1540 Portrait of Henry VIII Hans The Younger Holbein
Hans The Younger Holbein – 1540 Portrait of Henry VIII
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Hans Holbein placed much emphasis on conveying the plastic properties of objects and the formation of light. He was attracted to the materials that were made of the things he depicted. He was very skillful in conveying in a painting the accessories, the clothing that surrounds a person. He went down in the history of painting as a very important master of portraiture. When the religious wars were going on, Holbein moved to England.
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Description of Hans Holbein’s painting Henry 8
Hans Holbein placed much emphasis on conveying the plastic properties of objects and the formation of light. He was attracted to the materials that were made of the things he depicted. He was very skillful in conveying in a painting the accessories, the clothing that surrounds a person. He went down in the history of painting as a very important master of portraiture.
When the religious wars were going on, Holbein moved to England. And there for many years he served at the court as a court painter. His work "Portrait of Henry VIII" is the only portrait by this master that has survived to this day.
King Henry VIII of England was a very controversial figure. He was very capable in the sciences, music. He was able to play several instruments, he had a beautiful voice. During the 38 years of his reign many memorable events occurred, and above all the fact that he had six wives, two of whom he ordered beheaded.
The suit of the king depicted has buttons, jewelry made of gold, and a background created with a very precious in those days, blue pigment (ultramarine).
Without knowing who is depicted, it is immediately evident by his posture, clothing, jewelry, that a very noble person is depicted. The king was of large build. He had a very proud, straight posture, held a glove in his half-bent hand and had rings on both hands. In his eyes one can guess intelligence, firmness of character, a certain experience of life. His face itself reflects little of any emotion, which may indicate his slight reticence.
His compressed and thin lips show that he is vain and seeks quickly to achieve what he wants. Such a person is always serious about his intentions.
The lower lip is thicker than the upper, which indicates the ability to persuade, the ability to focus on business. It is said of such a person that he likes more deeds, less words.
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The portrait presents a man in his late middle age, depicted against a dark blue background that emphasizes his figure and attire. He is positioned centrally within the frame, facing directly toward the viewer with a gaze that conveys authority and perhaps a degree of guardedness. The composition adheres to a formal, almost rigid structure characteristic of royal portraits from this period.
The man’s physical appearance is rendered with considerable detail. His face displays signs of aging: jowls are pronounced, his complexion appears ruddy, and the nose bears evidence of past injuries or ailments. A full beard, meticulously painted, frames his face, contributing to an impression of power and maturity. The artist has captured a certain severity in the set of his mouth and the shape of his eyes.
The man’s clothing is lavish and demonstrative. He wears a richly embroidered crimson doublet adorned with elaborate goldwork and numerous jewels – pearls, diamonds, and other precious stones. The sleeves are puffed and voluminous, further emphasizing the opulence of the attire. A jeweled collar encircles his neck, adding to the overall impression of regal splendor. A dark velvet cap, trimmed with white feathers, sits atop his head. In his left hand, he holds a rolled document or scroll, suggesting governance and responsibility. A large ring adorns his finger, another symbol of status and authority.
Inscribed in Latin at the upper corners are the words Anno Etatis (Year of Age) and “Sve” – likely an abbreviation for suae, meaning ‘his’ - followed by the number XLIX, indicating he is forty-nine years old. This inscription serves as a direct statement of his age, reinforcing the portraits function as an official record.
Beyond the surface representation of power and status, subtle subtexts emerge upon closer examination. The man’s gaze, while commanding, also seems to hold a hint of weariness or perhaps even vulnerability. The detailed rendering of his aging features suggests an attempt to portray not just idealized majesty but also the realities of times passage on a powerful ruler. The richness of the clothing and jewels serves as a visual declaration of wealth and dominion, yet it might also be interpreted as a means of compensating for any perceived physical decline or vulnerability. The formal pose and direct gaze create an immediate connection with the viewer, intended to inspire respect and perhaps even awe, while simultaneously maintaining a certain distance – a characteristic feature of royal portraiture designed to project authority and control.