Uuendatud november 2026 · järjestatud meie populaarsusindeksi järgi (otsingud, külastused ja tellimused igale teosele) · 65 teost Hans Holbein Vanem meie kataloogis
Lühidalt
Galleriist vaadatuna on Hans Holbein Vanem kõige kuulsam teos Grey Passion (1500), mille originaal ripub Staatsgalerie Stuttgart-is, Stuttgardi. Kaisheim Descent from the Cross (1500) ja Katherine Altar: Martyrdom of Saint Peter (1512) täidavad kolmikut, mille iga silm tunnistab. Kunstnii Hans Holbein Vanem 65 teose põhjal esitleb galeriis allpool 65 kõige kuulsumat, kus iga originaal on märgitud aastaga, muuseumiga ja kirjeldatud, mis teeb selle unikaalseks.
The Grey Passion is a series of twelve panels created by Hans Holbein the Elder between 1494 and 1500. These paintings illustrate the Passion of Christ, forming the wings of a larger altarpiece. The original structure was a triptych, designed to surround a central element. This centerpiece consisted of a sculpture by Gregor Erhart, which is now lost.
A heavy silence hangs over the wooden beams. The body of Christ hangs limp, a pale weight being lowered from the cross. Shadows cling to the deep folds of crimson and dark green drapery, swallowing the periphery in a somber gloom. Every line follows the downward pull of gravity, tracing the path from the rigid geometry of the timber to the slumped, organic curves of the mourners. At the base,…
Created in 1512, this work belongs to the Northern Renaissance. It reflects the transition from late Gothic traditions toward a more realistic, humanistic approach. The painting emphasizes the visceral details of the human body and the specific textures of material goods. This style is characteristic of early 16th-century German painting, where precision in draftsmanship was a primary concern. The subject matter focuses on religious devotion through the depiction of sacrifice…
The Kaisheim Crucifixion is a dramatic religious painting from 1500 that captures a moment of profound sorrow. The composition is defined by a strong verticality, centering on the figure of Christ on the cross against a dark, near-black background. This high-contrast setting serves to illuminate his pale body, making him the focal point of the work. The color palette is composed of deep reds, stark whites, and heavy blacks, accented…
Katherine Altar: Saint Anne Self-Third is a religious work by Hans Holbein The Elder, executed in 1512. This specific piece functions as a detail from the larger Katharinenaltar: Martyrium Der Hl. Katharina.
In this somber composition from 1500, we find ourselves drawn into a tight, vertical arrangement of mourning. The scene depicts the Lamentation, a moment of profound sorrow where the physical presence of the deceased Christ is the focal point. There is a palpable sense of claustrophobia here; the figures are packed closely together, their grief pressing inward upon the viewer. The color palette relies on deep, saturated tones—crimson reds, dark…
The Epitaph of the Vetter Sisters emerges from the shadows of the late Gothic era, a large-scale altarpiece that commands the space it occupies. Painted by Hans Holbein The Elder, this work dates to about 1499. It exists as a complex, multi-tiered narrative, unfolding through a series of interconnected vignettes that guide the eye across its structured, pointed, arched frame. The scale of the piece carries a weight that demands…
The Frankfurt Dominican Altarpiece: Flagellation is a significant work by Hans Holbein The Elder, dating to 1501. This painting was originally commissioned by the Dominican Convent for the High Altar of the Dominican Church in Frankfurt am Main. It remains a profound example of the artist's early period, executed during a time when his technical precision was already becoming a defining characteristic of his hand.
The Frankfurt Dominican Altarpiece: The Entry into Jerusalem is a significant work by Hans Holbein the Elder, executed in 1501. This piece functioned as the High Altar of the Dominican Church of Frankfurt. It forms a central part of a larger Passion cycle, designed to communicate the narrative of the Passion through a series of related panels.
Frankfurt Dominican Altarpiece: Ecce Homo is a work by Hans Holbein The Elder, executed in 1501. The piece belongs to the Northern Renaissance tradition, emerging from the artist's early career in the German region. It was created during a period when the transition from Late Gothic sensibilities toward Renaissance humanism was reshaping the visual language of religious art.
