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Há 4 dias · Thomas Cromwell Portrait of Thomas Cromwell, Hans Holbein the Younger (1532–1533) Lord Great Chamberlain In office 17 April 1540 – 10 June 1540 Monarch Henry VIII Preceded by John de Vere, 15th Earl of Oxford Succeeded by Robert Radcliffe, 1st Earl of Sussex Governor of the Isle of Wight In office 2 November 1538 – 10 June 1540 Monarch Henry VIII Preceded by Sir James Worsley Succeeded ...
Há 1 dia · Study for a portrait of Thomas More's family, c. 1527, by Hans Holbein the Younger. In 1504 More was elected to Parliament to represent Great Yarmouth, and in 1510 began representing London. More first attracted public attention by his conduct in the parliament of 1504, by his daring opposition to the king's demand for money.
Há 1 dia · Born in Augsburg in 1497 or 1498, he had trained with his father, Hans Holbein the Elder, before striking out on his own. By the time he entered Henry‘s service in 1536, Holbein had already made a name for himself as one of the foremost portraitists of the Northern Renaissance, known for his uncanny ability to capture the likeness and personality of his subjects.
Há 2 dias · In the Vienna exhibition, select works by these two very contrasting artists enter into a stimulating dialogue with works by Albrecht Dürer (1471–1528) and further German, Italian, and Netherlandish masters, notably the Augsburg-born Hans Holbein the Younger (1497/98–1543).
Há 1 dia · Hans Holbein the Younger (1497-1543), “John Fisher” (photo: Public Domain) On June 22, 1535, St. John Fisher knelt and prayed the Te Deum and Psalm 31, and laid his neck on the executioner’s block. Thomas J. Craughwell, June 22, 2020. It’s not Thomas More’s fault. His fame is so widespread that he has put in the shade the ...
Há 1 dia · Prince Edward in 1538, by Hans Holbein the Younger. He holds a golden rattle that resembles a sceptre; and the Latin inscription urges him to equal or surpass his father. Edward was born on 12 October 1537 in his mother's room inside Hampton Court Palace, in Middlesex.
Há 4 dias · It is therefore not surprising that from Hans Holbein the Younger, Nicholas Hilliard and Isaac Oliver, to Rubens, Mytens, and Van Dyck, through to the later impact of Lely and Kneller, the study of foreign-born artists working at court has dominated our knowledge of the patronage and production of art during the Tudor and Stuart periods.
