Not Just the Tudors – Hans Holbein: New Discoveries

Host: Professor Suzannah Lipscomb
Guest: Dr. Elizabeth Goldring (author of Holbein, Renaissance Master)
Release Date: November 13, 2025

Overview

In this episode, Professor Suzannah Lipscomb explores groundbreaking new discoveries about Hans Holbein, the iconic portraitist of the Tudor court, in conversation with Dr. Elizabeth Goldring. Drawing from her recent book, Dr. Goldring reveals how state-of-the-art scientific analysis and fresh research are rewriting our understanding of Holbein—not only as a painter, but also as an entrepreneurial innovator pivotal in the rise of the modern art market. The episode delves into Holbein’s early influences, technical mastery, the networking of portraits as diplomatic tools, and the profound impact of his art on Tudor politics and European culture.

Key Discussion Points & Insights

Holbein’s Importance to our Vision of the Tudors

• Imagining the Tudor Court:
  Suzannah sets the stage by emphasizing how our mental images of Henry VIII's court are largely shaped by Holbein’s portraits, which act as “politics, propaganda and power, preserved forever on wood and vellum” (01:45).
• Beyond Portraiture:
  Holbein was not just a portraitist but also an early entrepreneur of the art market, shifting from medieval workshop models to innovative entrepreneurship.

Why a New Holbein Biography, and Why Now?

• Research Gap:
  Dr. Goldring reveals there hadn’t been a scholarly biography of Holbein in over 100 years, pointing to outdated knowledge and the need to weave in new scientific discoveries (05:05).

  “The most recent scholarly biography of Holbein was more than 100 years old, published in 1913, and inevitably dated in some respects.” – Dr. Goldring (06:32)

• Holbein’s Patrons:
  She notes her motivation in wanting a resource covering figures like Thomas More and Thomas Cromwell as art patrons, and how that lack inspired her project.

The Role of Scientific and Technical Analysis

• Marrying Science and Art History:
  Dr. Goldring discusses recent cutting-edge analysis—X-rays, infrared, dendrochronology—that reveals Holbein’s technique, lost colors, and hidden alterations (07:54).

  “I really wanted to try to marry up these two streams of research…advances in the scientific and technical study of paintings are just growing by leaps and bounds.” – Dr. Goldring (08:07)

• Imaginative Leap:
  Reconstructing what viewers saw 500 years ago requires imagining restored pigment colors and reworked surfaces—science helps fill these gaps.

• Perfectionism and Process:
  Discoveries of pentimenti (“regrets”)—changes made mid-creation—highlight Holbein’s meticulous, iterative approach.

Holbein’s Left-Handedness

• Significance in Training:
  Holbein was left-handed, which in Germany was sometimes a source of pride among craftsmen (12:00).

  “There does seem to be a sense in which he was seen as special, as talented from a young age, that the left handedness was seen as possibly also something special and certainly not something that was holding him back.” – Dr. Goldring (13:45)

Early Life, Family, and Mobility

• Training in Augsburg:
  Holbein likely began training under his father, following methods such as saving annotated drawings for future use (14:58).
• Family’s Fortune and Dispersal:
  A dramatic downturn in the family’s fortunes led Holbein and his brother to leave Augsburg for Basel, with no certainty about their destination or opportunities (17:49).

Basel and Humanism: Encounters with Erasmus

• Chance and Opportunity:
  Arriving in Basel just as Erasmus and the influential Froben Press were also there, Holbein found himself immersed in a humanist network that would eventually link him to England (20:43).

  “As so often…there is an incredible element of chance to Holbein just happening to be in the right place at the right time.” – Dr. Goldring (21:20)

Paris Sojourn and Absorption of New Influences

• Journey to France, 1524:
  Sent by Erasmus to deliver portraits, Holbein was exposed to the works of Leonardo and his followers, directly influencing his technique—including sfumato and new compositional ideas (22:30).
• Portrait as Repeatable Type:
  Holbein and Erasmus pioneered creating templates for distributing portraits across Europe—a model akin to print culture (26:46).

  “Holbein isn’t the first painter to ever create a template for a sitter and then make multiple versions of that template…but he and Erasmus seem to take it to a whole new level.” – Dr. Goldring (27:09)

Portraiture and the More Family: Technical Revelations

• Production and Distribution:
  Holbein’s methods allowed for modular production—he could create standalone portraits or group compositions from the same source types. Scientific analysis on the Thomas More portrait revealed many reworkings and practical reuse of materials (31:06).

