[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"artist-hans-holbein-the-younger":3,"artist-paintings-hans-holbein-the-younger":34},{"name":4,"id":5,"nationality":6,"slug":10,"biography":11,"born":12,"death":13,"image":14,"popularity":15,"sex":16,"wikipediaId":17,"movements":18,"popularPaintingImages":32},"Hans Holbein the Younger","48c8d1f6-f4da-481f-8301-751cb9a055c3",{"id":7,"name":8,"slug":9},"c846eab0-19fa-476b-b17b-0a423c3d8f1f","German","german","hans-holbein-the-younger","Hans Holbein the Younger (UK: \u002Fˈhɒlbaɪn\u002F HOL-byne, US: \u002Fˈhoʊlbaɪn, ˈhɔːl-\u002F HOHL-byne, HAWL-; German: Hans Holbein der Jüngere; c. 1497 – between 7 October and 29 November 1543) was a German-Swiss painter and printmaker who worked in a Northern Renaissance style, and is considered one of the greatest portraitists of the 16th century. He also produced religious art, satire, and Reformation propaganda, and he made a significant contribution to the history of book design. He is called \"the Younger\" to distinguish him from his father Hans Holbein the Elder, an accomplished painter of the Late Gothic school.\n\nHolbein was born in Augsburg but worked mainly in Basel as a young artist. At first, he painted murals and religious works, and designed stained glass windows and illustrations for books from the printer Johann Froben. He also painted an occasional portrait, making his international mark with portraits of humanist Desiderius Erasmus. When the Reformation reached Basel, Holbein worked for reformist clients while continuing to serve traditional religious patrons. His Late Gothic style was enriched by artistic trends in Italy, France, and the Netherlands, as well as by Renaissance humanism. The result was a combined aesthetic uniquely his own.\n\nHolbein travelled to England in 1526 in search of work with a recommendation from Erasmus. He was welcomed into the humanist circle of Thomas More, where he quickly built a high reputation. He returned to Basel for four years, then resumed his career in England in 1532 under the patronage of Anne Boleyn and Thomas Cromwell. By 1535, he was King's Painter to Henry VIII. In this role, he produced portraits and festive decorations, as well as designs for jewellery, plate, and other precious objects. His portraits of the royal family and nobles are a record of the court in the years when Henry was asserting his supremacy over the Church of England.\n\nHolbein's art was prized from early in his career. French poet and reformer Nicholas Bourbon (the elder) dubbed him \"the Apelles of our time\", a typical accolade at the time. Holbein has also been described as a great \"one-off\" in art history since he founded no school. Some of his work was lost after his death, but much was collected and he was recognized among the great portrait masters by the 19th century. Recent exhibitions have also highlighted his versatility. He created designs ranging from intricate jewellery to monumental frescoes.\n\nHolbein's art has sometimes been called realist, since he drew and painted with a rare precision. His portraits were renowned in their time for their likeness, and it is through his eyes that many famous figures of his day are pictured today, such as Erasmus and More. He was never content with outward appearance, however; he embedded layers of symbolism, allusion, and paradox in his art, to the lasting fascination of scholars. In the view of art historian Ellis Waterhouse, his portraiture \"remains unsurpassed for sureness and economy of statement, penetration into character, and a combined richness and purity of style.\"","c. 1497","c. 1543-10","hans-holbein-the-younger\u002Fhans-holbein-the-younger",27,"MALE","Hans_Holbein_the_Younger",[19,24,28],{"name":20,"id":21,"slug":22,"dates":23},"Renaissance","24126a7a-8a45-44f0-9585-e8378dd206e2","renaissance","",{"name":25,"id":26,"slug":27,"dates":23},"German Renaissance","3d98320a-9606-4b9a-8148-8a42d7947e58","german-renaissance",{"name":29,"id":30,"slug":31,"dates":23},"Northern Renaissance","4c419af9-b643-419d-ae72-d8d323eade1d","northern-renaissance",[33],"hans-holbein-the-younger\u002Fthe-ambassadors\u002Fthe-ambassadors",{"items":35,"total":90,"page":91,"pageSize":92,"totalPages":90},[36],{"title":37,"id":38,"artists":39,"slug":42,"date":43,"description":44,"height":45,"image":33,"inPrivateCollection":46,"isLocationUnknown":46,"originalTitle":23,"popularity":47,"width":48,"wikipediaId":49,"collections":50,"genres":51,"museum":56,"movements":82,"mediums":85},"The Ambassadors","06f0e3e5-ec22-459f-b7a6-4068df865a03",[40],{"name":4,"id":5,"nationality":41,"slug":10,"biography":11,"born":12,"death":13,"image":14,"popularity":15,"sex":16,"wikipediaId":17},{"id":7,"name":8,"slug":9},"the-ambassadors","1533","The Ambassadors is a 1533 painting by Hans Holbein the Younger. Also known as Jean de Dinteville and Georges de Selve, after the two people it portrays, it was created in the Tudor period, in the same year Elizabeth I was born. Franny Moyle speculates that Elizabeth's mother, Anne Boleyn, then Queen of England, might have commissioned it as a gift for Jean de Dinteville, the French ambassador, portrayed on the left. De Selve was a Catholic Bishop.