Fine Art Poster
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A giclée print on 200gsm matte fine art paper, using a twelve-colour process for accurate, fade-resistant colour. Supplied unframed, delivered flat or rolled.
Erasmus with the Statue of Terminus - Hans Holbein the Younger
Prezzo originale
£28.00 GBP
Prezzo scontato
£28.00 GBP
Prezzo originale
Stampa giclée d'archivio
Le cornici arrivano pronte per essere appese
Pagamento sicuro
Fatto su ordinazione
Descrizione
A detailed woodcut by Hans Holbein the Younger, portraying the scholar Erasmus alongside the Roman deity Terminus within a classical architectural frame.
This woodcut depicts the Dutch humanist Desiderius Erasmus, a figure of immense intellectual weight during the Northern Renaissance. Hans Holbein the Younger, known for his precise draughtsmanship, presents the scholar standing within an elaborate architectural frame. Erasmus rests his hand upon a bust of Terminus, the Roman god of boundaries. This choice of iconography reflects the scholar's personal motto, Concedo Nulli, or I yield to none, which he adopted after receiving a seal featuring the deity from his friend, Archbishop William Warham.
The surrounding structure is typical of the period, incorporating classical motifs such as herms, swags of fruit, and putti. The composition is balanced and symmetrical, drawing the eye toward the central figure of Erasmus, who is rendered with characteristic gravity. The lower portion of the print features a cartouche containing Latin verse, which praises both the subject and the artist. The lines acknowledge the skill of Holbein, who was a frequent collaborator with Erasmus, having illustrated several of his publications.
Holbein's line work is controlled and deliberate, defining the folds of the scholar's robes and the textures of the stone architecture with equal clarity. The print functions as a visual dialogue between the humanist and the classical past, using the language of Renaissance humanism to frame the identity of one of its most influential thinkers. The inclusion of the Terminus bust serves as a reminder of the philosophical rigour that defined Erasmus's life and work. This print offers a window into the intellectual culture of the sixteenth century, capturing the intersection of classical learning and contemporary portraiture.
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Poiché ogni stampa è realizzata su ordinazione, non offriamo resi, rimborsi o cambi in caso di ripensamento. Se il tuo ordine dovesse arrivare difettoso, danneggiato o errato, lo sostituiremo gratuitamente: ti basterà contattarci entro 48 ore dalla consegna. Consulta la nostra pagina sui rimborsi per tutti i dettagli.
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Produzione
Ogni stampa è realizzata su ordinazione mediante stampa giclée a 12 colori su carta d'archivio certificata FSC. Ideata in Gran Bretagna e stampata presso il centro di produzione più vicino a te per ridurre gli sprechi e velocizzare la consegna.
Cura e materiali
Caratteristiche specifiche
Ogni opera Solis è realizzata su ordinazione con materiali d'archivio di qualità museale, costruiti per durare nel tempo.
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- Carta fine-art opaca d'archivio, certificata FSC
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- Cornici in nero, legno naturale, legno scuro o bianco
- Le stampe con cornice arrivano pronte per essere appese
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- Spolvera delicatamente con un panno morbido e asciutto
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Materiali e dimensioni
Stampa giclée di qualità museale su carta opaca d'archivio certificata FSC, con opzioni di cornice e tela.
- Dimensioni carta: A4, A3, A2, A1, A0 e B2 (50×70 cm)
- Tela: da XS (20×30 cm) a Large (60×90 cm)
- Cornici: nero, legno naturale, legno scuro o bianco
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Erasmus with the Statue of Terminus - Hans Holbein the Younger
Prezzo originale
Da £28.00 GBP
Prezzo scontato
Da £28.00 GBP
Prezzo originale
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
Hans Holbein The Younger
Holbein painted Henry VIII so convincingly that his image of the king has replaced the actual person in the public imagination. The Whitehall mural, destroyed by fire in 1698, showed Henry standing with his legs apart, hands on hips, filling the frame with physical authority. Everyone who has ever pictured Henry VIII has pictured Holbein's version.
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.
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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Fine Art Framed
From £45
The same fine art print in a solid wood frame with UV-protective acrylic glaze and rigid backing. Five frame colours. Arrives ready to hang.
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