Hans Holbein the Younger

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Excerpt from Hans Holbein the Younger: A Critical Monograph Dürer and Holbein: Holbein and Dürer: the two for most of mankind stand up like lighthouses out of the sea of Germanic painters that one knows barely by name or that one may know perhaps fairly well by their works. There are Martin Schongauer, Burgkmair, Conrad Vitz, Hans the German, Nicolas the German, the Upper German School, the Unknown Masters, and how many more? It is at least convenient roughly to consider in one's mind that the two greater masters are for the Germanic nations the boundary stones between the old world and the modern, between the old faith and the new learning, between empirical, charming conceptions of an irrational world and the modern theoretic way of looking at life. Durer stood for the great imaginers who went before. He seems to sum up the Minnesingers, the Tristan cycles, the great feudal conceptions. Holbein commences the age of doubts, of merchants, of individual freedoms, of broader ideals, of an opening world and new hopes. Of course the moment one begins to consider the facts of the case very closely, the differences grow less and one sees that the two great peaks are part of one and the same chain. But the differences are convenient pegs on which to hang one's arguments, and these one may emphasize first. Holbein, for instance, was a fresco painter. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully, any imperfections that remain are intentionally left to preserve the state of such historical works.