\n\nAs well as being a double portrait, the painting contains a still life of meticulously rendered objects, the meaning of which is the cause of much debate. An array of expensive scientific objects, related to knowing the time and the cosmos are prominently displayed. Several refer to Rome, the seat of the Pope. A second shelf of objects shows a lute with a broken string, a symbol of discord, next to a hymnal composed by Martin Luther.\n\nIt incorporates one of the best-known examples of anamorphosis in painting. While most scholars have taken the view that the painting should be viewed side on to see the skull, others believe a glass tube was used to see the skull head on. Either way, death is both prominent and obscured until discovered. Less easily spotted is a carving of Jesus on a crucifix, half hidden behind a curtain at the top left.\n\nThe Ambassadors has been part of London's National Gallery collection since its purchase in 1890. It was extensively restored in 1997, leading to criticism, in particular that the skull's dimensions had been changed.",207,false,34,209.5,"The_Ambassadors_(Holbein)",[],[52],{"name":53,"id":54,"slug":55},"Figure painting","8b9c0def-0123-4567-89ab-cdef12345678","figure-painting",{"address":57,"latitude":58,"longitude":59,"name":60,"zipCode":61,"id":62,"city":63,"slug":73,"description":74,"background":75,"logo":76,"phone":77,"popularity":78,"schedules":79,"website":80,"wikipediaId":81},"Trafalgar Square",51.5089,-0.1283,"National Gallery","WC2N 5DN","afe25254-17b0-42d7-a6c9-0cbbdb7d244a",{"latitude":64,"longitude":65,"name":66,"id":67,"country":68,"slug":72,"image":23},51.5074,-0.1278,"London","c51ce410-c124-4b5c-8a49-e62a40f27f65",{"id":69,"name":70,"slug":71},"2a0588c6-6b3b-49ed-9ced-8fc2a59be12a","England","england","london","national-gallery","The National Gallery is an art museum in Trafalgar Square in the City of Westminster, in Central London, England. Founded in 1824, it houses a collection of more than 2,300 paintings dating from the mid-13th century to 1900. The current director of the National Gallery is Gabriele Finaldi.\n\nThe National Gallery is an exempt charity, and a non-departmental public body of the Department for Culture, Media and Sport. Its collection belongs to the government on behalf of the British public, and entry to the main collection is free of charge.\n\nUnlike comparable museums in continental Europe, the National Gallery was not formed by nationalising an existing royal or princely art collection. It came into being when the British government bought 38 paintings from the heirs of John Julius Angerstein in 1824. After that initial purchase, the gallery was shaped mainly by its early directors, especially Charles Lock Eastlake, and by private donations, which now account for two-thirds of the collection. The collection is smaller than many European national galleries, but encyclopaedic in scope; most major developments in Western painting \"from Giotto to Cézanne\" are represented with important works. It used to be claimed that this was one of the few national galleries that had all its works on permanent exhibition, but this is no longer the case.\n\nThe present building, the third site to house the National Gallery, was designed by William Wilkins. Building began in 1832 and it opened to the public in 1838. Only the façade onto Trafalgar Square remains essentially unchanged from this time, as the building has been expanded piecemeal throughout its history. Wilkins's building was often criticised for the perceived weaknesses of its design and for its lack of space; the latter problem led to the establishment of the Tate Gallery for British art in 1897. The Sainsbury Wing, a 1991 extension to the west by Robert Venturi and Denise Scott Brown, is a significant example of Postmodernist architecture in Britain.","national-gallery\u002Fbackground\u002Fnational-gallery_background","national-gallery\u002Flogo\u002Fnational-gallery_logo","+44 20 7747 2885",3,"Daily: 10:00 AM - 06:00 PM\nFriday: open until 09:00 PM\n1 January - 24, 25 and 26 December: closed","https:\u002F\u002Fwww.nationalgallery.org.uk","National_Gallery",[83,84],{"name":20,"id":21,"slug":22,"dates":23},{"name":29,"id":30,"slug":31,"dates":23},[86],{"name":87,"id":88,"slug":89},"Oil on oak panel","289086f7-4cd3-40d8-b134-6cd57cd30896","oil-on-oak-panel",1,0,30]