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when he was first paid by the King as "pictor maker". By 1531 he was described as the "King's
Painter", and this appointment was confirmed for life in June 1534, when he became a "denizen" - effectively a naturalised citizen. Horenbout was very well paid, at sixty-two pounds and ten shillings (but only thirty-three pounds and six
153:
Margaret is credited with a number of paintings during his lifetime and one of
Catherine Parr was attributed to him but it was painted after his death. He had left his studio to be unequally divided between his wife and his daughter. For many years his studio was paid by Catherine Parr for miniatures
197:
drawing by
Holbein; his own drawing skills are not the strongest. This miniature was also nearly always regarded as a self-portrait, until recent technical examination made clear that the style of painting is actually very different from that of undoubted Holbein miniatures: there is "an absence of
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Twenty-three surviving portrait miniatures have usually been attributed to
Horenbout in recent decades; all but one, a portrait of Holbein, are of members of the English or other royal families. Paintings of at least four of Henry's Queens are attributed to him. A high proportion of those capable
125:
His father Gerard is first recorded in
England in 1528, and later returned to the Continent, probably after 1531; he had died in Ghent by 1540. Susanna, who was also an illuminator, is recorded in 1529 as married to a John Palmer and in England. Lucas is documented in England from September 1525,
198:
his subtle gradations of flesh tone and colour" and "no sign of the extremely thin pen-like lines which are so notable a feature in
Holbein's drawing of such details as the embroidered edges of costume". There are two versions attributed to Horenbout, of which the better is in the
689:
van
Elslande R.D.A. & A.H.J. de Kraker, De familie Horenbault: renaissancekunstenaars en cartografen te Gent en daarbuiten (ca. 1460 tot ca. 1630), in: Jaarboek 2004-2006 Oudheidkundige Kring "De Vier Ambachten", Hulst 2007, blz.
510:
wrote in the early 17th century that "Lucas" taught
Holbein illumination, but art historian John Rowlands downplays Horenbout's influence on Holbein's miniatures, which he believes follow the techniques of Jean Clouet and the French
210:
linked
Horenbout with an artist known only as the Master of the "Cast Shadow Workshop", who produced a series of rather undistinguished portraits mostly of English monarchs past and present, presumably working for the King.
205:
He is recorded as working in other forms, probably including panel paintings, woodcuts and decorations for festivities, but there are no certain survivals from these, except for illuminations on documents.
22:
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Illuminated decorations on some charters, Acts and similar royal documents are also attributed to him, and an illuminated manuscript with two elaborate full-page miniatures at
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painting, which begins suddenly at the time of his arrival in
England, and had very few continental precedents, although three lost miniatures, possibly by
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painting, in which his father Gerard was an important figure, and was the founding painter of the long and distinct English tradition of
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and left a wife and daughter, Margaret and Jacquemine. Margaret's sales included being paid sixty shillings three years later by Queen
118:, to revive English manuscript illumination by establishing a workshop in London, but this is controversial. In about 1525 he married
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178:, sent from the French to the English court, may have inspired the new form. Horenbout later taught the art of illumination to
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Horenbout's miniature of Holbein (1543) is among his most accomplished works, not least because he copies the face from a
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It may be a memorial portrait, painted in the six months interval between the death of Holbein and that of Horenbout.
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after his fall, are attributed to one or more of Gerard, Lucas and Susanna, without specifying which one or ones.
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in 1512. Gerard was an important Flemish manuscript illuminator in the dying days of that art-form, who had been
524:
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and his father. It has been suggested that their move was in connection with an attempt by the King, or possibly
47:
artist who moved to England in the mid-1520s and worked there as "King's Painter" and court miniaturist to King
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527:- "much retouched" and not universally accepted as an original Holbein (Reynolds (1980):38 & passim)
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Two Cast Shadow Workshop portraits of Kings from the preceding century - Government Art Collection
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has been attributed to him or his sister. More tentatively, some illuminations from the major
134:'s thirty pounds a year in his period as Henry's court painter. He was granted a "tenement" in
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a generation later, Susanna's oeuvre, and that of another brother, remains obscure, although
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The Sixteenth and Seventeenth-Century Miniatures in the Collection of Her Majesty The Queen
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8:
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of England when the Horenbouts came to England. Gerard is sometimes identified with the "
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according to Richard Gay) per year, a "huge" sum according to Strong, and better than
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Horenbout came over to England at an unknown date with, or perhaps before, his sister
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Portrait miniature of Henry VIII, 1525–26, by Lucas Horenbout, from a charter in the
635:(1983a) (includes twenty works attributed to Horenbout or the Cast Shadow Workshop).
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Illuminating the Renaissance: The Triumph of Flemish Manuscript Painting in Europe
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Illuminating the Renaissance: The Triumph of Flemish Manuscript Painting in Europe
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who refers to a "Lucas", assumed to be Horenbout. However, this has been doubted.
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from 1525 until his death. He was trained in the final phase of Netherlandish
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who was an artist of German descent who had probably been born in England.
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Artists of the Tudor Court: The Portrait Miniature Rediscovered 1520-1620
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Hans Holbein the Younger, 1543, Horenbout copied a self-portrait drawing.
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432:"Holsewyther, Margaret (b. c. 1504, d. after 1560), royal miniaturist"
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Four Cast Shadow Workshop paintings, from the Society of Antiquaries
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63:, who produced royal portraits on panel in the 1520s or 1530s.
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Strong 1983a, p. 34; although Gay in Kren:434 says only £33 6s
593:
T Kren & S McKendrick op cit, Nos. 130 & 131, p.431-3
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in May 1521. Fine illuminations in a collection of works by
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of the period, to whom no historical person can be attached.
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Richard Gay and T Kren in T Kren & S McKendrick (eds),
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He can be said to be the founder of the English school of
627:, Victoria & Albert Museum exhibit catalogue, 1983,
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have been attributed to one of the two. Unlike that of
182:, also a court artist of Henry, at least according to
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painting. He has been suggested as the Master of the
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had married Catherine's sister. Both were aunts of
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Holbein: The Paintings of Hans Holbein the Younger.
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520:Reynolds (1980) pp.33-39. The drawing is in the
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409:possibly as early as 1522, says Reynolds, op cit
313:Henry FitzRoy, 1st Duke of Richmond and Somerset
369:Margaret was the widow of Catherine's brother
610:, Getty Museum/Royal Academy of Arts, 2003,
418:T Kren & S McKendrick, op cit, pp. 427-8
655:Wallace Collection, Catalogue of Miniatures
664:, Royal Collection Publications Ltd; 2006;
444:10.1093/odnb/9780198614128.013.90000369540
285:Catherine of Aragon with a monkey, 1525–26
657:, 1980, Wallace Collection, London (1980)
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436:Oxford Dictionary of National Biography
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232:records buying a miniature by her in
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190:of being dated come from the 1520s.
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16:English painter (1490s–1544)
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144:Saint Martin in the Fields
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371:John, Prince of Asturias
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57:portrait miniature
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601:References
264:, renamed
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208:Roy Strong
97:Henry VIII
49:Henry VIII
37:Hornebolte
330:, 1536–37
300:, 1525–26
128:shillings
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336:See also
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