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The King's Painter: The Life and Times of Hans Holbein
The first illustrated biography of Hans Holbein, the painter who depicted some of the most powerful people of the early sixteenth century, in three decades.
Hans Holbein the Younger is chiefly celebrated for his beautiful and precisely realised portraiture, which includes representations of Desiderius Erasmus, Thomas More, Thomas Cromwell, Henry VIII, Anne of Cleves, and an array of the Tudor lords and ladies he encountered during the course of two sojourns in England. But beyond these familiar images, which have come to define our perception of the world of the Henrician court, Holbein was a protean and multi-faceted genius: a humanist, satirist, political propagandist, and contributor to the history of book design as well as a religious artist and court painter. The rich layers of symbolism and allusion that characterise his work have proved especially fascinating to scholars.
Franny Moyle traces and analyses the life and work of an extraordinary artist against the backdrop of an era of political turbulence and cultural transformation, to which his art offers a subtle and endlessly refracting mirror.
Hans Holbein the Younger is chiefly celebrated for his beautiful and precisely realised portraiture, which includes representations of Desiderius Erasmus, Thomas More, Thomas Cromwell, Henry VIII, Anne of Cleves, and an array of the Tudor lords and ladies he encountered during the course of two sojourns in England. But beyond these familiar images, which have come to define our perception of the world of the Henrician court, Holbein was a protean and multi-faceted genius: a humanist, satirist, political propagandist, and contributor to the history of book design as well as a religious artist and court painter. The rich layers of symbolism and allusion that characterise his work have proved especially fascinating to scholars.
Franny Moyle traces and analyses the life and work of an extraordinary artist against the backdrop of an era of political turbulence and cultural transformation, to which his art offers a subtle and endlessly refracting mirror.
681 pages, ebook
Published May 27, 2021
133 people are currently reading
2656 people want to read
About the author
Franny Moyle
8 books51 followersFormer television producer, currently a freelance author.
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Displaying 1 - 30 of 74 reviews
October 28, 2021
This is an engaging read BUT it's not really a 'life' of Holbein, principally because there are very limited sources on his private life. For example, at about 85% of the way through the book we suddenly discover that Holbein has a second family in London (his wife and sons are back in Basel) but we know nothing about them at all: who they were, when he met this woman, even her name - nothing. Now that's not Moyle's fault that the sources are so sparse but it does make the title somewhat misleading.
What the book does do is offer up some commentary on Holbein's art, especially his portraits, and this is done in a light and accessible style with a generous selection of illustrations. It also comes most to life when retelling the famous Tudor stories of the Henrician court from Anne Boleyn to Catherine Howard, as well as some of the not-marital political game-playing that took place. Again, it's emphasis is on accessibility and it's not always as nuanced as it could be: what are 'traditional Catholics', for example, during the Reformations?
So, overall, I found this hugely enjoyable, not least for the slight change in perspective - and this feels like it's a book firmly aimed at those of us who adored the Wolf Hall trilogy.
What the book does do is offer up some commentary on Holbein's art, especially his portraits, and this is done in a light and accessible style with a generous selection of illustrations. It also comes most to life when retelling the famous Tudor stories of the Henrician court from Anne Boleyn to Catherine Howard, as well as some of the not-marital political game-playing that took place. Again, it's emphasis is on accessibility and it's not always as nuanced as it could be: what are 'traditional Catholics', for example, during the Reformations?
So, overall, I found this hugely enjoyable, not least for the slight change in perspective - and this feels like it's a book firmly aimed at those of us who adored the Wolf Hall trilogy.
June 20, 2021
For anyone interested in the Tudor period, this book is a must-read, whether you are an art fan or not. Author Franny Moyle writes in an engaging style; explaining Holbein's work in an easy to understand way, exploring the importance of particular paintings, and setting the historical scene alongside, so the reader is never left behind, no matter your knowledge of the era.
This begins with Henry VIII, newly widowed after the death of Jane Seymour in childbirth - after giving her mercurial husband the son he longed for - looking again for a wife. Having shocked Europe by abandoning his first wife for Anne Boleyn, and then ridding himself of her, only to marry again, the King, it seems, was not yet ready to retire from the romantic scene. He was convinced by his advisors that he should marry politically, rather than for love, but hoped to combine the two. Enter Holbein, despatched to paint a portrait of Anne of Cleves, his prospective wife and bring back her likeness for Henry's appraisal.
Of course, this story shows how important Holbein's skill was in producing such lifelike portrayals of his subjects. The book then goes back to explore Holbein's life - he was, in fact, Holbein the Younger, as his father was also an artist. I found this part of the book fascinating, as Moyle explores the European art scene and changes, including new work in illustrating books and portrait miniatures. Having found himself unsuccessful at finding a position at the French Court, Holbein headed for London.
This biography is not just of a man, but of the entire Tudor period. Of Holbein's relationships of those of important at the time, from Erasmus, Thomas More, Cromwell, and others. Of their rise, and, all too often, their fall. Of plague, illness, financial insecurity, fear of implication in the plots surrounding Henry VIII and the Court, of changing political alliances, religious upheaval and, always, the art produced by Hans Holbein. A wonderful historical biography, which is a joy to read and explore.
This begins with Henry VIII, newly widowed after the death of Jane Seymour in childbirth - after giving her mercurial husband the son he longed for - looking again for a wife. Having shocked Europe by abandoning his first wife for Anne Boleyn, and then ridding himself of her, only to marry again, the King, it seems, was not yet ready to retire from the romantic scene. He was convinced by his advisors that he should marry politically, rather than for love, but hoped to combine the two. Enter Holbein, despatched to paint a portrait of Anne of Cleves, his prospective wife and bring back her likeness for Henry's appraisal.
Of course, this story shows how important Holbein's skill was in producing such lifelike portrayals of his subjects. The book then goes back to explore Holbein's life - he was, in fact, Holbein the Younger, as his father was also an artist. I found this part of the book fascinating, as Moyle explores the European art scene and changes, including new work in illustrating books and portrait miniatures. Having found himself unsuccessful at finding a position at the French Court, Holbein headed for London.
This biography is not just of a man, but of the entire Tudor period. Of Holbein's relationships of those of important at the time, from Erasmus, Thomas More, Cromwell, and others. Of their rise, and, all too often, their fall. Of plague, illness, financial insecurity, fear of implication in the plots surrounding Henry VIII and the Court, of changing political alliances, religious upheaval and, always, the art produced by Hans Holbein. A wonderful historical biography, which is a joy to read and explore.
May 7, 2021
BBC Listeners
January 10, 2022
All Tudor England history-enthusiasts hold a soft spot for Hans Holbein, the Basel-born artist (painter, jewelry-metal smith and architectural interior designer): the “it” artist of King Henry VIII’s court. Holbein was and still is; known for popularizing portraiture and creating the visual legacy of Tudor nobility. Even non-Tudor aficionados are familiar with Holbein’s work without even realizing it; as Holbein was the eyes and ‘camera’ (so to speak) of the Tudor court giving us an extant real image of the appearance of historical figures. Compare Holbein’s paintings to official celebrity headshots of modern day. Franny Moyle works to highlight the life of the artist in, “The King’s Painter: The Life of Hans Holbein.
Moyle sets “The King’s Painter” on a disclaimer foundation noting that the text is not a thorough biography due to the lack of existing resources concerning Holbein; and her belief that the politics and history of both the art world and Tudor court must also be discussed in order to understand Holbein’s person. Meaning, Moyle admits that “The King’s Painter” won’t be wholly-encompassing of Holbein and will go off on tangents. Heed this warning as that is certainly the stylistic-formula behind “The King’s Painter”. Rather than a standard biography, “The King’s Painter” combines elements of art history, art study/exploration, history review and college-style persuasive argument meshed with the biography perspective.
Consequentially, “The King’s Painter” is a convoluted, choppy, mish-mosh presentation with the reader constantly jumping back-and-forth in mind stream attempting to decipher Moyle’s angle. One moment Holbein is discussed, suddenly into art history and highlighting a specific painting and then diving into events that have nothing to do with Holbein. Yes, Moyle alerted of this style but it makes “The King’s Painter” difficult to grasp and disappointing for those readers who want to focus solely on Holbein. Furthermore, Moyle doesn’t necessarily excel in any of the departments resulting in a somewhat amateur work, including her slips of overly familiar text that has no place in a scholarly piece.
