Portrait of Sir Thomas More

$690.00
29'' * 38''
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Hans Holbein the Younger (German, 1497 – 1543)

Portrait of Sir Thomas More, 1527

Now in the National Portrait Gallery, London, UK

Portrait of Sir Thomas More is an oak panel painting commissioned in 1527 of Thomas More by the German artist and printmaker Hans Holbein the Younger, now in the Frick Collection in New York.
The work was created during the period from 1526 when Holbein lived in London. He gained the friendship of the Dutch humanist Desiderius Erasmus, who recommended that he befriend More, then a powerful, knighted speaker at the English Parliament.
A closely related, though probably not directly preparatory, drawing with bodycolour is in the Royal Collection,and there is a copy in the National Portrait Gallery, probably "painted in Italy or Austria in the early seventeenth century".Possibly this is the version catalogued in the Leuchtenberg Gallery in 1852.
Another Holbein portrait of More, part of a large group portrait of his family, is now lost, but several drawings (also mostly in the Royal Collection) and copies survive.

 

Reproduction in Xiamen, China

Dafen is a suburb of Buji, Longgang, Shenzhen in Guangdong province, China. In the early 1990s a group of about twenty artists under the leadership of the painter and businessman Huang Jiang took up residence in this town. They specialised in the making of large numbers of replicas of oil paintings by masters such as Van Gogh, Dalí, da Vinci, Rembrandt or Warhol.
These replicas were sold in many countries for relatively low prices.

The endeavor was quite successful and the demand for replicas increased. In order to fulfill the demand more and more artists took up residence and started to make a living, the estimate (2006) being in the thousands.
Many of the artists are trained at art academies in the required techniques and produce dozens of replicas daily.
The official policy states that these replicas are of paintings of artists who have died more than seventy years ago and consequently out of copyright.

In the mid-2000s, Dafen’s copy industry was booming. It was at this point that auxiliary commercial avenues began to take root in the village. Quaint cafes, as well as more accessible “gallery shops” (predominantly fronts for anonymous art workers and addresses from which to tout for business both wholesale and retail) lent the village lucrative tourist appeal.

By the decade’s end, Dafen was well and truly on Shenzhen’s map, its success story absorbed into the city’s broader narrative. To that end, at the World Expo 2010 Shanghai, Shenzhen’s Urban Best Practice pavilion featured a mosaic of 999 panels painted by more than 500 art workers to recreate what was dubbed the Dafen Lisa.

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