Frankfurt Dominican Altarpiece: The Cleansing of the Temple1501 · Städel Museum
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Frankfurt Dominican Altarpiece: Christ’s Arrest1501 · Städel Museum
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Frankfurt Dominican Altarpiece: Christ Washing St Peter's Feet1501 · Städel Museum
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Frankfurt Dominican Altarpiece: Christ before Pontius Pilate1501 · Städel Museum
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Frankfurt Dominican Altarpiece: Christ Crowned with Thorns1501 · Städel Museum
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Frankfurt Dominican Altarpiece: Bearing of the Cross1501 · Städel Museum
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Frankfurt Dominican Altarpiece: The Agony in the Garden1501 · Städel Museum
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Frankfurt Dominican Altarpiece: Tree of Jesse (lower part)1501 · Städel Museum
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Frankfurt Dominican Altarpiece: Resurrection1501 · Städel Museum
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Frankfurt Dominican Altarpiece: Lineage of the Dominican Order (lower part)1501 · Städel Museum
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Frankfurt Dominican Altarpiece: Sunday view1501 · Städel Museum
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Frankfurt Dominican Altarpiece: Tree of Jesse (upper part)1501 · Städel Museum
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Basilica Santa Maria Maggiore1499 · Bavaria riiklikud maalidema kogumikud
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The Virgin Mary as the Mother of Sorrows1495 · Gemäldegalerie
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Good Deeds of Empress Kunigunde1506 · Bavaria riiklikud maalidema kogumikud
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Kaisheim Altar: Birth of Christ1502 · Bavaria riiklikud maalidema kogumikud
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Kaisheim Altar: Christ before Pilate1502 · Bavaria riiklikud maalidema kogumikud
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Epitaph of the Walther Sisters: Feeding of the Five Thousand1502 · Bavaria riiklikud maalidema kogumikud
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Epitaph of the Walther Sisters: Healing of the Possessed1502 · Bavaria riiklikud maalidema kogumikud
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Votive Image of Ulrich Schwarz: Christ and Mary as Intercessors before God the Father1503 · Bavaria riiklikud maalidema kogumikud
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Kaisheim Altar: Annunciation of Mary1502 · Bavaria riiklikud maalidema kogumikud
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Kaisheim Altar: Capture of Christ1502 · Bavaria riiklikud maalidema kogumikud
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Kaisheim Altar: Crowning of Christ with Thorns1502 · Bavaria riiklikud maalidema kogumikud
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Emperor Henry Condemns the Empress to Trial by Ordeal1506 · Bavaria riiklikud maalidema kogumikud
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Emperor Henry Asks the Empress for Forgiveness1506 · Bavaria riiklikud maalidema kogumikud
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Epitaph of the Walther Sisters: Transfiguration of Christ1502 · Bavaria riiklikud maalidema kogumikud
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Death of Emperor Heinrich1506 · Bavaria riiklikud maalidema kogumikud
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Devils Inform a Hermit That They Could Not Lay Hold of the Soul of the Emperor1506 · Bavaria riiklikud maalidema kogumikud
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The Devil in the Form of a Youth in the Chamber of Empress Kunigunde1506 · Bavaria riiklikud maalidema kogumikud
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Katharinenaltar: Saint Ulrich and Conrad1512 · Bavaria riiklikud maalidema kogumikud
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Kaisheim Altar: Visitation of Mary1502 · Bavaria riiklikud maalidema kogumikud
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Kaisheim Altar: Carrying of the Cross of Christ1502 · Bavaria riiklikud maalidema kogumikud
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Kaisheim Altar: Presentation in the Temple1502 · Bavaria riiklikud maalidema kogumikud
