Holbein in a sentence

Bätschmann & Griener, 194. At the end of the 16th century, the miniature portraitist Nicholas Hilliard spoke in his treatise Arte of Limning of his debt to Holbein: "Holbein's manner have I ever imitated, and hold it for the best".

File:Ambrosius and Hans Holbein, by Hans Holbein the Elder.

He belonged to a celebrated family of painters; his father was Michael Holbein; his brother was Sigmund Holbein (died 1540).

North, 13–14; Bätschmann and Griener, 11; Claussen, 47. Hans Holbein the Elder and his brother Sigmund also moved away from Augsburg at about this time, but the reasons for the Holbein family's disappointment in the city is not known.

The young Holbein, alongside his brother and his father, is pictured in the left-hand panel of Holbein the Elder's 1504 altar-piece triptych the Basilica of St. Paul, which is displayed at the Staatsgalerie in Augsberg.

The Tudors’ final episode ends with Henry approving the now famous Hans Holbein portrait of the Tudor king.

About two years later, Holbein painted a portrait of the prince, clutching a sceptre-like gold rattle.

According to art historian Graham Reynolds, Holbein "portrays a young woman whose plainness is scarcely relieved by her simple costume of black-and-white materials, and yet there can be no doubt that this is one of the great portraits of the world.

After 1516 Holbein was declared a tax defaulter in Augsburg, which forced him to accept commissions abroad.

Ambrosius Holbein ranks among the most important of Basel's illustrators and prominent "small format" artists.

Among Van Mander's dubious anecdotes is the story that Holbein angrily threw a nobleman downstairs for pestering him.

Apart from one brief visit, Holbein had lived apart from Elsbeth since 1532.

Auerbach, 49; Wilson, 250. In Wilson's view, Holbein's subsequent oil portrait is "the loveliest painting of a woman that he ever executed, which is to say that it is one of the finest female portraits ever painted".

Augsburg's wealth attracted artists seeking patrons and rapidly became a creative centre for famous painters, sculptors and musicians notably birthplace of : the Holbein painter family.

Bätschmann & Griener, 11. During his Swiss years, when he may have visited Italy, Holbein added an Italian element to his stylistic vocabulary.

Bätschmann & Griener, 195. No account of Holbein's life was written until Karel van Mander 's often inaccurate "Schilder-Boeck" (Painter-Book) of 1604.

Bätschmann & Griener, 208. Walpole hung his neo-Gothic house at Strawberry Hill with copies of Holbeins and kept a Holbein room.

Bätschmann & Griener, 56–58, and Landau & Parshall, 216. As Davis writes, "Holbein's pictures are independent dramas in which Death comes upon his victim in the midst of the latter's own surroundings and activities.

Bätschmann & Griener, 63. Holbein also painted the occasional portrait in Basel, among them the double portrait of Jakob and Dorothea Meyer, and, in 1519, that of the young academic Boniface Amerbach.

Bätschmann & Griener, 68. Holbein worked from prints, but Bätschmann & Griener argue that Hertenstein, who presumably requested these copies, might have sent the artist to Italy to view the originals himself.