Moyle leaves many holes and unanswered questions regarding Holbein and his personal life. “The King’s Painter” will express such points as Holbein having marital discourses with his wife and then suddenly they are lovey-dovey with no explanation of the resolution to that end-point. Moyle’s writing is best described as a bit clumsy.
Equally aggravating is Moyle’s obsession with particular words. Seemingly, she chose a word from a thesaurus and received payment with each usage. For example, Moyle used the art term, ‘verisimilitude’ upwards of a billion times (often with several instances on the same page) and if I never hear this word again for the rest of my life; then I will be quite content.
On a positive note, even with the extensive macro-approach with “The King’s Painter”; Moyle refrains from being abrasively biased or speculative. This excludes the painting breakdowns where, at the end the day, conjecture runs rampant in the art world.
As “The King’s Painter” reaches the halfway mark; it becomes steadier in its flow and Moyle successfully hones in on Holbein offering information new even to those readers well-versed in Tudor history. Holbein becomes a bit more ‘real’ even if not 100% revealing his personal life or inner-psyche. Moyle goes even further to debunk some art myths which strengthen “The King’s Painter”.
“The King’s Painter” does fall victim to bouts of repetition and tedium which signal a weak editing job and discourages page-turning rather than solidify information. This is redeemed by the fresh dialogue crediting the connections between art and politics and specifically, Holbein and Henrician court events. This conversation is intriguing and adds depth to “The King’s Painter”.
Unfortunately, the concluding chapters of “The King’s Painter” feel rushed, empty and with a finality that fails to truly bring Holbein home in a memorable manner. Moyle supplements “The King’s Painter” with not one…not two…but THREE sections of glorious photo plates which are one of the principle highlights of “The King’s Painter”. Also included are Notes (hardly annotated) and a short bibliography leaving much to be desired.
“The King’s Painter” is a somewhat messy look at the great Hans Holbein but readers do come away with more understand than going into the text. “The King’s Painter” is suggested for Tudor lovers of Hans Holbein or art history enthusiasts of renaissance art but don’t expect to be blown away.
Moyle sets “The King’s Painter” on a disclaimer foundation noting that the text is not a thorough biography due to the lack of existing resources concerning Holbein; and her belief that the politics and history of both the art world and Tudor court must also be discussed in order to understand Holbein’s person. Meaning, Moyle admits that “The King’s Painter” won’t be wholly-encompassing of Holbein and will go off on tangents. Heed this warning as that is certainly the stylistic-formula behind “The King’s Painter”. Rather than a standard biography, “The King’s Painter” combines elements of art history, art study/exploration, history review and college-style persuasive argument meshed with the biography perspective.
Consequentially, “The King’s Painter” is a convoluted, choppy, mish-mosh presentation with the reader constantly jumping back-and-forth in mind stream attempting to decipher Moyle’s angle. One moment Holbein is discussed, suddenly into art history and highlighting a specific painting and then diving into events that have nothing to do with Holbein. Yes, Moyle alerted of this style but it makes “The King’s Painter” difficult to grasp and disappointing for those readers who want to focus solely on Holbein. Furthermore, Moyle doesn’t necessarily excel in any of the departments resulting in a somewhat amateur work, including her slips of overly familiar text that has no place in a scholarly piece.
Moyle leaves many holes and unanswered questions regarding Holbein and his personal life. “The King’s Painter” will express such points as Holbein having marital discourses with his wife and then suddenly they are lovey-dovey with no explanation of the resolution to that end-point. Moyle’s writing is best described as a bit clumsy.
Equally aggravating is Moyle’s obsession with particular words. Seemingly, she chose a word from a thesaurus and received payment with each usage. For example, Moyle used the art term, ‘verisimilitude’ upwards of a billion times (often with several instances on the same page) and if I never hear this word again for the rest of my life; then I will be quite content.
On a positive note, even with the extensive macro-approach with “The King’s Painter”; Moyle refrains from being abrasively biased or speculative. This excludes the painting breakdowns where, at the end the day, conjecture runs rampant in the art world.
As “The King’s Painter” reaches the halfway mark; it becomes steadier in its flow and Moyle successfully hones in on Holbein offering information new even to those readers well-versed in Tudor history. Holbein becomes a bit more ‘real’ even if not 100% revealing his personal life or inner-psyche. Moyle goes even further to debunk some art myths which strengthen “The King’s Painter”.
“The King’s Painter” does fall victim to bouts of repetition and tedium which signal a weak editing job and discourages page-turning rather than solidify information. This is redeemed by the fresh dialogue crediting the connections between art and politics and specifically, Holbein and Henrician court events. This conversation is intriguing and adds depth to “The King’s Painter”.
Unfortunately, the concluding chapters of “The King’s Painter” feel rushed, empty and with a finality that fails to truly bring Holbein home in a memorable manner. Moyle supplements “The King’s Painter” with not one…not two…but THREE sections of glorious photo plates which are one of the principle highlights of “The King’s Painter”. Also included are Notes (hardly annotated) and a short bibliography leaving much to be desired.
“The King’s Painter” is a somewhat messy look at the great Hans Holbein but readers do come away with more understand than going into the text. “The King’s Painter” is suggested for Tudor lovers of Hans Holbein or art history enthusiasts of renaissance art but don’t expect to be blown away.
Want to read
December 1, 2023WSJ has a nice review, https://www.wsj.com/articles/the-king...
(Paywalled. As always, I'm happy to email a copy to non-subscribers)
Excerpt:
"We trust that political art is always bad art, but Hans Holbein the Younger, one of the first masters of the modern character study, was a political artist to the tip of his brush. He was also, as Franny Moyle shows in this intricate and enlightening study of Holbein and his age, a religious artist about whom we know very little. ....
Ms. Moyle makes ingenious use of the literary equivalent of chiaroscuro, shadowing in what we know of the times so that the outline of the life shines brightly; as well as of sfumato, the “smoky,” allusive blurring of details that made Renaissance paintings shimmer with significance. ..."
My particular interest in Holbein is in his paintings of Oriental carpets, such as this c. 1527 example: https://commons.wikimedia.org/wiki/Fi...
(Paywalled. As always, I'm happy to email a copy to non-subscribers)
Excerpt:
"We trust that political art is always bad art, but Hans Holbein the Younger, one of the first masters of the modern character study, was a political artist to the tip of his brush. He was also, as Franny Moyle shows in this intricate and enlightening study of Holbein and his age, a religious artist about whom we know very little. ....
Ms. Moyle makes ingenious use of the literary equivalent of chiaroscuro, shadowing in what we know of the times so that the outline of the life shines brightly; as well as of sfumato, the “smoky,” allusive blurring of details that made Renaissance paintings shimmer with significance. ..."
My particular interest in Holbein is in his paintings of Oriental carpets, such as this c. 1527 example: https://commons.wikimedia.org/wiki/Fi...
September 30, 2021
I thought this portrayal of Hans Holbein was more about his work rather than his life.They say that an artist's life comes out in his work and I think this is what the author intended in this case to make you view Holbien through that looking glass.I found some of the descriptions and life events tedious,dull and uninteresting while Holbein was still residing in Germany but as soon as Holbein reached England and the Tudor court the book started to come more alive to me.I couldn't get enough of reading about his run ins with the most famed and infamous members of Henry VIII's court.This really turned the book around for me and eventually overall I gave it a three star rating.
November 3, 2021
To commission a portrait of ourselves today, all one has to do is point and click. However in the 1500’s, it required social standing, time, and plenty of money. Hans Holbein rubbed shoulders with many history makers in Europe and England especially. This interesting side character of Tudor history deserves a longer look, as done in this biography by Franny Moyle. She makes a great point of helping us realize that without this artist, we would not have such detailed pictures of those within the Tudor story. The King’s Painter takes us through the life of Holbein that is pieced together by the friends and clients he kept, and the canvases he colored. The book includes Holbein’s early life and works which include gathering talent and uneventful events. Then the artist goes to England-beginning the excitement and painting the faces we recognize. I enjoyed calling up each of Holbein’s works online and then reading its description and background within the book. These masterpieces hang all throughout the world in the largest and most visited museums, showing the continued love for this painter’s way of capturing a person which is almost equivalent to photography. Moyle includes information on the extravagant colors Holbein used and the paints’ prices showed his detailed thoughts. The projects handed out to Holbein were those of prestigious court members in England, Henry VIII’s family members, and his own portraits at different ages. Although he was quite prolific, the master was taken away too soon. Any lover of the Tudor era should read this book to discover the man behind the brush. I appreciated receiving an ecopy of this book for an honest review.
