x 83 cm National Gallery, London

40338

Damstadt Madonna

mk156 c.1528 Oil on lindenwood 146x102cm

63712

Darmstadt Madonna

1526 and after 1528 Oil on limewood Schlossmuseum, Darmstadt The presentation of the Madonna and Child is a triumph of illusionism that ranks with the achievements of Van Eyck in Flanders a century before. The play of light over the fluting of the architectural shell behind the two figures carves out the space into which the delicately shadowed crown, hair and face of the Madonna are set. There is no Raphaelesque regularity in the Madonna's features - as with most northern Madonnas, a specific model was used, a friend of Holbein's, one Magdalena Offenburg who also posed for the Lais and whose lifestyle, ironically, was not considered blameless. However, the compelling physical presence and credibility of the figures is the result of artistic means alone; the twisting of the child's body emphasizes the weight the Madonna's arms must carry, and Christ's projecting feet and the foreshortening of his own and his mother's arms stress the space his torso occupies. The combination of warm green and gold also brings the Madonna forward against the neutral .tone of the stonework.Artist:HOLBEIN, Hans the Younger Title: Darmstadt Madonna (detail) Painted in 1501-1550 , German - - painting : religious

7554

Darmstadt Madonna (detail) sf

1526 and after 1528 Oil on limewood Schlossmuseum, Darmstadt

7555

Darmstadt Madonna (detail) sf

1526 and after 1528 Oil on limewood Schlossmuseum, Darmstadt

7553

Darmstadt Madonna (detail) sg

1526 and after 1528 Oil on limewood Schlossmuseum, Darmstadt

7556

Darmstadt Madonna (detail) sg

1526 and after 1528 Oil on limewood Schlossmuseum, Darmstadt

7552

Darmstadt Madonna sg

1526 and after 1528 Oil on limewood, 146,5 x 102 cm Schlossmuseum, Darmstadt

7588

De Vos van Steenwijk

1541 Oil on wood, 47,6 x 36,2 cm Staatliche Museen, Berlin

63706

Diptych with Christ and the Mater Dolorosa

1520 Limewood, 29 x 19.5 cm (each panel) Kunstmuseum, ?ffentliche Kunstsammlung, Basle Jesus sits exhausted on the plinth of an aedicula decorated in the style of the Italian Renaissance. In contrast to His strong, muscular body, Jesus' face is ravaged by the strains of the Passion, arousing pity in the beholder, who is also summoned to devotion by Mary's gesture towards her Son and by her pain-stricken gaze. Though Jesus wears a large crown of thorns, indicating that the Via Crucis (the Way of the Cross) has begun, the wounds are absent, so that the Crucifixion still lies in the future; he is not yet the Man of Sorrows. The architecture indicates Pilate's palace. Holbein has removed the figures from the scenic setting of the Biblical story and turned the tortured Christ into the main figure of a devotional picture.Artist:HOLBEIN, Hans the Younger Title: Diptych with Christ and the Mater Dolorosa Painted in 1501-1550 , German - - painting : religious

