We have now discussed how Erasmus' In Praise of Folly and Thomas More's Utopia reflected the Age of Reformation. Now we will turn to an artist whose life intersected with both of these great thinkers of the 16th century. Hans Holbein the Younger painted Erasmus on a number of occasions. Holbein also painted More upon their first meeting and the portrait gained him entrance into Henry VIII's court. During this age, portraits played much more of a role than just capturing the likeness of the sitter. As we shall see, portraits were sent along with letters to reinforce the familiar bond between Erasmus and his friends and patrons, and to form a group of like minded Humanists in a very tumultuous historical period. Before moving to your task, we will need to look at Holbein's world view by reviewing some points from Oskar Batschmann and Pascal Griener's Hans Holbein.

In 1497, Hans Holbein the Younger was born in Augsberg Germany. After training under his father, receiving various commissions, and traveling throughout Europe he made his home in Basle where he befriended Erasmus some time between 1521 and 1529. Before meeting Holbein, Erasmus had commissioned various artists to create his portrait. However in this time period the true nature of a person was believed to be found in a letter:

Albrecht Durer's Erasmus of Rotterdam, 1526

"Durer's known portrait engraving of Erasmus from 1526 points out in the inscription that there is a contrast between the artistic image of an author and the picture we will build up of him from his writings. 'His writings will present a better picture', the Greek inscription tells us. In the foreground of the engraving we see a number of books, but the author is shown engrossed in writing a letter. This hitherto overlooked detail of the engraving is important, because in the humanists' view it was a letter more than any other literary creation that managed to convey the absent person's words to another absent person -- sermo absentis ad absentem. Thus letters could, as a form of self-portrait, surpass painted or drawn portraits in terms of reality, vividness, and creation. -- pg. 30

As an opponent of the Reformation living in Northern Europe, Erasmus relied on supporters and friends to defend him. In an effort to keep those ties close, Erasmus employed portraits:

"He preferred to depend on the goodwill and generosity of influential patrons. To do this he maintained a huge correspondence with his protectors and would occasionally send them his portrait -- always close, always distant." -- pg. 155

Holbein painted two portraits of Erasmus in 1521 which most likely were sent by Erasmus to protectors or friends. Batschmann and Griener assert that Holbein's artistic concerns had two aspects: fantastic creation and virtuoso imitation.

Erasmus of Rotterdam, 1523

Which aspect of Holbein's aesthetic is reflected in this portrait?

Carrying a letter of introduction from Erasmus, Holbein sought to gain patronage from Henry VIII's English court by first painting Erasmus' friend Sir Thomas More.

"Evidently Holbein had no difficulty in convincing this most recent mentor of his exceptional abilities: in a letter dated 18 December 1526, More exclaimed 'Your painter, my dearest Erasmus, is a wonderful artist'. He added that he would do all in his power to help him. More posed for the artist in simple garments and without his livery collar - he was well-known for his lack of ceremony. However, in order to take full advantage of the most picturesque effects, Holbein transformed his patron into a truly magnificent King's servant. After having pricked the drawing in order to transfer it onto the panel, he added some arresting features. The golden livery collar with portcullis singles out the dutiful high-ranking civil servant; the black and red velvet, the fur, the green silk, each materials is minutely detailed, with great attention paid to the individual rendering of the rich textures..." -- pg. 160

Holbein's Sir Thomas More, 1527

Holbein's portrait of Sir Thomas More needs to be situated in the artistic milieu of his day:

"It (the portrait) had to be both faithful observation of nature and a show of invention -- two conflicting qualities. The aim of the Northern portraitist was to show attention to his own skills through different devices -- compositional, chromatic, iconography. Last, but not least in importance, he was expected to describe an individual as a member of a (social) category." -- pg. 149

When Holbein gained entry into Henry VIII's court he completed, among others, portraits of the Comptroller of the Royal Household Sir Henry Guildford, and the English Court's Astronomer Nikolaus Kratzer.

Holbein's Sir Henry Guildford, 1527

The Astronomer Nikolaus Kratzer, 1528

Which one of these paintings best exhibits observation of nature, invention, and observance of social rank? How do these two portraits compare to Holbein's earlier portrait of More with regards to the aforementioned categories?

Holbein not only painted Sir Thomas More and members of the English court, but "one of the greatest protectors of Erasmus, the Archbishop of Canterbury, William Warham (pg.164)." The portrait of William Warham was very similar to a portrait that Holbein painted of Erasmus for the Archbishop.

Holbein's Erasmus of Rotterdam, 1523 and William Warham, Archbishop of Canterbury, 1527

What are the similarities and the differences between these two paintings?

These similarities were purposeful:

"But the most striking feature of this picture is its resemblance to that of Erasmus of 1523: it was most probably at Warham's own request that Holbein painted him in bust, and placed in his hands in the same position as those of the great scholar in this portrait. In order to provide some reason for the gesture, the artist made Warham lay his hands on a large but unencumbered cushion, traditionally occupied by a prayer-book -- which is here actually lying next to it. Such a composition marked a victory for Erasmus: by means of his image he had managed to create a community of scholars who were not only paying respect to his genius, but who even went so far as to imitate his gestus. On contemplating Warham's portrait Erasmus may have remembered with delight More's letter of 7 October 1517, in which he said: 'I cannot really resist the tickling sensation of glory, which is aroused in me by the feeling of conviction that I will be recommended to posterity through Erasmus' friendship, of which letters, books and portraits bear testimony, like many other marks of his friendship." --pg. 164

In the 16th Century portraits acted as a means to create an intellectual community, and, in the case of Erasmus with his protectors, to strengthen the link between people thousands of miles apart. These men were leading thinkers of their day and Holbein's artistry allowed them to speak to each other without words.

Art History
Humanists, Portraits, and Speeches
Homework

We have looked at various examples of Hans Holbein's portraiture. In particular, we have concentrated on his paintings of Erasmus and Sir Thomas More and discussed the meaning behind their creation in the 16th Century. It's time to transfer what you know to the 20th Century. After reading an assortment of letters from Andrew Carroll's edited Letters of a Nation: A Collection of Extraordinary American Letters, select a leading figure's correspondence and describe in a 250 word essay how you would paint a portrait of them in the manner of Hans Holbein. You will need to include: observation of nature, invention, and observance of social rank. You may also wish to include in your painting specific symbols connected to your sitter or themes present in your leading figure's letter. Be prepared to discuss your portrait in class.

Extra Credit:
1. Sketch the Portrait
2. Describe how you would create a similar portrait of the person receiving your leading figure's letter which would be analogous to the relationship between Holbein's portrait Erasmus and William Warham, Archbishop of Canterbury.

Here are some suggestions for your selection:
1. President Franklin Roosevelt to Winston Churchill on December 8, 1941
2. Georgia O'Keeffe to Anita Pollitzer on Not Getting So Emotional About Life
3. Elvis Presley to President Richard M. Nixon on Helping to Fight Drug Use in America