Portrait of Dorothea Meyer, nee Kannengiesser - Hans Holbein the Younger
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Beschreibung
A precise Northern Renaissance portrait of Dorothea Meyer by Hans Holbein the Younger, capturing the refined fashion and social status of the early sixteenth-century Basel merchant class.
This portrait depicts Dorothea Meyer, the wife of the Basel burgomaster Jakob Meyer zum Hasen. Painted during the early phase of Hans Holbein the Younger's career in Basel, the work demonstrates his technical precision and his ability to capture individual character through careful observation. Dorothea is shown in a three-quarter view, wearing a striped cap and a red dress with black trim, typical of the period's fashion among the wealthy merchant class.
Holbein employs a clear, objective style that avoids unnecessary embellishment. The background features architectural elements, including a coffered ceiling and a column, which provide a sense of space and structure. The lighting is even, allowing for a focus on the texture of the fabric and the subtle modelling of the sitter's features. The pearls around her neck and the gold embroidery on her bodice are rendered with fine detail, reflecting the status of the subject.
This painting is part of a diptych, paired with a portrait of her husband. The two works were intended to be viewed together, representing the couple within the context of their social standing. Holbein's approach here is characteristic of his early work, where he combined the influence of late Gothic traditions with the emerging interest in humanism and realism found in Northern Europe. The clarity of the composition and the attention to material detail are hallmarks of his practice, which would later lead him to become a court painter in England. This print captures the sharp lines and the specific colour palette of the original panel, offering a view into the aesthetic values of the early sixteenth-century Swiss bourgeoisie.
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Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Portrait of Dorothea Meyer, nee Kannengiesser - Hans Holbein the Younger
Artist Biography
Hans Holbein The Younger
He was born in Augsburg, Germany, the son of a painter also called Hans Holbein. He studied under his father and was working independently by his late teens. He moved to Basel, where he painted portraits and religious works and illustrated Erasmus's In Praise of Folly with marginal drawings. Erasmus recommended him to Thomas More in England, writing that 'the arts are freezing' in Basel and Holbein should try his luck elsewhere.
He arrived in London in 1526 and painted More's family portrait, the first group portrait of a domestic scene in Northern European art. He returned to Basel, found the Reformation had destroyed the market for religious art, and went back to England permanently in 1532.
His portraits of the Tudor court are the visual record of the period: Thomas More, Thomas Cromwell, Anne Boleyn (probably), Jane Seymour, and the succession of courtiers and merchants who populated Henry's orbit. The technique is almost supernaturally precise. The textures of fur, velvet, jewellery, and skin are rendered with a fidelity that makes other portraitists look approximate.
He was sent to paint prospective brides for Henry, including Anne of Cleves, whose portrait Henry found more attractive than the person. Holbein was not blamed. He died during a plague outbreak in London in 1543, at forty-five.
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