7548

Double Portrait of Sir Thomas Godsalve and His Son John

1528 Resin tempera on oak, 35 x 36 cm Gemäldegalerie, Dresden

7549

Double Portrait of Sir Thomas Godsalve and His Son John (detail) sf

1528 Resin tempera on oak Gemäldegalerie, Dresden

7583

Edward, Prince of Wales d

1543 Oil on wood, diameter 32,4 cm Metropolitan Museum of Art, New York

7526

Erasmus f

1523 Oil on wood, 43 x 33 cm Mus??e du Louvre, Paris

42643

Erasmus Van Rotterdam

MK169 ca. 1523 Panel 76.2x51.4cm

63707

Henry VIII after

1537 Oil on canvas, 233,7 x 134,6 Walker Art Gallery, Liverpool The top job of Holbein, the court painter, was quite certainly to paint the king's portrait. In the 1530s, Henry VIII had enlarged his London residence Whitehall Palace, and needed a grand picture for it. It was to feature not only him and his wife Jane Seymour, but also his parents, the first Tudor monarchs, and was also intended to proclaim the fame of the ruling house in word and image. Since the composition probably adorned one wall of the Privy Chamber, a private chamber accessible only to more intimate members of court, the picture was not aimed at a broad public but a select group at court. No contract for the mural survives, but Henry VIII must have commissioned it in the short time during which he was married to Jane Seymour, in other words between May 30, 1536, and October 12, 1537. Both Catharine of Aragon and Anne Boleyn were already dead; in showing Jane together with Elizabeth of York and the Tudor monarchs in the picture, Henry's new connection was presented as the only legitimate one and the children of the marriage as the only rightful heirs. Possibly the picture was commissioned shortly after the wedding: in the surviving section of the cartoon a cartouche is included in the frieze, displaying the initials of Henry and Jane linked in a love knot. According to the copy by the painter Remigius van Leemput (1607-1675) in 1667, the cartouche on the mural as painted bore the date 1537. The picture shows a copy of the figure of Henry VIII from the left side of the mural which was destroyed in the Whitehall fire in 1698. Henry VIII stands in the foreground like a colossus with legs apart and knees straight. His broad shoulders, emphasized by his heavy clothing, exaggerate the already unusual physical presence of this large man, whose sex is additionally stressed by a prominent girdle and codpiece. The king thus appears as the epitome of vigour and potency. This stance, with legs apart and knees locked straight, is very uncommon for the portrait of a king. The reason may be that at the time spread legs were considered improper, as the Frankfurt scholar Jodocus Willich ( 1501-15 52) explains in a treatise on gestures first published in Basle in 1540. However, in visual art the stance was also associated with triumphant heroes; St. George, for example, can stand in a comparable pose after overcoming the dragon.Artist:HOLBEIN, Hans the Younger Title: Henry VIII Painted in 1501-1550 , German - - painting : portrait

7581

Henry VIII and the Barber Surgeons sf

c. 1543 Oak, 180,3 x 312,4 cm Royal College of Surgeons of England, London

7582

Henry VIII and the Barber Surgeons sf

c. 1543 Paper mounted on canvas, 160 x 280 cm Royal College of Surgeons of England, London

7571

Jean de Dinteville and Georges de Selve (The Ambassadors) sf

1533 Oil on oak, 207 x 209 cm National Gallery, London

7542

Lais of Corinth sg

1526 Limewood, 34,6 x 26,8 cm Kunstmuseum, Öffentliche Kunstsammlung, Basle

7529

Noli me Tangere (detail th

c. 1524 Oil on oak panel Royal Collection, Hampton Court

7528

Noli me Tangere f

1524 Oil on wood, 76,8 x 94,9 cm Royal Collection, Hampton Court

7547

Portrait of a Lady with a Squirrel and a Starling (detail) sf

1527-28 Oil on oak National Gallery, London

7587

Portrait of a Man Holding Gloves and Letter sg

c. 1540 Oil on wood, 32,5 x 26 cm Kunstmuseum, Öffentliche Kunstsammlung, Basle

41319

Portrait of a Member of the Wedigh Family

mk161 Tempera and oil on wood 16x12

7559

Portrait of a Member of the Wedigh Family sf

1532 Oil on wood, 42,2 x 32,4 cm Metropolitan Museum of Art, New York

7564

Portrait of a Member of the Wedigh Family sf

1533 Oak, 39 x 30 cm Staatliche Museen, Berlin

82385

Portrait of a Young Woman with a White Coif

1541(1541) Medium Oil and tempera on panel Dimensions 11.11 cm (4.4 in) cyf

80911

Portrait of an English Lady

ca. 1533 - 1536 Medium Oil and tempera on oak Dimensions 29.8 x 24.8 cm cyf

63722

Portrait of an Unknown Lady

1541 Vellum mounted on playing card, diameter 5,1 cm Royal Collection, Windsor The first portrait miniatures were produced in France, their precursors being the small circular works commissioned by Francis I to celebrate the victory of Marignano in 1515. Jean Clouet was among the early practitioners of this format, which seems to have arrived in England by 1526 in the form of French royal portraits. Ten years elapsed before Holbein's contribution, but his work marks an immediate advance over the productions of earlier native practitioners like Lucas Horenbout. The small scale and different medium - vellum mounted on playing card (and termed `miniature' because of the lead, Latin minium, used in the paint) did nothing to hamper Holbein's sturdy realism. The identity of the lady is uncertain - the Romantic view of the 1840s judged it to be a portrait of Henry VIII's tragic fifth wife, Catherine Howard, executed for alleged adultery, although no ascertainable portrait of her exists elsewhere. What is certain is that Holbein's powers of characterization lost nothing in the confined space. Features of his late style include the clarity and simplicity of the background, often eschewing even the standard biographical information so as to maintain as direct a perception of the sitter as possible.Artist:HOLBEIN, Hans the Younger Title: Portrait of an Unknown Lady Painted in 1501-1550 , German - - painting : portrait

