Holbein in England concentrates on the artist’s two periods working in London: 1526–8 and 1532–43. This was along the lines of the Field of Cloth of Gold summit that had been held in 1520. The reason why it’s a copy in the National Portrait Gallery is because Holbein made several copies of the work which he sent to England ahead of him, with a letter of introduction that Erasmus wrote to both his good friend Thomas More, and Archbishop Warham. Though some art historians speculate that this is simply down to the fact that England didn’t have a good portraitist at this period. I’m your host, Heather Teysko, and I’m a storyteller who makes history accessible because I believe it’s a pathway to understanding who we are, our place in the universe, and being more deeply in touch with our own humanity. He didn’t just document it, but actually made it. On Saturday we will have a full day of learning from speakers – I’m still lining up the speakers, with three confirmed so far, and more being considered. Michel Onfray, …, To coincide with the exhibition which explores British art through the theme of migration from 1500 to the present day, …. Henry used his portraits to send abroad to diplomats, as gifts to other monarchs, and as a statement about his power back home. One of his most famous pieces from this period. Derek Wilson, To coincide with Holbein in England at Tate Britain, five contributors respond to the work of the artist. Here they designed prints and painted outdoor murals, and also designed stained glass. And that would be his father. Henry VIII also had another painter, Lucas Horenbout, who specialized in miniatures. Ambassadors commented on how unseemly it was, and normal people trembled when they saw it, it was so lifelike. From here on out I’ll just call him Hans Holbein because he leaves his father, and moves to Basel with his brother. Finally the exhibition will highlight the artist’s contribution to the revolution in English decorative design, examining the ways in which his sophisticated understanding of the new classical decorative vocabulary was applied to designs for goldsmiths as well as to large-scale paintings. , And remember to get your Tudorcon tickets at Englandcast.com/tudorcon2019. Especially a good artist who also had other skills – Hans Holbein Senior was also a goldsmith, goldsmith designer, and designed stained glass. When Holbein returned to England in 1532, it was with the aim of being Henry’s personal painter. Portraitists who followed Holbein didn’t immediately adopt his style as the lifelessness of many of the Elizabethan portraits will attest. Again, TudorFair.com to get those highly sought-after tickets – if you’re on your phone right now, you can check it out while you’re listening – Come spend a weekend in October next year with me, and 119 of your new best friends, and we’ll talk Tudor all weekend long! Holbein painted Jane Seymour, Anne Boleyn's prim-looking replacement as queen, and the family mural in Whitehall. I’ve done several shows on Tudor art, including one on portraits and propaganda which remains one of the most popular shows I have – I’ll link to them all in the show notes for this episode at Englandcast.com/holbein. This was when Holbein's status at court became official and he earned an annual salary of thirty pounds. In the episode I did a few years ago on portraits and propaganda I talked a lot about this portrait, and the statement Henry was making by looking straight at the viewer – this just wasn’t done at that time – portraits were done from the side. Another very famous work of Holbein’s is The Ambassadors which is perhaps most famous because of the strange skull that Holbein painted in the bottom. He was introduced to Erasmus, who became a supporter of his work, commissioning him to paint several portraits of him. It’s a hand sketched drawing of Anne in a nightgown, and it’s not at all flattering – in fact, it shows her double chin, and her nose is quite crooked. The original at Whitehall Palace was said to make visitors tremble at its majesty. We have the very famous portrait he painted of Cromwell to show us how that relationship went, and we also have one of the most controversial drawings of Anne Boleyn. And another of Solomon and Sheba shows Henry VIII as Solomon receiving the homage of the Queen of Sheba. Through an outstanding collection of paintings brought together from around the world, this exhibition documents the thrill of the court and life in Tudor England, reflecting the unsettled history and politics of the time. Well, first of all he was Hans Holbein the Younger, which meant there was a Senior. In October 2019 we will gather at a newly restored winery adjacent to the Pennsylvania Renaissance Faire in Manheim PA (which is, incidentally, where I’m from originally) and have three days of merriment, learning, feasting, and entertainment. I am organizing and hosting the world’s first ever Tudorcon. Well, first of all he was Hans Holbein the Younger, which meant there was a Senior. Also, you’ll want to check out the show notes for this episode since I’ve got a lot of paintings I talk about, and you’ll want to check them out. It was this idea that Henry was bringing the true religion to England that he wanted to really play up, and we see it as well