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Kaisheim Altar: Christ on the Mount of Olives1502 · Bavaria riiklikud maalidema kogumikud
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Kaisheim Altar: Resurrection of Christ1502 · Bavaria riiklikud maalidema kogumikud
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Kaisheim Altar: Adoration of the Magi1502 · Bavaria riiklikud maalidema kogumikud
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Empress Kunigunde Accused of Adultery1506 · Bavaria riiklikud maalidema kogumikud
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Kaisheim Altar: Death of Mary1502 · Bavaria riiklikud maalidema kogumikud
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Kaisheim Altar: Temple Walk of Mary1502 · Bavaria riiklikud maalidema kogumikud
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Kaisheim Altar: Ecce Homo1502 · Bavaria riiklikud maalidema kogumikud
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Kaisheim Altar: Circumcision of Christ1502 · Bavaria riiklikud maalidema kogumikud
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Empress Kunigunde Walks Over Glowing Plowshares1506 · Bavaria riiklikud maalidema kogumikud
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Catherine Altar: Martyrdom of Saint Catherine1512 · Bavaria riiklikud maalidema kogumikud
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Kaisheim Altar: Flagellation of Christ1502 · Bavaria riiklikud maalidema kogumikud
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Mary with the Child1502 · Bavaria riiklikud maalidema kogumikud
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Virgin with Child by Hans Holbein the Elder, Museu Nacional de Arte Antiga1519 · National Museum of Ancient Art
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Portrait of a Member of the Weiss Family of Augsburg1522 · Städel Museum
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Basilica San Paolo Fuori Le Mura1504 · Bavaria riiklikud maalidema kogumikud
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Ecce Homo (Grey Passion-6)1500 · Staatsgalerie Stuttgart
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Bildnis Der Nonne Veronika Vetter1499
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Christ in silence (Grey Passion-9)1500 · Staatsgalerie Stuttgart
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Maria Der Verkündigung (Sebastiansaltar)1516 · Bavaria riiklikud maalidema kogumikud
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Portrait of a Wife of An Unknown Stonemason1505
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Grey Passion1500 · Staatsgalerie Stuttgart
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The crown of thorns (Grey Passion-5)1500 · Staatsgalerie Stuttgart
Neli teemat, mis esinevad neis originaalkindel kõige sagedamini, ning iga teema parim näide.
Kümne 5 muuseumi kollektsioonid, mis sisaldavad kõige rohkem sellel lehel esitatud teoseid.
| Muuseumid | Linn | Hans Holbein Vanem teosid | Selle nimekirja maalid |
|---|---|---|---|
 Bavaria riiklikud maalidema kogumikud |
München | 40 | Kaisheim Descent from the Cross, Katherine Altar: Martyrdom of Saint Peter, Kaisheim Crucifixion |
 Städel Museum |
Frankfurt | 16 | Frankfurt Dominican Altarpiece: Flagellation, Frankfurt Dominican Altarpiece: The Entry into Jerusalem, Frankfurt Dominican Altarpiece: Ecce Homo |
 Staatsgalerie Stuttgart |
Stuttgardi | 5 | Grey Passion, Ecce Homo (Grey Passion-6), Christ in silence (Grey Passion-9) |
 Gemäldegalerie |
Berliin | 1 | The Virgin Mary as the Mother of Sorrows |
 National Museum of Ancient Art |
Lissabon | 1 | Virgin with Child by Hans Holbein the Elder, Museu Nacional de Arte Antiga |
Vali vuosakülg, et näha selle ajastu definieerivat originaalteost.
The Epitaph of the Vetter Sisters emerges from the shadows of the late Gothic era, a large-scale altarpiece that commands the space it occupies. Painted by Hans Holbein The Elder, this work dates to about 1499. It exists as a complex, multi-tiered narrative, unfolding through a series of interconnected vignettes that guide the eye across its structured, pointed, arched frame. The scale of the piece carries a weight that demands…
The Grey Passion is a series of twelve panels created by Hans Holbein the Elder between 1494 and 1500. These paintings illustrate the Passion of Christ, forming the wings of a larger altarpiece. The original structure was a triptych, designed to surround a central element. This centerpiece consisted of a sculpture by Gregor Erhart, which is now lost.
