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• Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
  Matching lines:
  • on the tree great masters of the Renaissance, we shall speak of Holbein,
• Title: History of Art: Lecture III: Dürer and Holbein
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  • Dürer and Holbein
  • Holbein.
  • in Middle Europe up to the time when Dürer and Holbein entered
  • 55. Holbein. Charles de Morette. (Dresden.)
  • Holbein, an artist essentially different from Dürer. Born in
  • man is living, is stamped upon his soul and character. Holbein
  • 56. Holbein. Erasmus of Rotterdam. (Basel.)
  • 57. Holbein. Sir Thomas More. (Brussels.)
  • 58. Holbein. The Artist's Family;. (Basel.)
  • 59. Holbein. Madonna of the Burgomaster Mayer.
  • as a second version by Holbein himself. Here you will see the
  • extreme realism of Holbein, whereas in Dürer there are those
  • elements. I'm sorry we have no slides of Holbein's ‘Dance of
  • Death.’ Perhaps we may show these another time, for Holbein is
• Title: History of Art: Lecture V: Rembrandt
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  • the great figures of Albrecht Dürer, Holbein and others. Then, as we
• Title: History of Art: Lecture VIII: Raphael and the Northern Artists
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  • Holbein,
  • It was out of this mood and feeling that Holbein himself created his
  • In Holbein's Dance of Death the object was especially to show how Death
  • object was to show Death as a righteous judge. Holbein in his Dance
  • 44a. Holbein. Death and the King.
  • 44b. Holbein. Death and the Monk.
  • 45. Holbein. Death and the Rich Man.
  • of Dürer and Holbein. And yet how short was the intervening time!
  • in Dürer, Holbein and the rest, though the latter were also influenced
  • beginnings, and that produced Dürer and Holbein and the others,