April 24, 2021
The King's Painter: The Life and Times of Hans Holbein by Franny Moyle is an excellent biography of the larger then life and famous historical painter that is well-researched, engaging, fascinating, and one that I thoroughly enjoyed.
The author clearly has done the research, and the sources presented depicts this throughout and at the end. This is nonfiction, however the author was able to present the book in a way that at times I lost myself in the narrative and forgot I was reading a history/biography. I have read so many books about English royalty and have seen this famous painter's name time and time again, so it was refreshing to be able to read a book devoted to this famous and talented individual and his impressive works. There are so many of his paintings that are infamous, and quite stunning. (I personally like the Portrait of Jane Seymour myself. )
I learned so much more about English history in general as well as learning about this esteemed artist by reading this book. I highly recommend this book for anyone that enjoys not only art history, but also Tudor history as well. The 1500s never looked so good...
5/5 stars
Thank you NG and ABRAMS for this arc and in return I am submitting my unbiased and voluntary review and opinion.
I am posting this review to my GR and Bookbub accounts immediately and will post it to my Amazon, Instagram, and B&N accounts upon publication.
The author clearly has done the research, and the sources presented depicts this throughout and at the end. This is nonfiction, however the author was able to present the book in a way that at times I lost myself in the narrative and forgot I was reading a history/biography. I have read so many books about English royalty and have seen this famous painter's name time and time again, so it was refreshing to be able to read a book devoted to this famous and talented individual and his impressive works. There are so many of his paintings that are infamous, and quite stunning. (I personally like the Portrait of Jane Seymour myself. )
I learned so much more about English history in general as well as learning about this esteemed artist by reading this book. I highly recommend this book for anyone that enjoys not only art history, but also Tudor history as well. The 1500s never looked so good...
5/5 stars
Thank you NG and ABRAMS for this arc and in return I am submitting my unbiased and voluntary review and opinion.
I am posting this review to my GR and Bookbub accounts immediately and will post it to my Amazon, Instagram, and B&N accounts upon publication.
April 24, 2021
The King's Painter: The Life and Times of Hans Holbein by Franny Moyle is an excellent biography of the larger then life and famous historical painter that is well-researched, engaging, fascinating, and one that I thoroughly enjoyed.
The author clearly has done the research, and the sources presented depicts this throughout and at the end. This is nonfiction, however the author was able to present the book in a way that at times I lost myself in the narrative and forgot I was reading a history/biography. I have read so many books about English royalty and have seen this famous painter's name time and time again, so it was refreshing to be able to read a book devoted to this famous and talented individual and his impressive works. There are so many of his paintings that are infamous, and quite stunning. (I personally like the Portrait of Jane Seymour myself. )
I learned so much more about English history in general as well as learning about this esteemed artist by reading this book. I highly recommend this book for anyone that enjoys not only art history, but also Tudor history as well. The 1500s never looked so good...
5/5 stars
Thank you NG and ABRAMS for this arc and in return I am submitting my unbiased and voluntary review and opinion.
I am posting this review to my GR and Bookbub accounts immediately and will post it to my Amazon, Instagram, and B&N accounts upon publication.
The author clearly has done the research, and the sources presented depicts this throughout and at the end. This is nonfiction, however the author was able to present the book in a way that at times I lost myself in the narrative and forgot I was reading a history/biography. I have read so many books about English royalty and have seen this famous painter's name time and time again, so it was refreshing to be able to read a book devoted to this famous and talented individual and his impressive works. There are so many of his paintings that are infamous, and quite stunning. (I personally like the Portrait of Jane Seymour myself. )
I learned so much more about English history in general as well as learning about this esteemed artist by reading this book. I highly recommend this book for anyone that enjoys not only art history, but also Tudor history as well. The 1500s never looked so good...
5/5 stars
Thank you NG and ABRAMS for this arc and in return I am submitting my unbiased and voluntary review and opinion.
I am posting this review to my GR and Bookbub accounts immediately and will post it to my Amazon, Instagram, and B&N accounts upon publication.
July 7, 2021
An interesting and in depth biography of a great artist.
This book feels very overdue. Hans Holbein was not only a great artist but he also lived through so many turning points in British History. I have to admit I'm a big "fan" of Holbein's work but I didn't know that much about the man himself.
Franny Moyle's writing is extremely gripping and easy to get lost in, she's very clearly done a lot of research and put it too good use.
I was a little intimidated by the size of this beast but once you get going you fly through with each chapter being sectioned off really nicely. Each section is kind of told through different influential people that Holbein meets in his life and they are used as kind of stepping stones to move his story along. The only issue I had with this format is that sometimes it lead to the focus being moved away from Holbein.
I love the sections about Anne of Cleves but I'm slightly biased as she owns my heart already.
A must read for any Tudor or art history fan. Also the hardback edition of this book is a glorious thing to own with beautiful full colour images (and a ribbon bookmark). Brilliant all round.
This book feels very overdue. Hans Holbein was not only a great artist but he also lived through so many turning points in British History. I have to admit I'm a big "fan" of Holbein's work but I didn't know that much about the man himself.
Franny Moyle's writing is extremely gripping and easy to get lost in, she's very clearly done a lot of research and put it too good use.
I was a little intimidated by the size of this beast but once you get going you fly through with each chapter being sectioned off really nicely. Each section is kind of told through different influential people that Holbein meets in his life and they are used as kind of stepping stones to move his story along. The only issue I had with this format is that sometimes it lead to the focus being moved away from Holbein.
I love the sections about Anne of Cleves but I'm slightly biased as she owns my heart already.
A must read for any Tudor or art history fan. Also the hardback edition of this book is a glorious thing to own with beautiful full colour images (and a ribbon bookmark). Brilliant all round.
January 31, 2023
Very little is known about Hans Holbein’s life – there are no known letters or notes written by him or to him, no biographies written by people who met him, and almost no comments made by the people he worked for or with.
Nothing is known about his personality or his views, even about his second marriage in England, and the names and fates of his sons are unknown.
The only thing that is clear to see for anyone who ever watched one of his paintings is that he is one of the greatest portraitists and probably the most exquisite draftsmen of all time.
“It was the verisimilitude in Holbein’s work that took away the breath of his contemporaries and largely accounted for his spectacular success.
If Leonardo and Michelangelo had managed to shift the perception of the artist in Italy from artisan to intellectual, and art from mere craftsmanship to a form of expression of similar value to poetry or music, then Holbein had finally achieved this in England.
It is the artist’s record of the court of King Henry VIII of England, as well as the taste that he virtually imposed upon that court, that was his most remarkable achievement.”
In the absence of biographical details, the author places the artist’s life into the context of the turbulent times he had lived through (the arrival of Protestantism and the ensuing religious conflicts, the perilous life at Henry VIII's Court) and reveals the hardship of a painter life under the restrictions imposed by the protectionist guilds and by the medieval hierarchical Status quo.
He comments on the most important pictures, revealing the symbolism and some concealed messages.
As I read a pictureless kindle version, I consulted at the same time Holbein: Masters of Art by Florian Heine, a very well-done volume, that enabled me to understand the pictures’ descriptions.
I read the book to find out what the intriguing painting “The Ambassadors” is about. The book gave me a lot to think about and now, armed with more knowledge, I am determined to see more of Holbein’s art.
Final thought and disappointment - Holbein's talent and innovations are immense, but because he had to work hard to make a living during difficult times, his achievement is limited. He had to paint endless portraits and couldn’t experiment further as he did with group portraits or with bold perspectival illusions like in “The Dead Christ in the Tomb”, a work of art that has caused amazement down the centuries.
Nothing is known about his personality or his views, even about his second marriage in England, and the names and fates of his sons are unknown.
The only thing that is clear to see for anyone who ever watched one of his paintings is that he is one of the greatest portraitists and probably the most exquisite draftsmen of all time.
“It was the verisimilitude in Holbein’s work that took away the breath of his contemporaries and largely accounted for his spectacular success.
If Leonardo and Michelangelo had managed to shift the perception of the artist in Italy from artisan to intellectual, and art from mere craftsmanship to a form of expression of similar value to poetry or music, then Holbein had finally achieved this in England.
It is the artist’s record of the court of King Henry VIII of England, as well as the taste that he virtually imposed upon that court, that was his most remarkable achievement.”
In the absence of biographical details, the author places the artist’s life into the context of the turbulent times he had lived through (the arrival of Protestantism and the ensuing religious conflicts, the perilous life at Henry VIII's Court) and reveals the hardship of a painter life under the restrictions imposed by the protectionist guilds and by the medieval hierarchical Status quo.