7577

Portrait of Anne of Cleves sf

c. 1539 Parchment mounted on canvas, 65 x 48 cm Mus??e du Louvre, Paris

7520

Portrait of Benedikt von Hertenstein af

1517 Paper, mounted on wood, 52,4 x 38,1 cm Metropolitan Museum of Art, New York

7521

Portrait of Bonifacius Amerbach a

1519 Oil on pinewood, 28,5 x 27,4 cm Kunstmuseum, Öffentliche Kunstsammlung, Basle

7580

Portrait of Catherine Howard s

1540-41 Oil on wood, 74 x 51 cm Toledo Museum of Art, Toledo, Ohio

7570

Portrait of Charles de Solier, Lord of Morette ag

1534-35 Oak, 92,5 x 75,4 cm Gemäldegalerie, Dresden

7565

Portrait of Derich Born af

1533 Oil on oak, 60,3 x 45,1 cm Royal Collection, Windsor

7567

Portrait of Dirk Tybis fgbs

1533 Oil on oak, 47,7 x 34,8 cm Kunsthistorisches Museum, Vienna

63721

Portrait of Dorothea Meyer

Kannengiesser 1516 Limewood, 38,5 x 30,8 cm Kunstmuseum, ?ffentliche Kunstsammlung, Basle There is a companion-piece of this painting, the portrait of the sitter's husband, Jakob Meyer zum Hasen. The architecture provides a link between the two portraits and creates a shared space for the figures; prior to Holbein, such a pictorial concept was unknown in Basle panel painting. The same applies to the decorative elements on the architecture, derived from the Italian Renaissance, such as the coffered vault and the acanthus leaf frieze, which incorporates two putti. The gilded coffering and pillar enhance the appearance of sober opulence in this striking and forthright depiction of Dorothea Kannengiesser, the second wife of Jakob Meyer. Their double-portrait, signed and dated 1516, was probably commissioned to celebrate Meyer's election as burgomaster. This had crucial repercussions for Holbein's career; evidently pleased with such an impressive diptych from so young an artist, Meyer gained Holbein numerous commissions in the following few years. Meyer was a member of the increasingly important mercantile class in Basle and the first of its members to achieve significant administrative power. (The coin he holds signifies his money-dealing role and also perhaps Basle's new-found permission to mint coins.) His friends and colleagues were therefore in the financial position to aid Holbein through their patronage. Meyer's tenure was brief, however - in 1521 he was impeached for accepting a larger bribe than was permitted from the French, imprisoned when he protested at his treatment and barred from office thereafter. He remained a Catholic after the city's secession to the reformed religion and led the Catholic party in the city: Holbein would perceive such strength of character again, in the analogous determination of Sir Thomas More to remain true to his faith .Artist:HOLBEIN, Hans the Younger Title: Portrait of Dorothea Meyer, n?e Kannengiesser Painted in 1501-1550 , German - - painting : portrait

