Experts from the Royal Collection have shed new light on how Hans Holbein approached his portraits. In a close examination of Holbein’s painting of the German merchant Derich Born, conservators uncovered deliberate adjustments that made the sitter look more compelling on canvas. Through modern imaging, researchers peered beneath the surface to see how the artist reshaped facial features, revealing a process that blended faithful initial likeness with confident stylistic refinements. The discovery underscores Holbein’s skill in balancing realism with the heightened presentation expected of courtly portraits in the 16th century.
Imaging methods, including X-ray and infrared reflectography, showed the progression from the sitter’s actual appearance to an idealized version. The original depiction captured a fuller, perhaps plumper, countenance, while subsequent layers refined the cheekbones and jawline. The process unfolded step by step, with the painter applying adjustments over several layers until the final likeness satisfied both Holbein and the patron. The team concluded that these changes were more than cosmetic; they were a purposeful recalibration of the sitter’s image to align with contemporary standards of prestige and authority.
Nicola, head of painting conservation at the Royal Collection, explained that the evidence points to a careful, intentional enhancement of the portrait. “The analysis reveals multiple passes in which depth and structure were subtly rebuilt using color and glaze,” Nicola noted. “Progressively, the cheeks and jawline were reinforced with blue-toned overlays that helped define the facial silhouette when viewed from a distance.” These insights illuminate the collaborative relationship between artist and patron, where the final portrait served not only as a faithful record but also as a statement of status and influence within the court circle.
Derich Born’s portrait is part of a broader collection. The painting is showcased among more than fifty works by Holbein in the Queen’s Gallery at Buckingham Palace, a space dedicated to the German master’s contributions to English royal aesthetics. Holbein’s first arrival in England occurred in 1526, and his talents soon earned him a place at the side of King Henry VIII, where he produced a body of portraits that blended meticulous observation with formal gravitas. The enduring interest in Holbein’s English period mirrors a larger fascination with how Renaissance artists navigated the expectations of courtly audiences while preserving individual character in their sitters.
Alongside these rediscovered practices, scholars have revisited studies of historical pigments and materials to better understand how painters achieved their visual effects. In a separate line of inquiry, chemists have analyzed the secret compositions used by celebrated painters such as Leonardo da Vinci, especially in renowned works like the Mona Lisa. These investigations illuminate a common thread in old master conservation: the interplay between technological insight and artistic intention continues to reveal how masterpieces were conceived, executed, and preserved for future generations.