He comments on the most important pictures, revealing the symbolism and some concealed messages.
As I read a pictureless kindle version, I consulted at the same time Holbein: Masters of Art by Florian Heine, a very well-done volume, that enabled me to understand the pictures’ descriptions.
I read the book to find out what the intriguing painting “The Ambassadors” is about. The book gave me a lot to think about and now, armed with more knowledge, I am determined to see more of Holbein’s art.
Final thought and disappointment - Holbein's talent and innovations are immense, but because he had to work hard to make a living during difficult times, his achievement is limited. He had to paint endless portraits and couldn’t experiment further as he did with group portraits or with bold perspectival illusions like in “The Dead Christ in the Tomb”, a work of art that has caused amazement down the centuries.
April 3, 2022
Despite not knowing anything about art history, or art in general, I found this book really enjoyable. It makes an excellent companion piece to the Wolf Hall Trilogy.
It is essentially the story of a particular moment in European history held together by the central figure of the artist- an interesting subject who's medium, being visual, just helps bring that period to life all the more vividly. Honestly the biography is at it's most interesting when Hans gets to Henry VIII's England (everyone's favourite bit of British history) but so interesting are the stories, multiple possible interpretations behind every work and impact they had on the development of art in general that I actually learnt something; most particularly what made Hans Holbein so deserving of such an extensive biography.
Now please excuse me, I have some museums to visit.
It is essentially the story of a particular moment in European history held together by the central figure of the artist- an interesting subject who's medium, being visual, just helps bring that period to life all the more vividly. Honestly the biography is at it's most interesting when Hans gets to Henry VIII's England (everyone's favourite bit of British history) but so interesting are the stories, multiple possible interpretations behind every work and impact they had on the development of art in general that I actually learnt something; most particularly what made Hans Holbein so deserving of such an extensive biography.
Now please excuse me, I have some museums to visit.
December 10, 2021
Marvelous! Franny Moyle’s biography of Hans Holbein is as much a masterpiece as many of his paintings. While she gives us Holbein’s life and fascinating discussions of many of his works, the real brilliance comes in connecting his work with the extraordinary historical period within which Holbein worked and his relationships with some of great humanists and politicians of his day, from his friends Erasmus and Thomas More to Thomas Cromwell and Henry VIII. Holbein worked in and helped shape a time of enormous political, religious and social turmoil, and his paintings and drawings of his contemporaries, allows us, centuries later, to take their measure as well as his.
Thank you Ms. Moyle.
Thank you Ms. Moyle.
January 11, 2023
Fabulous! I read it in conjunction with a couple of art books about Holbein. One was a book of his portrait drawings and the other of his paintings. I feel pretty well rounded now! I am inspired enough to re-read Wolf Hall.
March 29, 2024
A very good biography of the artist and history of the time he lived in, which also contains full page images of his works. Well written and presented.
July 23, 2022
2 1/2 stars. This was a frustrating book. While there is a lot of good information in it, the way Ms. Hoyle chose to present it, combined with her writing style, makes it hard to dig out. She clearly did an immense amount of research and seems very engaged with her subject, but, in my opinion, she failed to make her subject easily accessible.
The initial problem the reader is confronted with is the conflict between the book's title and the book's subject. It really ought to have been entitled "The Life and *Times* of Hans Holbein." Ms. Hoyle announces that this is not a straight biography of Holbein in the Preface, and admits that the facts about him are scarce, and that he is in fact enigmatic. It would have been much kinder to the reader to have made that fact evident on the cover--I'm sure many readers were not expecting the early history of the Reformation, which is what they got. Certainly Holbein cannot be "located," as Ms. Hoyle would say, without a context, but sometimes we lose track of Hans altogether.
But the main issue I have with the book is that Ms. Hoyle does not write very well in general, and she does not write well about art. She is a clunky stylist and her word choice is awkward. She repeats phrases like "as such" and misuses words, "fulsome" and "demise" for example. Her writing occasionally gets so convoluted it fails to make sense. Speculation about aspects of Holbein's art is natural, but her psychological interpretations of his work are over-complicated and frequently seem to miss likely commonsense explanations. She is judgmental about the appearance of Holbein's sitters: we do not need to know that she thinks one has a "weak chin" or that another has "drooping" eyes. (I find her writing about Ambrosius Holbein, Hans's brother and Elsbeth, Hans's wife particularly annoying in this context.)
The single most irritating aspect of her discussion of Holbein's works has to do with the plates. At first glance, they are very impressive. But Ms. Hoyle never lets us know if a particular work is among the ones illustrated, so the reader has to trawl through the plates to see if the work is included. The works have figure numbers, but only within each spread, which I do not understand. Why not give each work illustrated its own figure number, and refer to it in the text, which would spare the reader a lot of aggravation? Furthermore, the illustrations sometimes do not represent the entire work; a detail such as the bottle in a portrait of Erasmus, for example, which is discussed at some length, only appears as an almost unidentifiable sliver in the reproduction. The figure of Christ in "The Ambassadors" has been virtually trimmed from the reproduction, making it very difficult to figure out what Ms. Hoyle is discussing.
It is hard to believe that an artist of Holbein's deservedly stellar reputation could be hyped, but somehow Ms. Hoyle manages to achieve this. The man apparently never put a foot wrong. If she would like to know the primary meaning of "fulsome" she really only needs to read her own needless over-praise of her subject. The art speaks for itself.
Ms. Hoyle moves back and forth in time in a curious and confusing manner. She opens the book with a detailed account of Holbein's painting of Anne of Cleves, relatively late in his career. Then somehow we are transported back to Holbein's childhood, and with occasional shifts in time, onward to Holbein's period of painting possible brides for Henry VIII, but we are never really reconnected with what went on with Anne's portrait, described so long ago. I think the lack of coherent organization would make this book rather hard to follow for a reader who did not have some background in English and European history.
I am not sorry I read this book: I found the information about Holbein's family and his years as a young artist in Basel very interesting. Ms. Hoyle is good at describing the continual realignment of England, France, and the Holy Roman Empire. I did not know Holbein apparently had a second and presumably illicit family in England. But this is not a book for someone who would just like to know a little about the artist--for that one would be better off just looking him up on Wikipedia. It's too bad because The King's Painter could have been a much better book.
The initial problem the reader is confronted with is the conflict between the book's title and the book's subject. It really ought to have been entitled "The Life and *Times* of Hans Holbein." Ms. Hoyle announces that this is not a straight biography of Holbein in the Preface, and admits that the facts about him are scarce, and that he is in fact enigmatic. It would have been much kinder to the reader to have made that fact evident on the cover--I'm sure many readers were not expecting the early history of the Reformation, which is what they got. Certainly Holbein cannot be "located," as Ms. Hoyle would say, without a context, but sometimes we lose track of Hans altogether.
But the main issue I have with the book is that Ms. Hoyle does not write very well in general, and she does not write well about art. She is a clunky stylist and her word choice is awkward. She repeats phrases like "as such" and misuses words, "fulsome" and "demise" for example. Her writing occasionally gets so convoluted it fails to make sense. Speculation about aspects of Holbein's art is natural, but her psychological interpretations of his work are over-complicated and frequently seem to miss likely commonsense explanations. She is judgmental about the appearance of Holbein's sitters: we do not need to know that she thinks one has a "weak chin" or that another has "drooping" eyes. (I find her writing about Ambrosius Holbein, Hans's brother and Elsbeth, Hans's wife particularly annoying in this context.)
The single most irritating aspect of her discussion of Holbein's works has to do with the plates. At first glance, they are very impressive. But Ms. Hoyle never lets us know if a particular work is among the ones illustrated, so the reader has to trawl through the plates to see if the work is included. The works have figure numbers, but only within each spread, which I do not understand. Why not give each work illustrated its own figure number, and refer to it in the text, which would spare the reader a lot of aggravation? Furthermore, the illustrations sometimes do not represent the entire work; a detail such as the bottle in a portrait of Erasmus, for example, which is discussed at some length, only appears as an almost unidentifiable sliver in the reproduction. The figure of Christ in "The Ambassadors" has been virtually trimmed from the reproduction, making it very difficult to figure out what Ms. Hoyle is discussing.
It is hard to believe that an artist of Holbein's deservedly stellar reputation could be hyped, but somehow Ms. Hoyle manages to achieve this. The man apparently never put a foot wrong. If she would like to know the primary meaning of "fulsome" she really only needs to read her own needless over-praise of her subject. The art speaks for itself.
