A Member of the Wedigh Family (detail; c.1533), Hans Holbein the Younger. Gemäldegalerie, Berlin Photo: Jörg P. Anders/bpk Bildagentur/Art Resource, NY
Aside from the mainstream tourist attractions within London that house what remnants of Tudor paintings and artefacts historians have left to catch a glimpse of sixteen-century England, the ‘Holbein at the Tudor Court’ exhibition situated in the Queen’s Gallery, Buckingham Palace, is just that bit more special. After opening to the public last November, the Royal Collection’s latest exhibition has witnessed an unprecedented influx of tourist from far and wide, all with the common love of the Tudor period and its revolutionary artwork.
The exhibition comprises of numerous pieces of Hans Holbein’s creations before and during his time at the court of Henry VIII. Hans Holbein (c. 1497/8-1543) was a German artist, printmaker, and sculptor who, after travelling around several European courts to receive commissions, served as the court artist to King Henry VIII. Alongside painting the royal family and sketching many of his courtiers, Holbein travelled around Europe for his master in the late 1530s with the purpose of depicting a number of potential suitors, including Anna von Kleve, completing a portrait which would later cause significant controversy for its ‘disparity’ in appearance. There is a particularly special element in this piece, aside from the fact that they are Holbein, in that they are typically housed in the private collection of the King and only come on display every few years. Quite literally, this is an opportunity not to be missed.
The artwork is displayed in a chronological order; the viewer is first introduced to the commonplace artwork oof the late fifteenth century as well as portraits of several monarchs that made up the web of early modern power. Alongside an expansive portrait of Henry VII, Saint George and his entire family, one is able to see portraits of Isabella I of Castile, Ferdinand II of Aragon and Philip the Handsome, parents and brother-in-law to Katherine of Aragon. On the opposite side of the room, stands two portraits of Francis I of France and Charles V, the Holy Roman Emperor. Whilst these were not painted by Holbein, these portraits were once in Henry’s collection and would have been familiar to him, hence why they are included in the exhibition. There is not merely artwork on display, but also a wooden bust of what is speculated to be a young Henry, which is almost cruelly comparative to his 1544 armour from his siege of Boulogne on display in the final room, showcasing the gradual decline of a young prince to a famously reputed tyrant.
(Images - © Ellie Webster)
The majority of works on display are of Holbein’s famous sketches. Whilst there are indeed a number of paintings are present in the exhibition, much of Holbein’s work at the court was largely taken up by his sketches, some of which would have been intended to have gradually transformed into full-scale oil paintings. We can see this with his sketch and miniature portrait of Elizabeth, Lady Audley, whose freakishly lifelike sketched portrait follows you around the room right alongside the miniature of the same structure, which could fit into one’s hand. It is remarkable how certain groups of sketches still remain perfectly intact, particularly the collection of sketches representing Sir Thomas More and his family, including his daughters, son, and father. Although this was also turned into a large-scale portrait, one would have to travel to further sites to see it.
(Images - © Ellie Webster)
Perhaps the most harrowing part of this exhibit, for me, was seeing the exact strokes of charcoal on the sketches that would ultimately turn into the masterpieces we all recognise. When one is exposed to Holbein’s works, which immortalise these historical figures, witnessing the process of his work on paper, for me, brought them further to life. This was aided especially by Holbein’s frequent use of watercolour to emphasise the colour of his sitter’s eyes, almost leading one to speculate they were being followed around the room.
Finally, the concluding room of the exhibition is largely dedicated to the famous works that are most recognisable to a Tudor fanatic: the young Princess Elizabeth, his supposed sketch of Anne Boleyn, the Family of Henry VIII, the Field of Cloth of Gold and so many more. These pieces need little introduction for their sheer size and intricacy: it is no wonder why they attract so many visitors. There are often talks going on in the final room relating to the collections, which anybody is welcome to join. The particular day I went, there was a discussion by one of the curators relating to their collection of miniature portraits, focussing on two of Holbein’s 1541 works of Charles Brandon, 1st Duke of Suffolks sons, aged three and five, Henry and Charles, who both died within half an hour of one another in 1551 as a result of a Sweating Sickness epidemic. Arguably, the miniatures by Holbein are the most difficult for the viewer to comprehend for their miniscule size, but are yet so remarkably intricate. In the exhibition you can also see the miniatures of other contemporary artists, such as Lucas Horenbout.
(Images - © Ellie Webster)
After an unparalleled experience at the exhibition, the viewer is left with a significantly clearer image of the faces that made the Henrician court. In a way, the Holbein at the Tudor Court exhibition leaves the viewer with more questions than answers. After witnessing an influx of sketches that showcase the identities of curtly figures that would have been forgotten otherwise, one must think: did they like their portrait? Did they think it was accurate to what they thought they looked like? What was the intention of this sketch, and did it meet the motives expectations?
It provides a stark reminder that these were people who once lived beside one another, albeit not always harmoniously, just like we do in the present day. Whilst this marvellous exhibition does a certainly fantastic job at answering these questions, there are simply some debates that will be forever lost to history: thankfully these faces have not.
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