7517

Portrait of Dorothea Meyer, nee Kannengiesser sf

1516 Limewood, 38,5 x 30,8 cm Kunstmuseum, Öffentliche Kunstsammlung, Basle

7594

Portrait of Duke Antony the Good of Lorraine sf

c. 1543 Oil on oak, 51 x 37 cm Staatliche Museen, Berlin

7578

Portrait of Edward, Prince of Wales sg

c. 1539 Oil on oak, 57 x 44 cm National Gallery of Art, Washington

82846

Portrait of Elihu Yale

Date 1717 cyf

7558

Portrait of Erasmus of Rotterdam sf

1530 Oil on wood, 33 x 25 cm Galleria Nazionale, Parma

7527

Portrait of Erasmus of Rotterdam sg

1523 Wood, 76 x 51 cm National Gallery, London

7590

Portrait of Henry Howard, the Earl of Surrey s

1541-43 Oil on wood, 55,5 x 44 cm Museu de Arte, São Paolo

52042

Portrait of Henry VIII

1536 Oil on wood, 28 x 19 cm

7579

Portrait of Henry VIII dg

1540 Oil on panel, 88,5 x 74,5 cm Galleria Nazionale d'Arte Antica, Rome

7576

Portrait of Henry VIII SG

1536 Oil on wood, 28 x 19 cm Thyssen-Bornemisza Collection, Madrid

7516

Portrait of Jakob Meyer zum Hasen

1516 Limewood, 38,5 x 30,8 cm Kunstmuseum, Öffentliche Kunstsammlung, Basle

52046

Portrait of Jane Pemberton

c. 1540 Vellum mounted on playing card, diameter 5,3 cm

7593

Portrait of John Chambers dg

1543 Oil on oak, 58 x 39,7 cm Kunsthistorisches Museum, Vienna

7592

Portrait of Lady Margaret Butts sg

1543 Oil on wood, 46 x 37 cm Isabella Stewart Gardner Museum, Boston

7544

Portrait of Lady Mary Guildford sf

1527 Oak, 87 x 70,5 cm Saint Louis Art Museum, Saint Louis

52043

Portrait of Margaret Wyatt, Lady Lee

c. 1540 Oil on wood, 42,5 x 32,7 cm

7551

Portrait of Nikolaus Kratzer (detail) sg

1528 Tempera on oak Mus??e du Louvre, Paris

7550

Portrait of Nikolaus Kratzer gw

1528 Tempera on oak, 83 x 67 cm Mus??e du Louvre, Paris

40343

Portrait of Nikolaus Kratzer,Astronomer

mk156 1528 Tempera on oak 83x67cm

82799

Portrait of Prince Edward

1538(1538) Medium Oil and tempera on oak Dimensions 56.8 x 44 cm (22.4 x 17.3 in) cyf

7585

Portrait of Simon George sf

1536-37 Oil on oak, diameter 31 cm Städelsches Kunstinstitut, Frankfurt

7543

Portrait of Sir Henry Guildford sf

1527 Oak, 82,6 x 66,4 cm Royal Collection, Windsor

7563

Portrait of Sir Nicholas Carew sg

1532-33 Tempera on wood, 90,8 x 101,5 cm Drumlanrig Castle, Thornhill, Scotland

7591

Portrait of Sir William Butts sg

1543 Oil on wood, 47 x 36,8 cm Isabella Stewart Gardner Museum, Boston

7519

Portrait of the Artist's Wife

c. 1517 Tempera on wood, 45 x 34 cm Mauritshuis, The Hague

63716

Portrait of the Merchant Georg Gisze

1532 Oil on wood Staatliche Museen, Berlin On the rear wooden wall Holbein paints cartellino, supposedly attached to the wall with sealing wax, with a Latin couplet written on it saying: "Couplet on the portrait of Georg Gisze. What you see here is Georg's portrait showing his features; this is how lively his eye is, this is how his cheeks are shaped. In his 34th year, anno Domini 1532."Artist:HOLBEIN, Hans the Younger Title: Portrait of the Merchant Georg Gisze (detail) Painted in 1501-1550 , German - - painting : portrait

7561

Portrait of the Merchant Georg Gisze (detail) sf

1532 Oil on wood Staatliche Museen, Berlin

7560

Portrait of the Merchant Georg Gisze sg

1532 Oil on wood, 96,3 x 85,7 cm Staatliche Museen, Berlin

7568

Portrait of Thomas Cromwell f

c. 1533 Oak, 76 x 61 cm Frick Collection, New York

7545

Portrait of William Warham, Archbishop of Canterbury f

1527 Oil on oak, 82 x 67 cm Mus??e du Louvre, Paris

7566

Robert Cheseman sg

1533 Oil on oak, 59 x 62,5 cm Mauritshuis, The Hague

52593

Signboard for a Schoolmaster

1516 Pine panel

7546

Sir Brian Tuke af

c. 1527 Oil on wood, 49 x 39 cm National Gallery of Art, Washington

7584

Sir Richard Southwell sg

1536 Oil on wood, 47,5 x 38 cm Galleria degli Uffizi, Florence

52193

St Barbara

1516 Wood, 150 x 47 cm

63711

St Ursula

1523 Tempera on wood, 96,4 x 41,9 cm Staatliche Kunsthalle, Karlsruhe The panel probably belonged to a dismembered altarpiece. It was executed in the workshop of Holbein.Artist:HOLBEIN, Hans the Younger Title: St Ursula Painted in 1501-1550 , German - - painting : religious