Ms. Hoyle moves back and forth in time in a curious and confusing manner. She opens the book with a detailed account of Holbein's painting of Anne of Cleves, relatively late in his career. Then somehow we are transported back to Holbein's childhood, and with occasional shifts in time, onward to Holbein's period of painting possible brides for Henry VIII, but we are never really reconnected with what went on with Anne's portrait, described so long ago. I think the lack of coherent organization would make this book rather hard to follow for a reader who did not have some background in English and European history.
I am not sorry I read this book: I found the information about Holbein's family and his years as a young artist in Basel very interesting. Ms. Hoyle is good at describing the continual realignment of England, France, and the Holy Roman Empire. I did not know Holbein apparently had a second and presumably illicit family in England. But this is not a book for someone who would just like to know a little about the artist--for that one would be better off just looking him up on Wikipedia. It's too bad because The King's Painter could have been a much better book.
June 5, 2022
I finally had to quit. I tried and tried to get into this book, but I just can't. I love and admire Holbein as one of the greatest painters in history. But this book is bloated and tedious and indulges in the worst kind of art interpretation.
Very little of this book is about Holbien. Almost all of it is about the many people who he encountered in the time period, even by accident. You don't just get told that his father produced work for a convent , but you get biographies if the prioress, and her sister, and every person who came into contact with the convent. The author does this over and over for every person who might have had even a minor connection with Holbien.
Then there is the nonsensical interpretations of the art. Like Holbien the Elder using his family as models. The author posits all sorts of theories for why he might have done this, but leaves out the obvious and most likely reason - they were ready to hand. When Holbien the younger is shown at age 5 as a model, the author speculates the reason for the tenderness shown in the painting is that his father is showing the world that he already recognizes his son's importance for the future of the family. Uh, maybe, but isn't the more likely reason that he felt a father's natural tenderness for a little son, or that it was appropriate to the matter of the painting?
I really feel like this author got herself a boom deal and realized somewhere in the process that she didn't have enough material to actually write a book about Holbien, so used a bunch of filler where information about the great painter should have been.
Very little of this book is about Holbien. Almost all of it is about the many people who he encountered in the time period, even by accident. You don't just get told that his father produced work for a convent , but you get biographies if the prioress, and her sister, and every person who came into contact with the convent. The author does this over and over for every person who might have had even a minor connection with Holbien.
Then there is the nonsensical interpretations of the art. Like Holbien the Elder using his family as models. The author posits all sorts of theories for why he might have done this, but leaves out the obvious and most likely reason - they were ready to hand. When Holbien the younger is shown at age 5 as a model, the author speculates the reason for the tenderness shown in the painting is that his father is showing the world that he already recognizes his son's importance for the future of the family. Uh, maybe, but isn't the more likely reason that he felt a father's natural tenderness for a little son, or that it was appropriate to the matter of the painting?
I really feel like this author got herself a boom deal and realized somewhere in the process that she didn't have enough material to actually write a book about Holbien, so used a bunch of filler where information about the great painter should have been.
December 13, 2021
This was one of my favorite books of the year. There is so little archival material on Holbein so it is quite a magic trick that Moyle could light up the story in such an engaging way.... even doing a bit of art historical undercover work, finding a new portrait of the young Holbein in a picture by Holbein the Elder.
For me, this was the perfect book. Beautiful and copious illustrations--very engaging and lively writing, I learned so much not just about Holbein but about the Henrician court, Erasmus, More, Henry's wives.... the book starts and ends with Anne of Cleves. It was brilliant.
A BBC RADIO 4 BOOK OF THE WEEK'A great, thrusting codpiece of a book. It is big, bombastic and richly brocaded ... A jewel in its own right' The Times'Evokes the painter and his world as vividly as a Holbein masterpiece. Beautifully written and illustrated, this book is a must for lovers of Tudor history' Tracy Borman
Full of insight ... This is a gorgeous book, to which I am sure I shall return again and again' Dan Jones
For me, this was the perfect book. Beautiful and copious illustrations--very engaging and lively writing, I learned so much not just about Holbein but about the Henrician court, Erasmus, More, Henry's wives.... the book starts and ends with Anne of Cleves. It was brilliant.
A BBC RADIO 4 BOOK OF THE WEEK'A great, thrusting codpiece of a book. It is big, bombastic and richly brocaded ... A jewel in its own right' The Times'Evokes the painter and his world as vividly as a Holbein masterpiece. Beautifully written and illustrated, this book is a must for lovers of Tudor history' Tracy Borman
Full of insight ... This is a gorgeous book, to which I am sure I shall return again and again' Dan Jones
May 7, 2021
Interesting, if a little too dry for me.
November 26, 2021
To commission a portrait of ourselves today, all one has to do is point and click. However in the 1500’s, it required social standing, time, and plenty of money. Hans Holbein rubbed shoulders with many history makers in Europe and England especially. This interesting side character of Tudor history deserves a longer look, as done in this biography by Franny Moyle. She makes a great point of helping us realize that without this artist, we would not have such detailed pictures of those within the Tudor story. The King’s Painter takes us through the life of Holbein that is pieced together by the friends and clients he kept, and the canvases he colored. The book includes Holbein’s early life and works which include gathering talent and uneventful events. Then the artist goes to England-beginning the excitement and painting the faces we recognize. I enjoyed calling up each of Holbein’s works online and then reading its description and background within the book. These masterpieces hang all throughout the world in the largest and most visited museums, showing the continued love for this painter’s way of capturing a person which is almost equivalent to photography. Moyle includes information on the extravagant colors Holbein used and the paints’ prices showed his detailed thoughts. The projects handed out to Holbein were those of prestigious court members in England, Henry VIII’s family members, and his own portraits at different ages. Although he was quite prolific, the master was taken away too soon. Any lover of the Tudor era should read this book to discover the man behind the brush. I appreciated receiving an ecopy of this book for an honest review.
May 6, 2021
⁹What a marvellous book!!
A long overdue biography of one of the most celebrated portraitists of the Renaissance and the undeniable influence of his artistic achievements & contributions to the enhancement of monarchical powers, politics and prerogatives through their pictorial representations. Following Holbein's journey from his humble beginnings in Germany to the greatness of the Tudors' court in London, it's also following and understanding the canny appropriation often combined with skillfull picture making of art in politics so prevalent throughout Western Europe during the first part of the 16th century. This magnificent book is also a powerful and colorful tapestry of the Tudor political world under Henry VIII & a fascinating study about art & politics, court politics, art & court patronage and the Machiavellian policy of mastering the various and intricate representations of power at the dawn of royal absolutism in Europe. Probably one of the best biographies of 2021 and a brilliant study of an important era in European art history to be enjoyed without any moderation!
Many thanks to Netgalley and Abrams for giving me the opportunity to read this wonderful biography prior to its release date
A long overdue biography of one of the most celebrated portraitists of the Renaissance and the undeniable influence of his artistic achievements & contributions to the enhancement of monarchical powers, politics and prerogatives through their pictorial representations. Following Holbein's journey from his humble beginnings in Germany to the greatness of the Tudors' court in London, it's also following and understanding the canny appropriation often combined with skillfull picture making of art in politics so prevalent throughout Western Europe during the first part of the 16th century. This magnificent book is also a powerful and colorful tapestry of the Tudor political world under Henry VIII & a fascinating study about art & politics, court politics, art & court patronage and the Machiavellian policy of mastering the various and intricate representations of power at the dawn of royal absolutism in Europe. Probably one of the best biographies of 2021 and a brilliant study of an important era in European art history to be enjoyed without any moderation!
Many thanks to Netgalley and Abrams for giving me the opportunity to read this wonderful biography prior to its release date
April 22, 2022
A biography of the man who created the iconic portraits that everyone now associates with the reign of Henry VIII.
There is some criticism that book doesn’t always focus on Holbein but rather on the people in his professional orbit / geographic area / time period / paintings, because there is a lack of information about him. See the vast, enormous body of his work (with many, many more known to be lost, and a speculated amount unknown and lost), and you have your answer right in front if you. Holbein kept his butt in seat, paintbrush in hand, and bent over a canvas most of his life. This man worked. And the result is series of paintings that have defined the era, works of art that still wow and amaze today, visual propaganda we are still spellbound by.
Yes, I am babbling like the fangirl I am.
The story starts with Hans Holbein delivering his portrait of Anna of Cleves. In many ways, this was the height of his career, despite many other great works to come later. But this was the point in time when his art was responsible for controlling events on an international scale. Not bad, for a kid who’s dad fled town to avoid bill collectors!
