DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.68073#0269
GERMAN PAINTING
243
where, after a period of working in the German colony, he became
Court-Painter to Henry VIII with a salary of thirty pounds a year
and rooms in the Palace. From that time onward Holbein painted
everybody of importance in Tudor England. He also aided in the
street decorations for Anne Boleyn’s Coronation procession and fes-
tivities. Holbein was also sent on various missions by Henry VIII
to paint portraits; also in 1538 to Brussels, to paint the portrait of
the young widow, Christina of Denmark, Duchess of Milan; and in
1539, to Cleves, to paint Anne, sister of the Duke.
These two portraits were ordered by the King with a view to matri-
mony, in case they met with his favor. The first portrait (now in
the National Gallery, London) representing, in her mourning garb of
black satin, Christina the young widow of Francesco Sforza, brother
of Maximilian Sforza (see page 148) and who was, moreover, niece of
the Emperor Charles V, in every way, therefore, a distinguished and
desirable bride, pleased Henry VIII so well that he offered his royal
hand on seeing it. But the wise young Duchess, declining the hand
replied sarcastically “that unfortunately she had only one head; if
she had two, one would be at His Majesty’s service.” The other
portrait of Anne of Cleves (now in the Louvre), in purple velvet flash-
ing with jewels, standing full face, with beautifully painted hands
laden with rings and clasped gracefully, gained for this lady the Royal
Bluebeard; but only for a short time. The portrait was too flattering
of the “Flanders Mare”, as Henry VIII called her, and the four th
wife was soon divorced.
In 1538 Holbein went to Basle on a mission for the King, visited
his wife and children and, refusing liberal offers from the municipality
of Basle to remain there, returned to London. Back again in his
English quarters, he continued his painting until he died in 1543,
supposedly of the Plague, which was then raging.
243
where, after a period of working in the German colony, he became
Court-Painter to Henry VIII with a salary of thirty pounds a year
and rooms in the Palace. From that time onward Holbein painted
everybody of importance in Tudor England. He also aided in the
street decorations for Anne Boleyn’s Coronation procession and fes-
tivities. Holbein was also sent on various missions by Henry VIII
to paint portraits; also in 1538 to Brussels, to paint the portrait of
the young widow, Christina of Denmark, Duchess of Milan; and in
1539, to Cleves, to paint Anne, sister of the Duke.
These two portraits were ordered by the King with a view to matri-
mony, in case they met with his favor. The first portrait (now in
the National Gallery, London) representing, in her mourning garb of
black satin, Christina the young widow of Francesco Sforza, brother
of Maximilian Sforza (see page 148) and who was, moreover, niece of
the Emperor Charles V, in every way, therefore, a distinguished and
desirable bride, pleased Henry VIII so well that he offered his royal
hand on seeing it. But the wise young Duchess, declining the hand
replied sarcastically “that unfortunately she had only one head; if
she had two, one would be at His Majesty’s service.” The other
portrait of Anne of Cleves (now in the Louvre), in purple velvet flash-
ing with jewels, standing full face, with beautifully painted hands
laden with rings and clasped gracefully, gained for this lady the Royal
Bluebeard; but only for a short time. The portrait was too flattering
of the “Flanders Mare”, as Henry VIII called her, and the four th
wife was soon divorced.
In 1538 Holbein went to Basle on a mission for the King, visited
his wife and children and, refusing liberal offers from the municipality
of Basle to remain there, returned to London. Back again in his
English quarters, he continued his painting until he died in 1543,
supposedly of the Plague, which was then raging.