7524

St Ursula sg

c. 1523 Tempera on wood, 96,4 x 41,9 cm Staatliche Kunsthalle, Karlsruhe

63714

The Ambassadors

1533 Oil on oak National Gallery, London No preparatory drawings survive for The Ambassadors, nor is it clear how the commission for the work came about. Only the character and employment of the sitters are known. The identification of Jean de Dinteville has been aided through a portrait drawing by Jean Clouet of about the same date as the painting. Though Holbein's style changed little over the course of his career, the subtlety and opulence of the colours in this work are different from the starker tonalities he used in Basle. The green backdrop and the pink slashed shirt of the diplomat add a zest which is further enhanced by the juxtaposition of different textures of silk and woven cloth. Like Titian, Holbein was an assured painter of fur (a crucial ability for a court painter) and the contrast between the soft ermine and the glistening metal chain serves as a rich textural counterbalance. The intense realism Holbein achieved here was due to his prodigious visual memory and refusal to let either draughtsmanship or the application of paint alone dominate the execution.Artist:HOLBEIN, Hans the Younger Title: The Ambassadors (detail) Painted in 1501-1550 , German - - painting : portrait

7572

The Ambassadors (detail) g

1533 Oil on oak National Gallery, London

7574

The Ambassadors (detail) s

1533 Oil on oak National Gallery, London

7573

The Ambassadors (detail) sg

1533 Oil on oak National Gallery, London

7575

The Ambassadors (detail) sg

1533 Oil on oak National Gallery, London

7557

The Artist's Family sf

1528 Oil on paper mounted on wood, 77 x 64 cm Öffentliche Kunstsammlung, Basle

44871

The French Ambassadors

mk176 6.8x6.9

7530

The Last Supper g

1524-25 Limewood, 115,5 x 97,3 cm Kunstmuseum, Öffentliche Kunstsammlung, Basle

63713

The Oberried Altarpiece

1521-22 Tempera on wood Cathedral, Freiburg The picture shows a detail of the Adoration of the Magi.Artist:HOLBEIN, Hans the Younger Title: The Oberried Altarpiece (detail) Painted in 1501-1550 , German - - painting : religious

7535

The Oberried Altarpiece (detail) sf

1521-22 Tempera on wood Cathedral, Freiburg

7533

The Oberried Altarpiece (detail) sg

1521-22 Tempera on wood Cathedral, Freiburg

7532

The Oberried Altarpiece (left wing) sg

1521-22 Tempera on wood, 231 x 109 cm Cathedral, Freiburg

7534

The Oberried Altarpiece (right wing) sf

1521-22 Tempera on wood, 230 x 110 cm Cathedral, Freiburg

63717

The Passion

1524-25 Oil on limewood, 39 x 31 cm (size of detail) Kunstmuseum, ?ffentliche Kunstsammlung, Basle The picture shows a detail of the scene Via Crucis. The background of the scene opens up as a broad landscape. The perspective effect of distance is achieved by traditional colourist means, with the foreground, centre ground, and background being clearly distinguished in brown, greenish, and blue tones respectively. Continuity is provided by a procession of riders and infantry, whose size diminishes steadily towards the background, taking the eye into the landscape.Artist:HOLBEIN, Hans the Younger Title: The Passion (detail) Painted in 1501-1550 , German - - painting : religious

63718

The Passion

1524-25 Oil on limewood Kunstmuseum, ?ffentliche Kunstsammlung, Basle Here the Italianate influences are slightly stronger than in the scene of Christ before Pilate above, though no direct borrowing is observable. Holbein has adapted the smoothly elegant contrapposto stance that Andrea Mantegna had rediscovered in Roman statuary to suggest the nonchalance of the guards, just doing their job. Mantegna's frescoes in the Eremitani chapel at Padua (now damaged) are oblique sources for Holbein's, perhaps through engravings. The parallel placement of limbs, as with the green-cloaked soldier's right leg and the left arm of the guard casting lots, and the antique-style leggings and body-hugging jerkin of the guard in yellow, are southern in design. Otherwise, a sense of northern flurry and activity displaces Mantegna's calm grandeur; the touch of orientalism in the turbaned figure to the right may imply Venetian influence (through artists like Vittore Carpaccio) and contemporary chain-mail, armour and axes underpin the stark emotionalism of the figure of Saint John, with his fists clenched, behind the grieving Virgin; a combination that balances the dourly painful chiaroscuro treatment of the crucified trio overhead.Artist:HOLBEIN, Hans the Younger Title: The Passion (detail) Painted in 1501-1550 , German - - painting : religious