Moyle theorizes that, consciously or subconsciously, the painting of Anna was meant to evoke in the viewer the idea of the Virgin Mary, images of which Henry VIII had grown up with as the Catholic ideal of motherhood. After all, wouldn’t Anna also be a virgin mother to a boy who would be king when she became Prince Edward’s step-mother? Fascinating theory.
Then the book rewinds to follow Holbein’s life from the beginning, starting with his education in his artist father’s workshop. Holbein was trained starting very young in the technique of painting, and, being right in the middle of Renaissance, he grabbed hold of all the new science of art being developed and ran with it.
But, while the Renaissance delivered new ways to paint, the Reformation dried up the traditional bread and butter of artists as people in Northern Europe became decidedly anti-icon.
The Reformation has a direct impact on Holbein’s work, as we see him turn from the sacred to the secular, and he begins doing a thriving business making portraits of the rich and famous, especially when he comes to England.
Holbein was the Venn diagram center of Catholic iconography, Reformation ideas, Renaissance science, use of ancient Greek and Roman history in 16th century politics, and the rise of the middle class.
Some of the things I learned:
• Holbein was left-handed! Quite an obstacle to have and still become such a talented artist when left-handed people often found themselves forced by punishments as children to train their right hand and end up not being very dexterous in either hand. (If I ever find that nun who hit my boyfriend when he used his left hand in elementary school…)
• Anne Boleyn may have been the one to commission Holbein to paint the enigmatic The Ambassadors painting as part of her and Henry’s lets-butter-up-France-to-make-an-allaince-agasint-Spain-campaign.
• Holbein was not the best family man, keeping a family in Basal that he rarely saw, and, later, a family in London. He provided for his older children, getting them set up in the lucrative metalworks trade, and left provisions for his young children in his will, but he wasn’t around much.
Holbein had an amazing ability to make pictures that create a reaction in the viewer. People look at his portraits and everyone has a different rection to it. In Henry VIII’s lifetime people very much go the political message of his portraits that he was in charge, and even today people still buy the message of power and vitality his portraits are selling. People read different emotions in the sitters, image what feelings Holbein had towards the clients he painted, everyone has different opinions on Holbein’s politics, religion, economics, etc. based on his work. Its impressive how inspiring Holbein’s works are.
September 11, 2022
My reading of this got interrupted because of other things I had to read, but I finished it at last. What an interesting read! Anybody who's read much Tudor history has run across some of Holbein's famous portraits - Thomas More, Thomas Howard, Thomas Cromwell, Henry VIII, Anne of Cleves. What always struck me about these is that they really looked like people, almost like photographs in the best possible way. Paintings by almost everyone else prior to and around that time look like approximations of people, but Holbein's are of another order entirely.
Moyle tells the story of the young man from Germany as a precocious apprentice in his father's workshop, as a self-confident master in Basel and Lucerne, and finally as a sought-after portraitist and designer at the court of Henry VIII. Without seeming to overwork her evidence, she places Holbein in the context of the people he worked for to show the web of connections he built at the court, which was an increasingly dangerous place. Artists made a living by being hired by rich nobles and courtiers or by religious establishments, and with the progress of the Reformation work for churches and monasteries completely dried up both in Switzerland and in England. Religious changes in Basel in the 1520s led Holbein to move to England to find work, and he only returned to actually see his wife and children twice in the rest of his life. Despite the loss of church work caused by the Reformation, Holbein seems to have gravitated in England into the circles of the religious reformers, and Moyle suggests that at the fall of Thomas Cromwell, a primary patron, Holbein prudently withdrew from court for a time until it became safe to take up court work again.
In addition to the fascinating faces in the portraits Holbein paints, the backgrounds and the other accoutrements of the person and the scene are rich with meaning, and Moyle unpacks those for us. In all of the complexity, it was possible to see more than one interpretation of a person's status and character.
One of Moyle's most tantalizing assertions is that Holbein likely painted major portraits of Anne Boleyn and Katherine Howard, and that they would have been destroyed upon their executions. The silverpoint sketches that have been traditionally assumed to be Anne Boleyn are not likely to be so - one of them clearly showing blue eyes and the other fair hair. He came too late to paint Catherine of Aragon and he died (possibly of plague) before making a portrait of Catherine Parr. Those missing portraits are a great loss.
One strange thing I noticed - on more than one occasion I felt like where the text referred to 'right' it should have been left. The most startling one was in a discussion of the odd motif at the bottom center of "The Ambassadors" where she says the true shape of that strange blob only comes into focus when you view the painting from the far right and below. I squinted at that picture over and over and didn't see what she was referring to, and then I ran across a place in the text where she discusses another painting and clearly says right and means left. I went back to The Ambassadors and looked at it from the lower left side and then I saw what was there to see.
You don't need to be educated in art history or even deeply in European history to really enjoy this book, as Moyle provides the context you need in a broad tapestry of 16th century Europe.
Moyle tells the story of the young man from Germany as a precocious apprentice in his father's workshop, as a self-confident master in Basel and Lucerne, and finally as a sought-after portraitist and designer at the court of Henry VIII. Without seeming to overwork her evidence, she places Holbein in the context of the people he worked for to show the web of connections he built at the court, which was an increasingly dangerous place. Artists made a living by being hired by rich nobles and courtiers or by religious establishments, and with the progress of the Reformation work for churches and monasteries completely dried up both in Switzerland and in England. Religious changes in Basel in the 1520s led Holbein to move to England to find work, and he only returned to actually see his wife and children twice in the rest of his life. Despite the loss of church work caused by the Reformation, Holbein seems to have gravitated in England into the circles of the religious reformers, and Moyle suggests that at the fall of Thomas Cromwell, a primary patron, Holbein prudently withdrew from court for a time until it became safe to take up court work again.
In addition to the fascinating faces in the portraits Holbein paints, the backgrounds and the other accoutrements of the person and the scene are rich with meaning, and Moyle unpacks those for us. In all of the complexity, it was possible to see more than one interpretation of a person's status and character.
One of Moyle's most tantalizing assertions is that Holbein likely painted major portraits of Anne Boleyn and Katherine Howard, and that they would have been destroyed upon their executions. The silverpoint sketches that have been traditionally assumed to be Anne Boleyn are not likely to be so - one of them clearly showing blue eyes and the other fair hair. He came too late to paint Catherine of Aragon and he died (possibly of plague) before making a portrait of Catherine Parr. Those missing portraits are a great loss.
One strange thing I noticed - on more than one occasion I felt like where the text referred to 'right' it should have been left. The most startling one was in a discussion of the odd motif at the bottom center of "The Ambassadors" where she says the true shape of that strange blob only comes into focus when you view the painting from the far right and below. I squinted at that picture over and over and didn't see what she was referring to, and then I ran across a place in the text where she discusses another painting and clearly says right and means left. I went back to The Ambassadors and looked at it from the lower left side and then I saw what was there to see.
You don't need to be educated in art history or even deeply in European history to really enjoy this book, as Moyle provides the context you need in a broad tapestry of 16th century Europe.
March 22, 2022
When we think of famous artists in the 15th and 16th centuries, we focus on the great European masters. Michelangelo, Leonardo da Vinci, and Albrecht Durer tend to come immediately to mind. However, one man from Augsburg, Germany, revolutionized how we viewed the Tudor dynasty through portraiture: Hans Holbein the Younger. Many are familiar with his famous works of art and how they influenced how the Tudors have been perceived for centuries, but the man behind the masterpieces has been overlooked. His story and how art was understood in the 16th century is told in Franny Moyle's latest biography, "The King's Painter: The Life of Hans Holbein."
Before I read this book, I did not know much about Hans Holbein, the man behind the art. I knew about his masterpieces like his portraits of Anne of Cleves, Henry VIII, and The Ambassadors, which I love to marvel at, but the man himself was a complete mystery. When this book was announced, I knew I wanted to read it to learn more about the master Hans Holbein.
Hans Holbein the Younger was from a family of artists; his father was Hans Holbein the Elder, and his older brother Ambrosius were also artisans, but they never reached the level of prestige as the youngest member of the family. Holbein the Younger was willing to break the mold and create art his way. Before finishing his apprenticeship, he signed his artwork and ensured that he was not in debt like Holbein the Elder. Holbein the Younger decided to move to Basel, Switzerland, to make his name. Here, Holbein was introduced to men like Erasmus and the ideas of humanism and Protestantism. It was in Basel where Holbein married Elsbeth Schmidt and started his family.
