Word: holbeins
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...welcome back so distinguished an adopted son, the Swiss city of Basel just about knocked itself out that autumn day in 1538. Twelve years before. Hans Holbein the Younger had quit the town to seek richer rewards elsewhere. Now, dressed in the finest silk and velvet, he was court painter to King Henry VIII of England; his name was known throughout Europe, and Basel was ready to shower him with honors and commissions to lure him back permanently. The city failed, but it has cherished Holbein as its own ever since. This summer, when the University of Basel celebrated...
...Younger Holbein's father, Hans the Elder, of Augsburg, Germany, was one of the most sought-after religious painters of his day, and his younger brother Sigmund for several years worked as his assistant. For the current show, Basel could find only a handful of oils and sketches that may have been by Sigmund, while Hans the Elder is represented by 79. The most dazzling is the famed Fountain of Life (see color), which once belonged to the wife of Britain's Charles...
Bitterness & Flattery. In 1511 Holbein the Elder did a memorable drawing of the somber-looking junior Hans, aged 14. A few years later young Hans and his brother Ambrosius were seeking their fortunes as artists in Basel, which, largely because of the presence of the great Dutch scholar Erasmus, was soon to call itself "the city of humanists." Once the young Hans so flattered Erasmus with a portrait sketch that the aging celibate declared if he really looked that good, he would go right out and marry. Ambrosius is believed to have died around the age of 25, leaving Hans...
...alumni showing at the Yale University Art Gallery. Last week in New Haven, the second Yale alumni loan show was drawing record throngs. They were inspecting 265 new selections of Yale art-from a 15th century wood panel, The Betrothal of St. Catherine of Siena, by Hans Holbein the Elder, to a contemporary Willem de Kooning oil, Souvenir to Toulouse...
...finest of the new accessions are two small linden-wood legionaries of death, carved in the mid-sixteenth century. They reflect the preoccupation with death then prevalent and resemble the skeletal figures in Holbein's Dance of Death, done earlier in the same century. With deft control of the wood, the craftsman of the Busch-Reisinger pieces grimly records the grotesque expressions on the legionaries' faces and the torn flesh as it hangs limply from their skeletons...