Marcus Chen
King Henry VIII of England, who lived from 1491 to 1547, was painted by several artists during his reign. One of the most famous portraits of the king is the one created by Hans Holbein the Younger in 1536-1537. Holbein, a German artist, was appointed the English King's Painter in 1536 and his portrait of Henry VIII is considered a magnificent example of his remarkable style. The original painting was part of the Whitehall Mural showing the Tudor dynasty at the Palace of Whitehall, Westminster, and was destroyed by fire in 1698. However, many copies of the portrait were made, both by Holbein himself and by other artists, ensuring that the image became one of the most iconic of any English or British monarch.
| Characteristics | Values |
|---|---|
| Artist | Hans Holbein the Younger |
| Year | 1536-1537 |
| Location | Thyssen-Bornemisza National Museum, Madrid, Spain |
| Medium | Oil |
| Style | Renaissance court portraiture |
| Subject | King Henry VIII of England |
| Age of subject | 49 |
| Clothing | Ornate, sumptuous, gold leaf highlights |
| Pose | Standing proudly erect, legs apart, arms held from sides, direct gaze, frontal pose |
| Props | Glove, ornate dagger, sword-hilt |
| Message | Immense authority, majesty, power |
| Copies | Yes, many copies exist |
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What You'll Learn
Hans Holbein the Younger's c. 1536 portrait
Holbein, a German artist, was appointed the English King's Painter in 1536. The portrait was created to decorate the privy chamber of Henry's newly acquired Palace of Whitehall. The king was spending large sums to adorn the vast 23-acre warren of residences he had seized after the downfall of Cardinal Wolsey.
The original mural featured four figures arranged around a marble plinth: Henry VIII, his third wife Jane Seymour, and his parents, Henry VII and Elizabeth of York. The painting is believed to have been completed in 1536-1537, around the time of Anne Boleyn's execution and Henry's marriage to Jane Seymour, who he wed in 1537. The portrait was part of the Whitehall Mural showing the Tudor dynasty and was likely commissioned to mark the birth of Henry's son and heir, Edward (later Edward VI).
In the portrait, Henry is depicted without any of the standard royal regalia, such as a sword, crown, or sceptre. This was common in progressive royal portraiture of the period. However, Holbein's exceptional skill is evident in his successful conveyance of royal majesty without these props. The king's majestic presence is conveyed through his aggressive posture, with legs spread apart and arms held at his sides in the pose of a warrior. Henry holds a glove in one hand, while the other reaches for an ornate dagger at his waist. The original painting used gold leaf to highlight the opulence of his ornate clothing and surroundings.
The portrait is a testament to Henry's political ambitions and artistic taste. Holbein's penetrating characterisation and highly detailed style create a strong sense of presence, with the king appearing as a living, breathing representative of 16th-century Europe. This iconic image has had a lasting impact on Henry's public image, influencing how he is perceived and portrayed even today.
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Copies of the original
The original portrait of King Henry VIII by Hans Holbein the Younger is lost, but it is still well-known through the many copies made of it. Holbein's original mural, painted in 1536-37, featured four figures arranged around a marble plinth: Henry, his wife Jane Seymour, and his parents, Henry VII and Elizabeth of York. It adorned the privy chamber of Henry's newly acquired Palace of Whitehall.
Henry recognised the power of the image Holbein created and encouraged other artists to copy the painting. He even distributed various versions of the painting around his realm, giving them as gifts to friends and ambassadors. Major nobles would also commission their own copies of the painting to show their loyalty to Henry.
All the remaining copies of the painting today are attributed to other artists, though the copyist is unknown in most cases. They vary significantly in their quality and faithfulness to the original source. Most reproductions only copy the image of Henry, but a copy by Remigius van Leemput of the entire mural is in the Royal Collection, usually on display at Hampton Court Palace.
A much smaller half-length portrait of Henry by Holbein may have been a preparatory study for the final mural. In it, Henry wears much the same clothing as in the mural but is posed in a three-quarters view. This painting is now in the collection of the Thyssen-Bornemisza Museum in Madrid.
Three portraits of Henry VIII in the National Portrait Gallery (NPG 4690, NPG 1376, and NPG 3638) have recently undergone technical examination. NPG 4690 was painted around 1520 and follows the format of earlier portraits of English kings. NPG 1376 and NPG 3638 were probably produced between 1535 and 1540 and show Henry in his mid-forties. The artists who painted these works have not been identified, but the paintings have certain Netherlandish characteristics.
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The artist's style
The artist behind the iconic portrait of King Henry VIII is Hans Holbein the Younger. Holbein was born in Augsburg, Germany, and trained in Basel, Switzerland, before continuing his career in England. He was a highly accomplished portrait painter, renowned for his ability to reproduce lifelike faces, and was eventually appointed as the English King's Painter in 1536.