Holbein did not stay in Basel as he was destined to travel to England to be the painter for King Henry VIII. Holbein's paintings for Henry VIII and his court are some of the most stunning images in 16th century England. The way Holbein was able to paint his subjects in such a life-like style is astonishing. However, when you pair it with Moyle's information about Holbein's circle of friends like More, Cromwell, Erasmus, and Cranmer, it adds depth to his work. The amount of allusions and symbolism in these works of art is astounding, and you can spend hours just analyzing one piece at a time.
It is a spectacular biography that any Tudor or art fan will adore. Franny Moyle has created a vivid image of Holbein's world that could stand side by side with one of his masterpieces. I purposely took my time to read this book slowly to absorb every minuscule detail that Moyle included about Holbein and his world. I know it is a book that I will personally reread in the future. If you want a definitive and delightful biography about the man behind the canvas, I highly recommend "The King's Painter: The Life of Hans Holbein" by Franny Moyle.
Before I read this book, I did not know much about Hans Holbein, the man behind the art. I knew about his masterpieces like his portraits of Anne of Cleves, Henry VIII, and The Ambassadors, which I love to marvel at, but the man himself was a complete mystery. When this book was announced, I knew I wanted to read it to learn more about the master Hans Holbein.
Hans Holbein the Younger was from a family of artists; his father was Hans Holbein the Elder, and his older brother Ambrosius were also artisans, but they never reached the level of prestige as the youngest member of the family. Holbein the Younger was willing to break the mold and create art his way. Before finishing his apprenticeship, he signed his artwork and ensured that he was not in debt like Holbein the Elder. Holbein the Younger decided to move to Basel, Switzerland, to make his name. Here, Holbein was introduced to men like Erasmus and the ideas of humanism and Protestantism. It was in Basel where Holbein married Elsbeth Schmidt and started his family.
Holbein did not stay in Basel as he was destined to travel to England to be the painter for King Henry VIII. Holbein's paintings for Henry VIII and his court are some of the most stunning images in 16th century England. The way Holbein was able to paint his subjects in such a life-like style is astonishing. However, when you pair it with Moyle's information about Holbein's circle of friends like More, Cromwell, Erasmus, and Cranmer, it adds depth to his work. The amount of allusions and symbolism in these works of art is astounding, and you can spend hours just analyzing one piece at a time.
It is a spectacular biography that any Tudor or art fan will adore. Franny Moyle has created a vivid image of Holbein's world that could stand side by side with one of his masterpieces. I purposely took my time to read this book slowly to absorb every minuscule detail that Moyle included about Holbein and his world. I know it is a book that I will personally reread in the future. If you want a definitive and delightful biography about the man behind the canvas, I highly recommend "The King's Painter: The Life of Hans Holbein" by Franny Moyle.
February 8, 2022
The King’s Painter: The Life of Hans Holbein is as much about King Henry VIII as it is about Hans Holbein. It is a fabulous book. Holbein is responsible for those famous portraits that give us that iconic visual of the corpulent man we know as Henry VIII. It was Holbein’s ability to create paintings with such accuracy, or verisimilitude—giving the appearance life-likeness to viewers that skyrocketed Holbein to fame during the Renaissance.
Author Franny Moyle creates a fabulous story about Holbein despite the scant history of his personal life. She tells his story through his artworks. Several are reproduced on glossy pages within her book—essential to the reading experience. Moyle devotes an entire chapter to The Ambassadors (1533); an artwork featuring two French diplomats that includes a strange flattened skull jutting across its center. Studying the image is key to unraveling its meaning even though the skull, according to Moyle, is most visible when viewing the painting in-person from a specific angle. It is odd! There are other symbolic items within the picture including a marked up map that represents the political climate of the time, a globe with cities highlighted that were important to European leaders of the day: Jerusalem, Rome, Nuremberg, and Paris, a lute with a broken string (implying ‘discord’), and book open to hymns written by Martin Luther. Holbein’s paintings like The Ambassadors, often incorporated items representative of the symbiotic and fraught relationship between religion and politics. The symbols and visual devices like those found in The Ambassadors were typical of humanist era artworks, but also a sign of Holbein’s intellectual rigor. His paintings are like puzzles.
I quite enjoyed the stories and circumstances around Henry VIII’s courtship and relationship with three (of his six) wives: Anne Boleyn, Jane Seymour and Anne of Cleves. Holbein painted each of their portraits. I could not help feeling that Holbein was partly responsible for the union (and demise) of these women—Henry’s Queens. Holbein was able to create such ‘likeness’ of his sitters, that he was involved in the King’s campaigns to determine their ‘suitability’ i.e. attractiveness. Moyle alludes to scholarly discussions about how Holbein manipulated his paintings to portray traits and perspectives of his subjects based upon the political circumstances—what she calls out as ‘visual propaganda’.
A great read. At times I felt details about the religious contexts was lacking but overall worth the reading investment.
I was thrilled to learn about an exhibition featuring Holbein’s work, Holbein: Capturing Character , at the Morgan Library in New York City in 2022; they are offering two virtual talks. See link here if interested.
Author Franny Moyle creates a fabulous story about Holbein despite the scant history of his personal life. She tells his story through his artworks. Several are reproduced on glossy pages within her book—essential to the reading experience. Moyle devotes an entire chapter to The Ambassadors (1533); an artwork featuring two French diplomats that includes a strange flattened skull jutting across its center. Studying the image is key to unraveling its meaning even though the skull, according to Moyle, is most visible when viewing the painting in-person from a specific angle. It is odd! There are other symbolic items within the picture including a marked up map that represents the political climate of the time, a globe with cities highlighted that were important to European leaders of the day: Jerusalem, Rome, Nuremberg, and Paris, a lute with a broken string (implying ‘discord’), and book open to hymns written by Martin Luther. Holbein’s paintings like The Ambassadors, often incorporated items representative of the symbiotic and fraught relationship between religion and politics. The symbols and visual devices like those found in The Ambassadors were typical of humanist era artworks, but also a sign of Holbein’s intellectual rigor. His paintings are like puzzles.
I quite enjoyed the stories and circumstances around Henry VIII’s courtship and relationship with three (of his six) wives: Anne Boleyn, Jane Seymour and Anne of Cleves. Holbein painted each of their portraits. I could not help feeling that Holbein was partly responsible for the union (and demise) of these women—Henry’s Queens. Holbein was able to create such ‘likeness’ of his sitters, that he was involved in the King’s campaigns to determine their ‘suitability’ i.e. attractiveness. Moyle alludes to scholarly discussions about how Holbein manipulated his paintings to portray traits and perspectives of his subjects based upon the political circumstances—what she calls out as ‘visual propaganda’.
A great read. At times I felt details about the religious contexts was lacking but overall worth the reading investment.
I was thrilled to learn about an exhibition featuring Holbein’s work, Holbein: Capturing Character , at the Morgan Library in New York City in 2022; they are offering two virtual talks. See link here if interested.
December 28, 2021
I received this as an ARC from Netgalley.com.
First line: When Samuel Johnson published his Dictionary of the English Language in 1755, more than two hundred years after Holbein’s death, he understood a biographer to be ‘A writer of lives; a relator not of the history of nations, but of the actions of particular persons.’
Summary: Hans Holbein was the court painter to Henry VIII of England. But even though he achieved stardom at the English court he started as the son of painter in Augsburg, Germany. He learned his trade from his father and worked his way up the social ladder with introductions for well-known clients until he reached the height of his career. Using his talent, he brought the world the best known portraits of the Tudor court including the king himself, his courtiers and several of his wives.
My Thoughts: I have loved Holbein’s work ever since I became interested in the Tudor period. His art is beyond his time. He brings life to his subjects making them almost appear in 3D. Many of his works survive and there are probably some still to be discovered. The few that I have seen are outstanding in their detail.
I really enjoyed this look into Holbein’s life. Before reading this I basically knew his name and his works. I learned a lot about the time period in which he lived, his rise through friendships with Erasmus and Thomas More, and the lives of painters in the sixteenth century. I always assumed that someone who worked for the court was well off but many painters struggled to make enough for their families. There are many rules surrounding the painters’ world including inclusions in guilds and requirements of marriage. I found this to be a great insight into another world inside the one I already knew from my years of reading Tudor history.
Moyle’s biography can be fairly dense with information but I found it easy to read. She follows a linear storytelling while she explains the culture and religious tensions of the time and how they affected the young painter.
The book includes color prints of some of his father’s works (Hans Holbein the Elder), early religious works (Hans Holbein the younger), and his portraits from the royal courts.
