During his last decade, Holbein painted a number of miniatures; small portraits worn as a kind of jewel.
His miniature technique derived from the medieval art of manuscript illumination.
His small panel portrait of Henry VIII shows an inter-penetration between his panel and miniature painting.
Holbein's large pictures had always contained a miniature-like precision.
He now adapted this skill to the smaller form, somehow retaining a monumental effect.
The twelve or so certain miniatures by Holbein that survive reveal his mastery of "limning", as the technique was called.
His miniature portrait of Jane Small, with its rich blue background, crisp outlines, and absence of shading, is considered a masterpiece of the genre.
According to art historian Graham Reynolds, Holbein "portrays a young woman whose plainness is scarcely relieved by her simple costume of black-and-white materials, and yet there can be no doubt that this is one of the great portraits of the world.
With remarkable objectivity Holbein has not added anything of himself or subtracted from his sitter's image; he has seen her as she appeared in a solemn mood in the cold light of his painting-room".
During his last decade, Holbein painted a number of miniatures; small portraits worn as a kind of jewel. His miniature technique derived from the medieval art of manuscript illumination. His small panel portrait of Henry VIII shows an inter-penetration between his panel and miniature painting. Holbein's large pictures had always contained a miniature-like precision. He now adapted this skill to the smaller form, somehow retaining a monumental effect. The twelve or so certain miniatures by Holbein that survive reveal his mastery of "limning", as the technique was called. His miniature portrait of Jane Small, with its rich blue background, crisp outlines, and absence of shading, is considered a masterpiece of the genre. According to art historian Graham Reynolds, Holbein "portrays a young woman whose plainness is scarcely relieved by her simple costume of black-and-white materials, and yet there can be no doubt that this is one of the great portraits of the world. With remarkable objectivity Holbein has not added anything of himself or subtracted from his sitter's image; he has seen her as she appeared in a solemn mood in the cold light of his painting-room".
Hans Holbein the Younger