in the front title page of the Coverdale Bible. Yes, you heard that right. Hans Holbein (1497/8–1543) was the first great British artist, and is regarded as one of the greatest artists of all time. Costumes are definitely encouraged for this part! Hello and welcome to the Renaissance English History Podcast, a part of the Agora Podcast Network. Melvyn Bragg and guests discuss the life and work of Hans Holbein the Younger (1497-1543) during his two extended stays in England, when he worked at the Tudor Court and became the King's painter. So Holbein shows up in England in the fall of 1526, and stays with Thomas More, who becomes one of his biggest supporters. The walls were covered with scenes depicting Henry’s military prowess, and other scenery designed to impress the French. But of course it is is portraits of other individuals that made Holbein so famous. This is Episode 123, on Hans Holbein. Augsburg was part of the Holy Roman Empire at the time, which meant that it was a wealthy town, and there was plenty of work for a good artist. His arrival effectively brought the Renaissance in painting from continental Europe to Britain. Holbein was later sent to Europe to paint the women who might be Henry's fourth wife; his depiction of Anne of Cleves was enough to encourage Henry to marry her, a decision Henry quickly regretted and for which Thomas Cromwell, her supporter, was executed. Hans Holbein the Younger was born in Augsburg, in 1497. But, I have a very important announcement about … Tudorcon. The inscription talked about how Henry’s father had established the dynasty through his victory in the Wars of the Roses, how Henry himself then got rid of his evil counsellors and sent the Pope packing, bringing the true religion to England. And in that new banqueting house Henry entertained his French counterparts. So, how was Holbein remembered even after he died in 1543 in a Plague epidemic? It is his painting of Christina of Denmark, the sixteen year old widowed Duchess of Milan, that captivated Henry so much so that even after she rejected him – saying that if she had two heads she’d be happy to give one to Henry – he still kept the portrait. Save Holbein at the Tudor Court: Melvyn Bragg and guests discuss Holbein at the court of Henry VIII. Holbein did also paint miniatures. … And that would be his father. Holbein created some of the most significant portraits of his age, including an image of Henry VIII, looking straight at the viewer, hands on hips, that has dominated perceptions of him since. Hans Holbein, among other court artists. In other words, Holbein made the Tudor court. Tate is fortunate enough to have secured many major loans for this exhibition including the prime portrait of Henry VIII by Holbein from the Thyssen-Bornemisza Museum in Madrid. If you want to dig deeper into the life of Hans Holbein, there’s a video on Amazon Prime called Holbein, Eyes of the Tudor Court, as well as some good books that look at his life, and his masterpieces. https://en.wikipedia.org/wiki/Myles_Coverdale. The weekend will kick off on Friday October 18 with a welcoming party with refreshments. It looks just like a streak of white paint when you look at it from the front, but when you go around to the side, and look from the corner up, it is clearly a skull. Tickets for Tudorcon will be at an early bird price for the remainder of the year. Jenny Uglow I’ve got links to that, as well all the sources and articles I used on the website at Englandcast.com/holbein. George Carey And who painted that scenery? He traveled widely for Henry, especially when Henry was searching for his fourth wife. Which was that he was the Supreme Head of the Church, given that right by God himself, and that he was the one who could bestow the Word of God on his country. Henry’s friendship with France is important in the life of Holbein because it gave him his first job in England. https://www.rct.uk/collection/912188/solomon-and-the-queen-of-sheba, Portrait of Erasmus He moved to England from Basel in 1526–8 and then again in 1532–43, an extremely turbulent time in English history when all around were losing their heads. It examines his work for the Protestant Reformation in relation to traditional religious beliefs and explores how he used his own portrait drawings and paintings, as well as other sources including sculpture, to develop a finely-poised balance between individualised character and ideal presentation. , But the person who was the master of revels of the pageants and jousts was Henry Guildford, who noticed Holbein, and commissioned a portrait from him. One of these portraits, from 1523, was especially impressive, and showed Holbein’s ability not just in making his subjects seem so lifelike, but also in showing the way he could paint objects and details in the background. He left London in 1528 for Basel but returned in 1532 and stayed until his death in 1543. Bringing together forty portrait and subject paintings as well as portrait drawings, decorative designs and prints, Holbein in England not only demonstrates the range of Holbein’s extraordinary skill and accomplishment as an artist, but will also reassess the impact of his presence on English cultural life in the reign of Henry VIII.
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