FYI: For fans of art history or the Tudor period.
First line: When Samuel Johnson published his Dictionary of the English Language in 1755, more than two hundred years after Holbein’s death, he understood a biographer to be ‘A writer of lives; a relator not of the history of nations, but of the actions of particular persons.’
Summary: Hans Holbein was the court painter to Henry VIII of England. But even though he achieved stardom at the English court he started as the son of painter in Augsburg, Germany. He learned his trade from his father and worked his way up the social ladder with introductions for well-known clients until he reached the height of his career. Using his talent, he brought the world the best known portraits of the Tudor court including the king himself, his courtiers and several of his wives.
My Thoughts: I have loved Holbein’s work ever since I became interested in the Tudor period. His art is beyond his time. He brings life to his subjects making them almost appear in 3D. Many of his works survive and there are probably some still to be discovered. The few that I have seen are outstanding in their detail.
I really enjoyed this look into Holbein’s life. Before reading this I basically knew his name and his works. I learned a lot about the time period in which he lived, his rise through friendships with Erasmus and Thomas More, and the lives of painters in the sixteenth century. I always assumed that someone who worked for the court was well off but many painters struggled to make enough for their families. There are many rules surrounding the painters’ world including inclusions in guilds and requirements of marriage. I found this to be a great insight into another world inside the one I already knew from my years of reading Tudor history.
Moyle’s biography can be fairly dense with information but I found it easy to read. She follows a linear storytelling while she explains the culture and religious tensions of the time and how they affected the young painter.
The book includes color prints of some of his father’s works (Hans Holbein the Elder), early religious works (Hans Holbein the younger), and his portraits from the royal courts.
FYI: For fans of art history or the Tudor period.
September 11, 2021
Originally posted on my blog: Nonstop Reader.
The King's Painter is a well written biography of Hans Holbein presented by Franny Moyle. Due out 5th Oct 2021 from Abrams, it's 400 pages and will be available in hardcover format.
This is a layman accessible, precise, and exhaustively annotated biography of Hans Holbein the Younger shown through the lens of his patronage by the important and influential families of the Tudor period, most specifically his interaction and service to King Henry VIII.
The author does a good job of explaining some of the more esoteric political machinations and background. Holbein was a supremely gifted artist, but he was also a politically astute and intelligent man who often had the regard of the king and managed (for the most part) to avoid being embroiled unnecessarily in the deadly political machinations at court.
The book is not strictly chronological; the author has arranged it in a series of thematic chapters each of which explore Holbein's relationships to other great persons of the time period.The narrative is enhanced by excerpts from extant period letters and journals. It is exhaustively annotated and the chapter notes and bibliography will give readers opportunity for many more hours of learning and research. I cannot state with certainty what this biography provides which is lacking from other biographies of Holbein, but I can say I found it accessible and enjoyable to read. The author doesn't make the reading onerous with overly academic constructions, and I appreciated that.
There are no illustrations included in the early ARC provided for pre-release review.
Five stars. This would make a superlative selection for public or school library acquisition, or for the home library, especially for fans of art, or history, or both.
Disclosure: I received an ARC at no cost from the author/publisher for review purposes.
The King's Painter is a well written biography of Hans Holbein presented by Franny Moyle. Due out 5th Oct 2021 from Abrams, it's 400 pages and will be available in hardcover format.
This is a layman accessible, precise, and exhaustively annotated biography of Hans Holbein the Younger shown through the lens of his patronage by the important and influential families of the Tudor period, most specifically his interaction and service to King Henry VIII.
The author does a good job of explaining some of the more esoteric political machinations and background. Holbein was a supremely gifted artist, but he was also a politically astute and intelligent man who often had the regard of the king and managed (for the most part) to avoid being embroiled unnecessarily in the deadly political machinations at court.
The book is not strictly chronological; the author has arranged it in a series of thematic chapters each of which explore Holbein's relationships to other great persons of the time period.The narrative is enhanced by excerpts from extant period letters and journals. It is exhaustively annotated and the chapter notes and bibliography will give readers opportunity for many more hours of learning and research. I cannot state with certainty what this biography provides which is lacking from other biographies of Holbein, but I can say I found it accessible and enjoyable to read. The author doesn't make the reading onerous with overly academic constructions, and I appreciated that.
There are no illustrations included in the early ARC provided for pre-release review.
Five stars. This would make a superlative selection for public or school library acquisition, or for the home library, especially for fans of art, or history, or both.
Disclosure: I received an ARC at no cost from the author/publisher for review purposes.
March 24, 2024
When you imagine Henry VIII you probably imagine him hands at his hips, feet apart like a colossus bedecked in jewels and golden chains, with a codpiece for the ages. His small, mean eyes look out at you from a square set face with hanging jowls. The picture of fearsome despot.
The reason you imagine Henry like that is solely down to Hans Holbein the Younger.
Holbein was born to the painter Hans Holbein the Elder in Augsburg and the close of the 15th Century. His life, as told in Franny Moyle's sumptuous biography, is the story of the early Reformation from the earliest stirrings of Luther to dissolution of the monasteries in England.
Holbein started his career painting devotional alter pieces and lived to see them burned by Protestant rioters. In pursuit of wealth he moved to England where his prodigious talent led him to paint almost anyone who was anyone in the land.
Despite mercurial masters (the fact that that no Holbeins of either Anne Boleyn or Catherine Howard exist is likely due to their being destroyed following their falls), frequent conflagrations and the general ravages of time, around 50 of Holbein's portraits have come down to us along with scores of drawings and preparatory sketches, many preserved in the Royal Collections. Many of these works are reproduced in colour in this beautiful, spell binding book which not only tells Holbein's story by effectually analyses his work.
Holbein lived in an age where to be a painter was hard. Holbein's father was forever in debt, his brother (also a promising painter) died young. To achieve success Holbein had to leave his young family and move abroad, where he would eventually die of the plague. He has no known grave. Despite this, this common man came to provide the essential identity to one of the most significant periods in English history. A period which still effects and beguiles us today.
The reason you imagine Henry like that is solely down to Hans Holbein the Younger.
Holbein was born to the painter Hans Holbein the Elder in Augsburg and the close of the 15th Century. His life, as told in Franny Moyle's sumptuous biography, is the story of the early Reformation from the earliest stirrings of Luther to dissolution of the monasteries in England.
Holbein started his career painting devotional alter pieces and lived to see them burned by Protestant rioters. In pursuit of wealth he moved to England where his prodigious talent led him to paint almost anyone who was anyone in the land.
Despite mercurial masters (the fact that that no Holbeins of either Anne Boleyn or Catherine Howard exist is likely due to their being destroyed following their falls), frequent conflagrations and the general ravages of time, around 50 of Holbein's portraits have come down to us along with scores of drawings and preparatory sketches, many preserved in the Royal Collections. Many of these works are reproduced in colour in this beautiful, spell binding book which not only tells Holbein's story by effectually analyses his work.
Holbein lived in an age where to be a painter was hard. Holbein's father was forever in debt, his brother (also a promising painter) died young. To achieve success Holbein had to leave his young family and move abroad, where he would eventually die of the plague. He has no known grave. Despite this, this common man came to provide the essential identity to one of the most significant periods in English history. A period which still effects and beguiles us today.
July 5, 2021
I don't usually write reviews, but this book is so outstandingly good I feel I must. Fanny Moyle has achieved the impossible, she's managed to combine biography, history and art seamlessly and created a 'page turner' into the bargain. I began to read the book on my kindle, but half way through I decided I needed a hardback copy so I could view the illustrations in colour and focus on the details and hidden meanings in Holbein's work that the author explains so well. The colour illustrations are wonderful and the scholarship and detective work involved in the descriptions of the hidden meanings give the book excitement and pace, it will be a long time before another book of this calibre is published. Particularly good is the analysis of 'The Ambassadors'. Over the years I've stood in front of the painting and pondered what it might mean, I've also read a number of scholarly theories, but the author goes much further than recycling old ideas. She speculates Anne Boleyn may have commissioned and paid for the work as a gift to thank Jean de Dinteville (the ambassador on the left, wearing fur) for supporting her marriage to the king and taking a leading part in her coronation procession. This is a tantalising possibility and there are many others relating to other well known works by Holbein, particularly the Anne of Cleves portrait which led to so many difficulties for Henry. The book focuses in detail on the works created by Holbein in Germany and Switzerland and shows how his talent and originality developed over the years before he came to England. Well worth reading.
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