63719

The Passion

1524-25 Oil on limewood, 41 x 31 cm (size of detail) Kunstmuseum, ?ffentliche Kunstsammlung, Basle The picture shows a detail of the scene Entombment.Artist:HOLBEIN, Hans the Younger Title: The Passion (detail) Painted in 1501-1550 , German - - painting : religious

7537

The Passion (detail) af

1524-25 Oil on limewood, 39 x 31 cm (size of detail) Kunstmuseum, Öffentliche Kunstsammlung, Basle

7539

The Passion (detail) f

1524-25 Oil on limewood, 39 x 31 cm (size of detail) Kunstmuseum, Öffentliche Kunstsammlung, Basle

7540

The Passion (detail) sf

1524-25 Oil on limewood Kunstmuseum, Öffentliche Kunstsammlung, Basle

7541

The Passion (detail) sf

1524-25 Oil on limewood, 39 x 31 cm (size of detail) Kunstmuseum, Öffentliche Kunstsammlung, Basle

7538

The Passion (detail) sg

1524-25 Oil on limewood Kunstmuseum, Öffentliche Kunstsammlung, Basle

1 2 Nästa

HOLBEIN, Hans the Younger

German painter (b. 1497, Augsburg, d. 1543, London). Hans Holbein the Younger, born in Augsburg, was the son of a painter, Hans Holbein the Elder, and received his first artistic training from his father. Hans the Younger may have had early contacts with the Augsburg painter Hans Burgkmair the Elder. In 1515 Hans the Younger and his older brother, Ambrosius, went to Basel, where they were apprenticed to the Swiss painter Hans Herbster. Hans the Younger worked in Lucerne in 1517 and visited northern Italy in 1518-1519. On Sept. 25, 1519, Holbein was enrolled in the painters' guild of Basel, and the following year he set up his own workshop, became a citizen of Basel, and married the widow Elsbeth Schmid, who bore him four children. He painted altarpieces, portraits, and murals and made designs for woodcuts, stained glass, and jewelry. Among his patrons was Erasmus of Rotterdam, who had settled in Basel in 1521. In 1524 Holbein visited France. Holbein gave up his workshop in Basel in 1526 and went to England, armed with a letter of introduction from Erasmus to Sir Thomas More, who received him warmly. Holbein quickly achieved fame and financial success. In 1528 he returned to Basel, where he bought property and received commissions from the city council, Basel publishers, Erasmus, and others. However, with iconoclastic riots instigated by fanatic Protestants, Basel hardly offered the professional security that Holbein desired. In 1532 Holbein returned to England and settled permanently in London, although he left his family in Basel, retained his Basel citizenship, and visited Basel in 1538. He was patronized especially by country gentlemen from Norfolk, German merchants from the Steel Yard in London, and King Henry VIII and his court. Holbein died in London between Oct. 7 and Nov. 29, 1543. With few exceptions, Holbein's work falls naturally into the four periods corresponding to his alternate residences in Basel and London. His earliest extant work is a tabletop with trompe l'oeil motifs (1515) painted for the Swiss standard-bearer Hans Baer. Other notable works of the first Basel period are a diptych of Burgomaster Jakob Meyer zum Hasen and his wife, Dorothea Kannengiesser (1516); a portrait of Bonifacius Amerbach (1519); an unsparingly realistic Dead Christ (1521); a Madonna and Child Enthroned with Two Saints (1522); several portraits of Erasmus, of which the one in Paris (1523 or shortly after), with its accurate observation of the scholar's concentrated attitude and frail person and its beautifully balanced composition, is particularly outstanding; and woodcuts, among which the series of the Dance of Death (ca. 1521-1525, though not published until 1538) represents one of the high points of the artist's graphic oeuvre. Probably about 1520 Holbein painted an altarpiece, the Last Supper, now somewhat cut down, which is based on Leonardo da Vinci's famous painting, and four panels with eight scenes of the Passion of Christ (possibly the shutters of the Last Supper altarpiece), which contain further reminiscences of Italian painting, particularly Andrea Mantegna, the Lombard school, and Raphael, but with lighting effects that are characteristically northern. His two portraits of Magdalena Offenburg, as Laïs of Corinth and Venus with Cupid (1526),

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