New exhibition titled “Holbein at the Tudor Court” is on display at the Queen’s Gallery, Buckingham Palace in London. It is dedicated to the works of the German artist Hans Holbein the Younger who is one of the prominent representatives of the Renaissance of the 16th century. The exhibition showcases portraits of the English royalty and court members made by Hans Holbein where he served as a court artist during the Tudor ruling.

Hans Holbein the Younger was born in 1497/1498 in Augsburg, Germany, he studied painting at the workshop of his artist father, Hans Holbein the Elder. He began his career with engraving and illustrating books. In six years he created more than 1,200 engravings. In 1515, Holbein created illustrations for Erasmus of Rotterdam’s “Praise of Folly.”

The Reformation forced Holbein to leave the country in 1525. Thanks to a letter of recommendation from Erasmus of Rotterdam, he was warmly received by Thomas More, Chancellor and Advisor to King Henry VIII. He became his first patron, and in a short time the artist painted several portraits of More and his friends. In 1532 Holbein moved permanently to London, where he became a painter at the court of Henry VIII.

Rare works of the retrospective include drawings, paintings, miniatures and book illustrations from the royal collection, which are almost 5 centuries old. It is interesting to note how carefully Holbein followed his sketches in his work. Holbein’s graphics are particularly attractive, where one can see every slightest movement of the pencil and his reverent attention to detail.

Exhibits include portraits of such famous figures as Henry VIII, Anne Boleyn, Elizabeth I, Jane Seymour, Sir Thomas More, Mary Shelton, William Reskimer, and Derich Born.

The highlights of the exhibition

Sir Thomas More (1478 – 1535)

This drawing was one of Holbein’s first works after his arrival in England. It represents preparatory work for a portrait of Sir Thomas More, now in the Frick Collection in New York. More was a distinguished lawyer, philosopher and author. He also served as Lord High Chancellor of England. He refused to acknowledge Henry VIII’s split from the Catholic Church, abstaining from taking the Oath of Supremacy, which led to his conviction for treason and subsequent execution in 1535.

Holbein’s use of coloured crayons is masterful in this drawing: some of the brown crayon has been erased to give sheen to More’s fur collar. The outlines of the drawing are pierced with a needle so that Holbein could transfer the drawing to another surface.

Anne Boleyn (1500 -1536)

This is one of the few lifetime portraits of Anne Boleyn, second wife of Henry VIII and mother of Elizabeth I. The queen was executed for high treason in May 1536. Anne was Holbein’s royal patron. He was commissioned to design the arch for her coronation procession. The artist also created designs for royal jewellery. Despite the examples of Holbein’s work for the queen, almost no portraits of Boleyn have survived. Perhaps the king could not face reminders of his tragic marriage.

Until 2006, there was no consensus in expert circles about the identity of the woman depicted by Holbein. Art historian Bendor Grosvenor and curator David Starkey conducted an entire new investigation. At the time of the examination there were several portraits, they were able to prove that this particular drawing was authentic and made during Anne’s lifetime. The basis was the testimony of Sir John Cheke, whose patron was the wife of Henry VIII. The name “Anne Boleyn Queen” was inscribed by his hand on the drawing. He is believed to have signed the portrait for Edward VI (the only son of Henry VIII and his third wife Jane Seymour) when he was appointed a court tutor and secretary to the young king in 1544. There was no doubt that Sir John Cheek knew Anne personally and could identify her portrait, but previous experts have dismissed this important fact because of the rare errors Cheke made in relation to other Holbein drawings. Also, the simple dress depicted on Anne served in her favour. Only royalty could allow themselves to be pictured in a simple evening dress, which would have been unusual for other nobility. Henry VIII himself was known to receive guests in nightgowns in the private chambers of the palace.

Portrait of Henry VIII (1491 – 1547)

The most famous portrait of King Henry VIII is by Hans Holbein the Younger. This portrait is an early copy of the original by Holbein. The original was executed in 1537 on the wall of the Privy Chamber at Whitehall Palace in London, which was destroyed by fire in 1698. The technique of the portrait is very close to Holbein’s style, experts agree that most likely it was painted during Henry VIII’s lifetime.

William Reskimer (?- 1552)

William Reskimer held various positions at Henry VIII’s court, including that of a Page of the Chamber. Later, he was entrusted with overseeing the ports of the Duchy of Cornwall and was appointed Gentleman Usher. This portrait depicts Reskimer with a long red beard set against a backdrop of vines. A comparison between the initial sketch and the final painting demonstrates how closely Holbein adhered to the original drawing. It is probable that Holbein continued to refine the painting as he worked on it, evident in his meticulous attention to detail, particularly in Reskimer’s hands, trying to achieve absolute perfection.

The exhibition will be open until April 14, 2024, and will feature activities and lectures aimed at providing a deeper insight into Holbein’s wor