Northern Renaissance · 1497–1543 · German

Hans Holbein the Younger

Across 3 works, the colors are mostly brown (44%), black (31%) and white (7%). On average the canvases are mid-toned, moderately saturated and warm. Signature colors, used far more here than across the collection: white, dark green, soot, very dark muted green and dark muted green.

Color print

The swatches covering most of these canvases, averaged over every work, dark to light.

• MG 223 soot 20.5% of canvas
• MG 219 bistre 6.3% of canvas
• MG 205 white 5.7% of canvas
• MG 222 charcoal 4.0% of canvas
• MG 177 dark taupe 3.7% of canvas
• MG 174 warm grey 3.7% of canvas
• MG 221 blue black 3.5% of canvas
• MG 173 putty 3.3% of canvas
• MG 185 dark golden umber 2.9% of canvas
• MG 166 amber brown 2.6% of canvas
• MG 220 warm black 2.5% of canvas
• MG 060 dark muted green 2.4% of canvas
• MG 061 very dark muted green 2.3% of canvas
• MG 167 brown 2.3% of canvas
• MG 100 very dark muted blue 2.2% of canvas
• MG 186 dark umber 2.0% of canvas

Measurements

Lightness

0.42

Contrast

0.63

Vividness

0.031

Warmth

+0.96

Complexity

192 cells

Hue range

0.46

Focus

0.09

Composition

Averaged over 3 works: 52% of the visual weight in the right half, 52% in the upper half; symmetry 0.37; 12% calm space; half of the detail in 32% of the canvas. Measured from each image, not a rule the painters followed.

Works

• The Body of the Dead Christ in the Tomb, 1520s
• Darmstadt Madonna, 1526
• The Ambassadors, 1533