Fine Art Poster
From £28
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.
Adam and Eve Expelled from Paradise - Hans Holbein the Younger
Ordinarie pris
£28.00 GBP
Reapris
£28.00 GBP
Ordinarie pris
Arkivbeständigt giclée-tryck
Ramar levereras klara att hängas upp
Säker utcheckning
Tillverkad på beställning
Beskrivning
A classic woodcut from Hans Holbein the Younger's 'Dance of Death' series, depicting the expulsion of Adam and Eve accompanied by a skeletal figure.
This woodcut belongs to the series 'Images of Death', commonly known as the 'Dance of Death' (Les Simulachres et historiees faces de la mort). Hans Holbein the Younger designed these small, powerful blocks in the mid-1520s, which were subsequently cut by Hans Lützelburger. The series explores the universality of mortality, a theme that occupied the European imagination during the sixteenth century.
In this specific scene, the expulsion of Adam and Eve from the Garden of Eden is depicted with stark narrative clarity. An angel, positioned in the upper portion of the frame, brandishes a sword to drive the pair forward. Below, Adam and Eve are shown in a state of distress, their bodies angled away from the divine presence. A skeletal figure, representing Death, accompanies them, clutching a spade and guiding their path. This inclusion of Death as a constant companion to humanity is a hallmark of Holbein's approach to the subject.
The composition relies on the contrast between the divine authority above and the earthly suffering below. The lines are precise and economical, characteristic of the woodcut medium of the period. The figures are rendered with a sense of movement and urgency, while the background elements, such as the trees and clouds, provide a minimal setting that keeps the focus on the interaction between the figures. Holbein's ability to convey complex theological and existential concepts within a small format demonstrates his technical skill and his keen observation of human nature. This print offers a clear window into the aesthetic and philosophical concerns of the Northern Renaissance, where the inevitability of death was a common subject for artistic reflection.
Returpolicy
Eftersom varje tryck görs på beställning erbjuder vi inte returer, återbetalningar eller byten på grund av ändrade åsikter. Om din beställning kommer fram felaktig, skadad eller fel, ersätter vi den kostnadsfritt – kontakta oss bara inom 48 timmar efter leverans. Se vår återbetalningssida för fullständig information.
Frakt
Vi skickar till hela världen och trycker vid den produktionsanläggning som är närmast din leveransadress. Leveranstider och kostnader varierar beroende på destination – du ser tillgängliga alternativ i kassan.
Tillverkning
Varje tryck produceras på beställning med 12-färgs gicléetryck på FSC-certifierat arkivpapper. Designade i Storbritannien och tryckta vid närmaste produktionsanläggning för att minska avfall och snabba upp leveransen.
Komplettera looken
Adam and Eve Expelled from Paradise - Hans Holbein the Younger
Ordinarie pris
Från £28.00 GBP
Reapris
Från £28.00 GBP
Ordinarie pris
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.
Våra funktioner
Utformad för varaktig inverkan
Specifika funktioner
Varje Solis-konstverk tillverkas på beställning med arkivbeständiga material av gallerikvalitet som är byggda för att hålla.
- Giclée-tryck i museikvalitet för fylliga, blekningsbeständiga färger
- Arkivbeständigt matt konstpapper, FSC-certifierat
- Flera storlekar och inramningsalternativ tillgängliga
- Ramar i svart, naturträ, mörkt trä eller vitt
- Inramade tryck levereras klara att hänga upp
Skötsel & rengöring
För att bevara ditt konstverk i bästa skick:
- Damma försiktigt med en mjuk, torr trasa
- Undvik långvarigt direkt solljus
- Använd aldrig flytande rengöringsmedel på trycket eller dukytan
- Förvara på en torr plats i rumstemperatur
- Hantera tryck med rena, torra händer
Material och storlek
Gicléeutskrift av museikvalitet på FSC-certifierat matt arkivpapper, med inramade alternativ och alternativ på canvas.
- Pappersstorlekar: A4, A3, A2, A1, A0 och B2 (50×70 cm)
- Canvas: XS (20×30 cm) till Large (60×90 cm)
- Ramar: svart, naturligt trä, mörkt trä eller vit
Made to order
Choose your finish
Every piece is printed to order. These are the five finishes, and what makes each one different.
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.
Varför välja oss?
Leveransgaranti utan skador
Snabb leverans
Material av museikvalitet
Artistbiografi
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.
Du kanske också gillar