Created in 1512, this work belongs to the Northern Renaissance. It reflects the transition from late Gothic traditions toward a more realistic, humanistic approach. The painting emphasizes the visceral details of the human body and the specific textures of material goods. This style is characteristic of early 16th-century German painting, where precision in draftsmanship was a primary concern. The subject matter focuses on religious devotion through the depiction of sacrifice…
The artwork is titled Portrait of a Member of the Weiss Family of Augsburg. It was executed by the German painter Hans Holbein The Elder. This portrait, which dates to about 1522, depicts a person of status. The subject is presented in a formal manner, captured during the Northern Renaissance period.
Grey Passion (1500), Staatsgalerie Stuttgart, Stuttgardi. Järgnevad Kaisheim Descent from the Cross (1500) ja Katherine Altar: Martyrdom of Saint Peter (1512).
35 aastat vanus: teos Grey Passion on pärinev aastast 1500 ning Hans Holbein Vanem sündis aastal 1465.
Grey Passion, Kaisheim Descent from the Cross, Katherine Altar: Martyrdom of Saint Peter, Kaisheim Crucifixion, Katherine Altar: Saint Anne Self-Third, Burial of Kaisheim, Epitaph of the Vetter Sisters, Frankfurt Dominican Altarpiece: Flagellation, Frankfurt Dominican Altarpiece: The Entry into Jerusalem ja Frankfurt Dominican Altarpiece: Ecce Homo. Ülemine reiting näitab iga teose puhul aastat ja muuseumi.
Meie kataloogist leiate 65 teost kunstnikult Hans Holbein Vanem, mis on pärinevad ajastust 1495 kuni 1522.
Peamiselt Bavaria riiklikud maalidema kogumikud (München), Städel Museum (Frankfurt) ja Staatsgalerie Stuttgart (Stuttgardi) muuseumites. Ülalpool olevate muuseumite tabelis on nendest kõik loetletud.
Ajal 1500s: 54 65 sellel lehel olevat teost on sellel perioodil loodud, მათart közül Grey Passion.
Sellel lehel on kõige vanem teos The Virgin Mary as the Mother of Sorrows (1495) ja kõige värskeim Portrait of a Member of the Weiss Family of Augsburg (1522).
People (21), Drapery (18) ja Figures (15), kogu selle lehekülje 65 teose kohta.
Oil On Panel, 40 teoseks 65 töödelt sellel lehel.
Northern renaissance, seda lähtudes selle lehe originaalteostest.
Kaisheim Descent from the Cross, Katherine Altar: Martyrdom of Saint Peter ja Kaisheim Crucifixion: Bavaria riiklikud maalidema kogumikud, München säilitab 40 selle lehel olevat teost.
1526. aastal asus Holbein oma esimesele reisile Inglisse – teekonnale, mis muutus tema karjääri suunise dramaatiliselt. Alguses püüdis ta toetust Sir Thomas More'ilt, silmapaistvalt humanistlikult filosoofilt ja riigimehelt. See side ning uisus teavastas uusi võimalusi, viidates ta inglise õukonna teenistusse, kus ta sai tellimusi nii Henry VIII-ilt kui ka erinevatelt salvestatud ning mõjukatelt ning aristokraatidelt. Hans Holbein Vanem Hans Holbein Vanem Hans Holbein Vanem on tõenäoliselt oma kuulsaimate teoste looja; tema Tudorite eliiti pildistavad portreid on realismi, diplomaatia ja psühholoogilise sügavuse meistriteosed. Ta omandas erakordse võime ei pelgalt oma modellide füüsilist välimust, vaid ka nende isikupõhjalikku olemust, ambitsioone ja sotsiaalilist staatust pildistada. Näiteks tema portree Henry VIII-st on võimas kuningliku autoriteedi avaldus, mis edastab kuninga kohutavat presence'i ja vankumatut võimu. Holbeini tehnika Inglismaal põhines õlivärvi õhukeste kihidena rakendamisel hoolikalt ette valmistatud paneelidele, luues pindasid, mis särasid elulaadselt detailidega. Lisaks sai ta ustavaks sümbolite kasutamisel oma portreteedes, edastades peenelt sõnumid tema modellide seisukohast ja usulistest veendumistest. Tema edu Inglise õukonnas tõi kaasa perioodi, mis oli täis suhteeliset õitsemist ja kunstilist vabadust.