  “Holbein is creating portrait types for each…which are very flexible. They can be freestanding…or they can work as part of a group composition…” – Dr. Goldring (31:22)

• Archival Letters:
  Evidence from contemporary correspondence suggests Holbein continued serving English patrons from Basel, sending portraits back across Europe.

Return to England and the Turbulent 1530s

• Economic Motivations:
  Holbein’s decision to return to England in 1532 was largely pragmatic, given the difficulties for artists in Basel after iconoclastic riots (39:02).
• Frequent Travels:
  Goldring’s research suggests he traveled more often back to Basel than previously believed, enriching the record of his career and materials (39:02–44:25).

Holbein at the Tudor Court: The Greenwich Revels

• Royal Favour through Ephemeral Art:
  Dr. Goldring highlights often-overlooked works, particularly Holbein’s key role in the 1527 Greenwich Revels, a major diplomatic spectacle (45:59).

  “It was all part of the delicate diplomatic dance. So Holbein ended up having a starring role as one of the artificers employed on these festivities…” – Dr. Goldring (46:36)

  Henry VIII specially commissioned a painting for a court festival, using Holbein's art for political theatre.

Shifting Patronage: From Thomas More to Thomas Cromwell

• Adapting to Political Flux:
  Unable to rely on More after his fall from power, Holbein pivoted rapidly to Cromwell, displaying adaptability shaped by past instability (49:53).

  “He seems to have been someone who just rolled with the punches and was very able to distance himself from patrons who no longer were of use to him…” – Dr. Goldring (52:40)

Holbein’s Role in Diplomacy and Propaganda

• Birth of the Long Gallery:
  Holbein’s portraits helped usher in display cultures like the English Long Gallery, shifting diplomatic currency from tapestries and heraldic symbols to painted images (54:02).
• Shift in Royal Imagery:

  “Something changes because of holbein in the mid-1530s, and Henry…suddenly seems to realize that painted portraiture…is an incredibly effective propaganda tool.” – Dr. Goldring (54:23)

Technique, Perfectionism, and the Limits of Knowledge

• What Analysis Reveals:
  Holbein’s meticulousness is evident in the numerous pentimenti and experimental transfer methods. The combination of art history and scientific analysis has pushed the field forward but also highlighted how much is lost or unknown (57:01).

  “He does seem to have been the consummate perfectionist…when asked to assess his works of art, I think…the highest praise we get is it’s quite good.” – Dr. Goldring (57:42)

Notable Quotes & Memorable Moments

• On seeing through time:

  “Seeing Brosie [Ambrosius] on the drawing in Hans the Elder's hand is, I think, one of those moments where you feel you are almost traveling through time and sort of hearing the spoken vernacular of these historic figures.” – Dr. Goldring (16:35)

• On adapting to change:

  “If one door closes, you find another one to open.” – Dr. Goldring (52:25)

• On Holbein’s ambition:

  “I think he was incredibly ambitious and driven and such a shame that he died so young. It would be interesting to know what he might have done had he carried on a bit longer.” – Dr. Goldring (58:43)

Timestamps for Key Segments

• Setting the Scene: Holbein’s Importance — 01:45
• Why a New Biography? — 05:05
• New Discoveries via Science — 07:54
• Holbein’s Left-handedness and Family — 12:00–14:44
• Early Training and Family Dispersal — 14:58–20:28
• Basel, Erasmus and Humanism — 20:43
• French Sojourn and Artistic Influence — 22:30
• Distribution of Portraits & Innovative Practices — 26:46–27:09
• New Technical Insights: More Family Portraits — 31:06
• Holbein’s Move Back to England — 39:02
• The 1527 Greenwich Revels — 45:59
• Patronage Shift: Thomas More to Cromwell — 49:53
• Diplomatic Use of Portraits, Birth of the Long Gallery — 54:02
• Holbein’s Technique, Perfectionism and Legacy — 57:01

Final Thoughts

Dr. Elizabeth Goldring’s research reframes Holbein as not just the leading portraitist of Henry VIII's court, but also a shrewd artistic entrepreneur, technical innovator, and cultural ambassador with a profound impact on Tudor England. Advances in scientific analysis are opening new windows on Holbein’s creative process, distribution networks, and adaptability to political change—enriching our understanding of the man who gave the Tudor world its enduring face.