Holbein's later portraits of the merchants of the German Steelyard tend to be simpler; the mood one of restraint and quiet dignity. This tendency towards simplicity, and the elimination of all accessories, is characteristic of his late portraits. After 1535 the sitters are usually shown in the full light, focused against a background of blue or green, and very often in simple frontal poses. Holbein was, through a reduction of means, seeking a more abstract beauty of form. There is a quality of stillness and remoteness in the late portraits.
The change in Holbein's style may be clearly seen in the portrait of Sir Richard Southwell of 1536. In yet later portraits the sitter tends to become larger in relationship to the picture plane, as in the portrait of Antony the Good, Duke of Lorraine. We become more conscious of the part that the frame plays in relating the sitter to the picture plane; the panels are smaller, and there is an impression of increased concentration and precision. The Unknown Young Man at his Office Desk is a superb example.
Suggested listening (streaming mp3, 13 minutes): Thomas Arne: Concerto for cembalo in C major |
Summary of paintings by Hans Holbein the Younger |
1515-19 | 1519-25 | altarpieces | 1526-28 | 1529-31 |
1532-35 | Ambassadors | Henry VIII and his family | 1536-43 |
drawings and woodcuts | miniatures | Miscellaneous works |