Hans
Holbein (I)
(c. 1460–1520)
Other names: Hans Holbein 'the Elder'
Biographical
Hans Holbein the Elder,
father of Hans Holbein
the Younger,
was the senior member of the celebrated family of painters in practice
at Augsburg and Basel from the close of the 15th to the middle of the
16th century. Though closely connected with Venice by her commercial relations,
and geographically nearer to Italy than to Flanders, Augsburg at the time
of Maximilian cultivated art after the fashion of the Flemings, and felt
the influence of the schools of Bruges and Brussels, which had branches
at Cologne and in many cities about the headwaters of the Rhine. It was
not till after the opening of the 16th century, and between that and the
era of the Reformation, that Italian example mitigated o some extent the
asperity of South German painting. Flemish and German art was first tempered
with Italian elements at Augsburg by Hans Holbein the elder. Hans first
appears at Augsburg as partner to his brother Sigismund, who survived
him and died in 1540 at Berne. Sigismund is described as a painter, but
his works have not come down to us. Hans had the lead of the partnership
at Augsburg, and signed all the pictures which it produced. In common
with Herlen, Schöngauer, and other masters of South Germany, he first
cultivated a style akin to that of Memling and other followers of the
schools of Brussels and Bruges, but he probably modified the systems of
those schools by studying the works of the masters of Cologne. As these
early impressions waned, they were replaced by others less favourable
to the expansion of the master’s fame; and as his custom increased
between 1499 and 1506, we find him relying less upon the teaching of the
schools than upon a mere observation and reproduction of the quaintnesses
of local passion plays. Most of his early works indeed are taken from
the Passion, and in these he obviously marshalled his figures with the
shallow stage effect of the plays, copying their artificial system of
grouping, careless to some extent of proportion in the human shape, heedless
of any but the coarser forms of expression, and technically satisfied
with the simplest methods of execution. If in any branch of his art he
can be said to have had a conscience at this period, we should say that
he showed it in his portrait drawings. It is seldom that we find a painted
likeness worthy of the name. The drawings of which numbers are still preserved
in the galleries of Basel, Berlin and Copenhagen show extraordinary quickness
and delicacy of hand, and a wonderful facility for seizing character;
and this happily is one of the features which Holbein bequeathed to his
more famous son, Hans the younger. It is between 1512 and 1522 that Holbein
tempered the German quality of his style with some North Italian elements.
A purer taste and more pleasing realism mark his work, which in drapery,
dress, and tone is as much more agreeable to the eye as in respect of
modelling and finish it is smoother and more carefully rounded. Costume,
architecture, ornament and colour are applied with some knowledge of the
higher canons of art. Here, too, advantage accrued to Hans the younger,
whose independent career about this time began.
The date of the elder Holbein’s birth is unknown. But his name appears
in the books of the tax-gatherers of Augsburg in 1494, superseding that
of Michael Holbein, who is supposed to have been his father. Previous
to that date, and as early as 1493, he was a painter of name, and he executed
in that year, it is said, for the abbey at Weingarten, the wings of an
altarpiece representing Joachim’s Offering, the Nativity of the
Virgin, Mary’s Presentation in the Temple, and the Presentation
of Christ, which now hang in separate panels in the cathedral of Augsburg.
In these pieces and others of the same period, for instance in two Madonnas
in the Moritz chapel and castle of Nuremberg, we mark the clear impress
of the schools of Van der Weyden and Memling; whilst in later works, such
as the Basilica of St Paul of 1504 in the gallery of Augsburg, the wane
of Flemish influence is apparent. But this altarpiece, with its quaint
illustrations of St Paul’s life and martyrdom, is not alone of interest
because its execution is characteristic of old Holbein. It is equally
so because it contains portraits of the master himself, accompanied by
his two sons, the painters Ambrose, completed c. 1494–c. 1519 and
Hans the younger. Later pictures, such as the Passion series in the Fürstenberg
gallery at Donaueschingen, or the Martyrdom of St Sebastian in the Munich
Pinakothek, contain similar portraits, the original drawings of which
are found in old Holbein’s sketch-book at Berlin, or in stray leaves
like those possessed by the duke of Aumale in Paris. Not one of these
fails to give us an insight into the character, or a reflex of the features,
of the members of this celebrated family. Old Holbein seems to ape Leonardo,
allowing his hair and beard to grow wildly, except on the upper lip. Hans
the younger is a plain-looking boy. But his father points to him with
his finger, and hints that though but a child, he is clearly a prodigy.
After 1516 Hans Holbein the elder appears as a defaulter in the registers
of the tax-gatherers at Augsburg; but he willingly accepts commissions
abroad. At Isenheim in Alsace, where Grünewald was employed in 1516,
old Holbein also finds patrons, and contracts to complete an altarpiece.
But misfortune or a bailiff pursues him, and he leaves Isenheim, abandoning
his work and tools. According to Sandrart, he wanders to Basel and takes
the freedom of its guild. His brother Sigismund and others are found suing
him for debt before the courts of Augsburg. Where he lived when he executed
the altarpiece, of which two wings with the date of 1522 are in the gallery
of Carlsruhe, is uncertain; where he died two years later is unknown.
He slinks from ken at the close of a long life, and disappears at last
heeded by none but his own son, who claims his brushes and paints from
the monks of Isenheim without much chance of obtaining them. His name
is struck off the books of the Augsburg guild in 1524.
The elder Holbein was a prolific artist, who left many pictures behind
him. Earlier than the Basilica of St Paul, already mentioned, is the Basilica
of St Mary Maggiore, and a Passion in eleven pieces, in the Augsburg gallery,
both executed in 1499. Another Passion, with the root of Jesse and a tree
of the Dominicans, is that preserved in the Staedel, Saalhof, and church
of St Leonard at Frankfort. It was executed in 1501. The Passion of Donaueschingen
was finished after 1502, in which year was completed the Passion of Kaisheim,
a conglomerate of twenty-seven panels, now divided amongst the galleries
of Munich, Nuremberg, Augsburg and Schleissheim. An altarpiece of the
same class, commissioned for the monastery of St Moritz at Augsburg in
1504–1508, has been dispersed and lost. 1512 is the date of a Conception
in the Augsburg gallery, long assigned, in consequence of a forged inscription,
to Hans Holbein the younger. A diptych, with a Virgin and Child, and a
portrait of an old man, dated 1513, came in separate parts into the collections
of Mr Posonyi and Count Lanckoronski at Vienna. The sketch-books of Berlin,
Copenhagen and Augsburg give a lively picture of the forms and dress of
Augsburg residents at the beginning of the 16th century. They comprise
portraits of the emperor Maximilian, the future Charles V, Kunz von der
Rosen, the fool of Maximilian, the Fuggers, friars, merchants, and at
rare intervals ladies.
Place of birth: Augsburg
Place of death: Isenheim, Alsace
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