Holbein's style in the portrait of King Henry VIII is characterised by a combination of elements that convey a sense of majesty and power. Notably, Holbein chose not to include any of the traditional royal regalia, such as a crown or sceptre, which was a common feature in progressive royal portraiture of the period. Instead, he relied on the king's posture, clothing, and accessories to convey his authority.
King Henry VIII is depicted in a frontal pose, standing proudly erect with his legs apart and arms held at his sides, reminiscent of a warrior or wrestler. This aggressive stance, combined with his direct gaze, exudes command and virility. The king's clothing is opulent and ornate, with sumptuous fabrics and gold leaf accents, further emphasising his majesty.
The portrait is also notable for its use of specific accessories to convey Henry's status and personality. In one hand, he holds a glove, while the other rests on the hilt of a sword or reaches towards an ornate dagger at his waist. These props not only symbolise royalty but also suggest the king's strength and readiness to defend his realm.
The format of the portrait is slightly smaller than the king's massive body, creating a sense of physical presence that fills the space. This technique enhances the impact of the portrait, making it even more imposing and memorable. Holbein's attention to detail and ability to capture the king's likeness contributed to the portrait's iconic status, influencing how King Henry VIII was perceived and remembered by generations to come.
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The painting's message
The Portrait of Henry VIII by Hans Holbein the Younger is an iconic image of the Tudor king and is considered a masterpiece of Renaissance court portraiture. Holbein's remarkable style is characterised by a monumental rendering of figures with considerable psychological depth.
The painting carries a visible political message of the king's immense authority. Holbein conveys the monarch's rank and power through his pose, clothing, and accessories. Henry stands in an aggressive stance, with his legs spread apart and his arms held away from his sides in the pose of a warrior or wrestler. He faces the viewer directly, exuding command and virility. The king's opulent clothing and surroundings further emphasise his majesty. Notably, Holbein refrains from including traditional royal accoutrements such as a crown or sceptre, demonstrating his exceptional skill in conveying royal majesty without specific props.
The portrait's message of power and authority was recognised by Henry himself, who encouraged other artists to copy the painting and distributed these versions as gifts to friends and ambassadors. Major nobles also commissioned their own copies to display their loyalty to the king. This proliferation of copies contributed to the lasting impact the portrait had on Henry's public image. It became the touchstone image of the king, influencing subsequent portraits during his reign.
The painting also conveys a sense of Henry's personality and role as both the head of state and the Church. The frontal pose, sense of distance, and hieratic presentation reflect the monarch's dual role and combine to create a powerful presence. Holbein's ability to reproduce faces in a lifelike manner, capturing the sitter's personality, is evident in this portrait. The king's physical presence is enhanced by the format, which is slightly too small for his massive body, further adding to the impact of the painting's message.
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Other artists' portraits
While Hans Holbein the Younger's c. 1536 portrait of King Henry VIII is the most well-known, it is not the only portrait of the king. In fact, throughout his reign, portraits of Henry VIII were produced by numerous artists. However, few artists were granted sittings with the king and instead relied on a limited number of face patterns.
The National Portrait Gallery has three portraits of Henry VIII that differ from the iconic image created by Holbein. One of these, NPG 4690, was painted around 1520 and follows the format of earlier portraits of English kings. It shows Henry VIII at an earlier age, while he was still married to Katherine of Aragon and before Holbein came to England. The portrait consciously imitates the portraiture of the Burgundian court and may have been commissioned as a gift for a diplomat or English courtier.
NPG 1376 and NPG 3638 are two later portraits, likely produced between 1535 and 1540. They show Henry in his mid-forties, with small eyes and a mouth, a long and narrow nose, and reddish-brown hair and a beard. The artists who painted these works have not been identified, but the paintings have certain Netherlandish characteristics. They could have been produced in England by émigré artists or in workshops of native artists.
A half-length portrait of Henry VIII by Holbein, now in the collection of the Thyssen-Bornemisza Museum in Madrid, may have been a preparatory study for the Whitehall Mural. This painting was once owned by the Spencer family but was sold by the 7th Earl Spencer due to financial problems.
A copy of the entire Whitehall Mural by Remigius van Leemput is in the Royal Collection, usually on display at Hampton Court Palace.
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Frequently asked questions
The portrait of King Henry VIII was painted around 1536-1537 by Hans Holbein the Younger.
The portrait was painted by Hans Holbein the Younger, a German artist. Holbein was a skilled portrait painter and was eventually selected to paint several portraits of the king and his family.
The original portrait was located in the Palace of Whitehall, Westminster, as part of a mural. The palace was destroyed by fire in 1698.
There are no surviving full-length portraits of King Henry VIII by Holbein. However, a smaller half-length portrait by Holbein is housed at the Thyssen-Bornemisza Museum in Madrid. This painting may have been a preparatory study for the full-length portrait.
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