Through History
A new exhibition at Buckingham Palace celebrates the most famous portrait artist of the Tudor era
In 1526, a young German-Swiss painter named Hans Holbein the Younger arrived in England, and he was soon to make his mark on English history as the man who captured the appearances of some of the greatest figures from the early Tudor period. Having painted portraits of the prominent humanist scholar Desiderius Erasmus in his early career, Holbein was recommended by Erasmus to his friend, courtier Sir Thomas More, who welcomed him to England. Holbein began to paint subjects such as More and his circle of fellow scholars, gaining a reputation for his skilled portraiture. Into the 1530s, Holbein became the most coveted portrait artist of the Tudor court and those he painted grew in prominence and status. He distanced himself from Thomas More’s humanist sphere and instead found patrons in Sir Thomas Cromwell and the king’s second wife Anne Boleyn. Holbein’s subjects included Henry VIII himself, Henry’s children Mary and Edward, and Henry’s wives Anne Boleyn, Jane Seymour and Anne of Cleves. Now, a new exhibition of paintings from the Royal Collection highlights Holbein as a master of his craft, showcasing his process and celebrating his artistic skill and legacy.
SIR HENRY GUILDFORD
Sir Henry Guildford was one of Henry VIII’s closest friends, and was painted by Holbein in one of his most spectacular portraits. To achieve the opulent gold colour of Guildford’s clothing, Holbein used a combination of gold leaf and shellgold paint.
NOLI ME TANGERE
Painted during his first years in England, this Holbein piece shows the moment Mary Magdalene discovered Christ had risen from his tomb. Though Holbein completed many religious paintings, this is the only example in the Royal Collection.
WILLIAM RESKIMER
Both images of Page of the Chamber William Reskimer highlight Holbein’s artistic process. These two portraits show how closely Holbein remained to his preparatory drawings when proceeding to paint his subjects, only changing slight contouring on Reskimer’s ear in the fina
