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The painting shows an elegantly but demurely dressed young woman sitting against a blue-grey background. The subject of this portrait is thought to be a member of the Cromwell family, perhaps Thomas Cromwell's daughter-in-law, Elizabeth Seymour, sister to Jane, third consort of Henry VIII. [1]
In accordance with his wishes, Henry was buried with Jane at Windsor Castle, the location of Holbein's sketch for this painting. The portrait matches the depiction of Jane in Holbein's Whitehall wall-painting, which now survives only in a copy by Remigius van Leemput. It also follows Holbein's preparatory drawing (see "other versions", below).
Portrait of Jane Seymour [66] 1537 Oil and tempera on oak 65 × 40 cm Kunsthistorisches Museum, Vienna Mural of Henry VIII, Jane Seymour, Henry VII, and Elizabeth of York: 1536–1537 Destroyed in Whitehall Palace fire, 1698 Portrait Miniature of Hans Schwarzwaldt [67] c. 1535–1540 Watercolour on vellum mounted on playing card 3.8 cm diameter
The sitter is the future King Edward VI, son of Henry VIII and Jane Seymour, aged 3–5. [76] Another drawing of Edward, aged 1, by Holbein, is also in the Royal Collection; [74] a related painting by Holbein is in the National Gallery of Art, Washington. [75] Margaret Elyot [77] c. 1532 – c. 1534
Hans Holbein the Younger (UK: / ˈ h ɒ l b aɪ n / HOL-byne, [2] US: / ˈ h oʊ l b aɪ n, ˈ h ɔː l-/ HOHL-byne, HAWL-; [3] [4] [5] German: Hans Holbein der Jüngere; c. 1497 [6] – between 7 October and 29 November 1543) was a German-Swiss painter and printmaker who worked in a Northern Renaissance style, and is considered one of the greatest portraitists of the 16th century. [7]
Portrait of Christina of Denmark (or Portrait in Mourning) is an oil on oak panel painting by Hans Holbein the Younger completed in 1538. [1] It was commissioned that year by Thomas Cromwell, agent for Henry VIII, as a betrothal painting following the death of the English Queen Jane Seymour.
Drawing of Jane Seymour by Holbein, 1536–37 With the virtual extinction of religious painting at the Reformation , and little interest in classical mythology until the very end of the period, the portrait was the most important form of painting for all the artists of the Tudor court, and the only one to have survived in any numbers.
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