Ambrosius Holbein was a German and later a Swiss artist in painting, drawing, and printmaking. He was the elder brother, by about three years, of Hans Holbein the Younger, but he appears to have died in his mid-twenties, leaving behind only a small body of work.
Hans Holbein the Younger was a German-Swiss painter and printmaker who worked in a Northern Renaissance style, and is considered one of the greatest portraitists of the 16th century. He also produced religious art, satire, and Reformation propaganda, and he 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.
Johann Froben, in Latin: Johannes Frobenius, was a famous printer, publisher and learned Renaissance humanist in Basel. He was a close friend of Erasmus and cooperated closely with Hans Holbein the Younger. He made Basel one of the world's leading centres of the book trade. He passed his printing business on to his son, Hieronymus, and grandson, Ambrosius Frobenius.
The Kunstmuseum Basel houses the oldest public art collection in the world and is generally considered to be the most important museum of art in Switzerland. It is listed as a heritage site of national significance.
The Body of the Dead Christ in the Tomb is an oil and tempera on limewood painting created by the German artist and printmaker Hans Holbein the Younger between 1520 and 1522. The work shows a life-size, grotesque depiction of the stretched and unnaturally thin body of Jesus Christ lying in his tomb. Holbein shows the dead Son of God after he has suffered the fate of an ordinary human.
Portrait of Sir Thomas More is an oak panel painting commissioned in 1527 of Thomas More by the German artist and printmaker Hans Holbein the Younger, now in the Frick Collection in New York.
Portrait Miniature of Margaret Roper is a painting by the German artist and printmaker Hans Holbein the Younger created during 1535–36, and today held in the Metropolitan Museum of Art in New York. Margaret Roper (1505–44) was the eldest child of Sir Thomas More and wife of the English biographer William Roper. It is the second and less well known of two portraits of Roper painted by Holbein. The first, Portrait of an English Woman, is generally believed to show Roper but may depict another unknown lady of the English court. The New York work was painted during the artist's second visit to London, likely in the mid-1530s.
Venus and Cupid may refer to:
The Darmstadt Madonna is an oil painting by Hans Holbein the Younger. Completed in 1526 in Basel, the work shows the Bürgermeister of Basel Jakob Meyer zum Hasen, his first wife, his current wife, and his daughter grouped around the Madonna and infant Jesus.
Lais of Corinth by Hans Holbein the Younger portrays the famous Lais of Corinth, a courtesan of ancient Greece who charged a high price for her favours. It has been suggested that Holbein is also referring to the Lais who was the lover of Apelles, the great painter of antiquity. The model, the same used for the Venus and Amor, has been identified as either Magdalena Offenburg or her daughter Dorothea, as it was noted by Basilius Amerbach in the archives from the Amerbach-Cabinet, that the woman depicted was someone of the Offenburg family. Dorothea would have been eighteen years of age in 1526. It was assumed that either of the two may have been Holbein's mistress. Both paintings, the Venus as the Lais, came into the possession of the Amerbach Cabinet in the late 1500s.
The Braque Triptych is a c. 1452 oil-on-oak altarpiece by the Early Netherlandish painter Rogier van der Weyden. When open, its three half-length panels reveal, from left to right, John the Baptist, The Virgin Mary with Jesus and Saint John the Evangelist, and on the right, Mary Magdalene. When the wings are closed, the work shows a vanitas motif of a skull and cross.
The Amerbach Cabinet was a collection of artifacts, paintings, libraries, assembled by members of the Amerbach family, most notably by the two law professors of the University of Basel, Bonifacius Amerbach and his son Basilius Amerbach the Younger.
Portrait of Christina of Denmark was painted with oil on oak panel by Hans Holbein the Younger in 1538. It was commissioned that year by Thomas Cromwell, agent for Henry VIII, as a betrothal painting following the death of the English Queen Jane Seymour. It shows the then sixteen-year-old Christina of Denmark, widowed Duchess of Milan. Her striking manner and strength of character are apparent in the portrait. Although Henry was taken by the representation, the marriage proposal did not go ahead, not least because Christina was aware of Henry's earlier mistreatment of his wives. She is reported as saying, "If I had two heads, I would happily put one at the disposal of the King of England". Various political and practical obstacles related to her ties with the Lutheran church also thwarted the match.
Hans Holbein the Younger painted the Portrait of Erasmus of Rotterdam several times, and his paintings were much copied, at the time and later. It is difficult to disentangle Holbein's original work from that of his workshop and other copyists. Possibly five largely original versions survive, as well as a number of drawings made as studies.
This image has been scanned illegally from a book. Notice whoever did this does not credit the publisher. The mechanical screen is seen very visibly.
Bonifacius Amerbach was a jurist, scholar, an influential humanist and the rector of the University of Basel for several terms.
The Portrait of Bonifacius Amerbach is a painting by the German master of the Renaissance Hans Holbein the Younger. It is deposited in the Basler Kunstmuseum as part of the Amerbach Cabinet. It is painted in tempera on pinewood and measures 29 cm x 27 cm.
Portrait of the Artist's Family is a portrait of the family of the painter Hans Holbein the Younger by the artist himself. It depicts Holbein's wife Elsbeth Binzenstock, their son Philipp and their daughter Katharina. Holbein painted it during his stay in Basel after his return from England. It was painted, between 1528 and 1529, on paper and glued on wood.
