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Giovanni Lanfranco - Saint Agatha visited in prison by Saint Peter and the angel
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Leonardo da Vinci - Head of a girl, called
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Girolamo Francesco Maria Mazzola, detto Parmigianino - Portrait of a gentlewoman known as "The Turkish Slave"
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Domínikos Theotokópoulos, detto El Greco - Healing of the blind
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Antonio Canova - Marie Louise of Habsburg as Concordia
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Antonio Allegri, detto il Correggio - Lamentation over the dead Christ
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Giovanni Battista, detto Cima da Conegliano - Madonna and Child Enthroned and Saints John the Baptist, Cosma, Damiano, Apollonia, Catherine and John the Evangelist
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Hans Holbein il Giovane - Erasmus of Rotterdam
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Benedetto Antelami - Wayside Shrine
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Beato Angelico - Madonna of humility, Saints John the Baptist and Paul and the meeting of Saints Dominic and Francis; in the frame, Fourteen Seraphim
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Antoon van Dyck - Madonna and child
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Giambattista Tiepolo - Saints Joseph of Lioness and Faithful of Sigmaringen Trampling Heresy
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Antonio Allegri, detto il Correggio - Coronation of the Virgin (fragment of the apse of the church of San Giovanni Evangelista in Parma)
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Giorgio Scherer - Interior of a painter's studio
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Alberto Pasini - A caravan that spent the night in an oasis and prepared for departure
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Antonio Allegri, detto il Correggio - Rest during the return from the flight into Egypt called "Madonna della scodella"
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Antonio Allegri, detto il Correggio - Madonna and Child with Saints Jerome and Magdalene known as "Madonna di San Gerolamo" or "The day"
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Gabriel François Doyen - Death of Virginia
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Damià Campeny - Table triumph
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Giuseppe Baldrighi - Family of Don Filippo di Borbone
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Giovanni Francesco di Niccolò Luteri, detto Dosso Dossi - St. Michael the archangel fights the devil and the Virgin of the Assumption among angels
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Giovanni Antonio Canal, detto Canaletto - Capriccio with Palladian buildings
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Annibale Carracci - Lamentation over the Dead Christ with Saints Clare and Francis of Assisi
Giovanni Lanfranco - Saint Agatha visited in prison by Saint Peter and the angel
Leonardo da Vinci - Head of a girl, called
Girolamo Francesco Maria Mazzola, detto Parmigianino - Portrait of a gentlewoman known as "The Turkish Slave"
Domínikos Theotokópoulos, detto El Greco - Healing of the blind
Antonio Canova - Marie Louise of Habsburg as Concordia
Antonio Allegri, detto il Correggio - Lamentation over the dead Christ
Giovanni Battista, detto Cima da Conegliano - Madonna and Child Enthroned and Saints John the Baptist, Cosma, Damiano, Apollonia, Catherine and John the Evangelist
Hans Holbein il Giovane - Erasmus of Rotterdam
Benedetto Antelami - Wayside Shrine
Beato Angelico - Madonna of humility, Saints John the Baptist and Paul and the meeting of Saints Dominic and Francis; in the frame, Fourteen Seraphim
Antoon van Dyck - Madonna and child
Giambattista Tiepolo - Saints Joseph of Lioness and Faithful of Sigmaringen Trampling Heresy
Antonio Allegri, detto il Correggio - Coronation of the Virgin (fragment of the apse of the church of San Giovanni Evangelista in Parma)
Giorgio Scherer - Interior of a painter's studio
Alberto Pasini - A caravan that spent the night in an oasis and prepared for departure
Antonio Allegri, detto il Correggio - Rest during the return from the flight into Egypt called "Madonna della scodella"
Antonio Allegri, detto il Correggio - Madonna and Child with Saints Jerome and Magdalene known as "Madonna di San Gerolamo" or "The day"
Gabriel François Doyen - Death of Virginia
Damià Campeny - Table triumph
Giuseppe Baldrighi - Family of Don Filippo di Borbone
Giovanni Francesco di Niccolò Luteri, detto Dosso Dossi - St. Michael the archangel fights the devil and the Virgin of the Assumption among angels
Giovanni Antonio Canal, detto Canaletto - Capriccio with Palladian buildings
Annibale Carracci - Lamentation over the Dead Christ with Saints Clare and Francis of Assisi

Other works on display

Description

The interest contained in this tablet is twofold and concerns its author and the person depicted, who establish close personal relationships starting from 1523, the year in which Holbein portrays Erasmus for the first time in the painting now in Longford Castle, Earl of Radnor collection. , which will be followed by many other versions, including the very famous one preserved in the Louvre, probably intended for Thomas More and of which there are also preparatory drawings for the hands. Just as Cranach was Martin Luther's portrait painter, so Holbein will become the painter of Erasmus, determining an acquaintance and a mental harmony oscillating between vanity, lucid objectivity, psychological analysis and intellectual rigor, which transpire in the writings of one and in the paintings of the other.

The artist and the intellectual seem to proceed, despite the diversity of the expressive tools used, with the same open-mindedness, which will bring consensus but also fearful disagreements with the opposing parties. Holbein's painting will receive approval from scientists, merchants, ambassadors, as well as from the rich bourgeoisie, up to the court of Henry VIII (Roberts 1993), of which he modulates intense portraits, which will make him one of the most acclaimed German artists between '400 and' 500 for his interpretation of the portrait in profile, front, trocar and full-length and half-length, made with the determination to leave to posterity a realistic and unmistakable image of the various personalities portrayed.


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