Holbein and the Court of Henry VIII
Condition: SECONDHAND
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When Holbein died in 1543, exactly 450 years ago, he left behind him one of the most remarkable records of a royal court ever made. These portraits were executed while Holbein was in London during the late 1520s, and again between 1532 and 1543. With his subtle artistry Holbein delineated the features of many of the leading figures of the day, including the saintly Sir Thomas More, the treacherous Richard Southwell and the King's third wife, Jane Seymour. The artist's preparatory sketches have mostly survived in the Royal Collection, as have an exquisite group of his portrait miniatures. These still provide an astonishingly vivid impression of the appearance of the members of the court of Henry VIII. The principal subjects of this catalogue are reproduced in colour, alongside comparative illustrations of related works of art. The sitters and their portraits are placed within the wider historical context, in an attempt to assist the reader to further appreciate these extraordinary portrait likenesses.
Author: Jane Roberts
Format: Paperback, 96 pages, 245mm x 300mm
Published: 1993, National Galleries of Scotland, United Kingdom
Genre: Individual Artists / Art Monographs
When Holbein died in 1543, exactly 450 years ago, he left behind him one of the most remarkable records of a royal court ever made. These portraits were executed while Holbein was in London during the late 1520s, and again between 1532 and 1543. With his subtle artistry Holbein delineated the features of many of the leading figures of the day, including the saintly Sir Thomas More, the treacherous Richard Southwell and the King's third wife, Jane Seymour. The artist's preparatory sketches have mostly survived in the Royal Collection, as have an exquisite group of his portrait miniatures. These still provide an astonishingly vivid impression of the appearance of the members of the court of Henry VIII. The principal subjects of this catalogue are reproduced in colour, alongside comparative illustrations of related works of art. The sitters and their portraits are placed within the wider historical context, in an attempt to assist the reader to further appreciate these extraordinary portrait likenesses.