Frans Hals Original Antique 17th Century Dutch Golden Age Flemish Baroque Intimate Realism Oil Painting on Canvas Portrait of a Gentleman Merchant
Frans Hals The Elder, (1582-1666), original antique 17th-century Dutch Golden Age portrait oil on canvas painting of a gentleman merchant. The painting's measurements are approximately 20" X 24.8", plus the antique wood-carved frame. This painting has had some previous restorations and newer restorations. The older restorations include repairing a tear along the top of the gentleman's hat, and above to about 6 inches. At that time, (approximately 100 years ago), the painting was also relined with canvas, verso. Newer restorations have smoothed out this tear, and also removed quite a bit of older varnish; (the last image is of the painting prior to the most recent restorations and cleaning of darkened varnish). (The painting was unrecognizable prior to the latest restorations). The painting is signed in the lower left of the painting. There are still a few minor areas where the paint is degraded/there is a minor loss of paint in isolated areas. The main area of the image- the portrait, (and the face), has had little to no restorations of overpaint, (however, has been cleaned of older, darkened varnish). The painting has not been revarnished. Please review all images.
Frans Hals the Elder, a Dutch Golden Age painter, was renowned for his individual and group portraits as well as genre works. He resided and worked in Haarlem, playing a significant role in the development of 17th-century group portraiture. Hals was known for his expressive and loose brushwork.
Born in Antwerp around 1582 or 1583, Hals's parents fled to Haarlem during the Fall of Antwerp in 1584-1585. He studied under Karel van Mander, a Flemish émigré, although van Mander's Mannerist influence is hardly noticeable in Hals's work.
In 1610, Hals joined the Haarlem Guild of Saint Luke and began earning money as an art restorer for the town council. He worked on restoring the notable works of artists like Geertgen tot Sint Jans, Jan van Scorel, and Jan Mostaert, which were displayed in the St John's Church in Haarlem. Hals started his career in portraiture due to the decline in demand for religious themes in the art market.
One of his earliest known works is the portrait of Jacobus Zaffius (1611). His breakthrough came with the creation of the life-sized group portrait "The Banquet of the Officers of the St George Militia Company" in 1616. Notably, Hals painted René Descartes in 1649, one of his most famous sitters.
Hals married his first wife, Anneke Harmensdochter, around 1610. As a Catholic, their marriage was recorded in the city hall rather than in the church. Unfortunately, the exact date is unknown. Anneke passed away in 1615 after giving birth to their third child. Hals later married Lysbeth Reyniers in 1617, and they had eight children together.
Unlike other contemporary painters who relocated based on patronage, Hals remained in Haarlem and required his customers to visit him. He insisted that his sitters be from Haarlem or visiting the city when their portraits were made.
While Hals enjoyed popularity and success throughout his life, his financial circumstances deteriorated over time. He worked as a restorer, art dealer, and art tax expert for the city councilors. His creditors took him to court multiple times, and he even had to sell his belongings to settle his debts. In 1664, the municipality granted him a city pension. Hals died in Haarlem in 1666 and was buried in the Grote Kerk church.
Hals's artistic career focused on portraiture, capturing the likeness of wealthy citizens such as Pieter van den Broecke and Isaac Massa. He also painted group portraits for local civic guards and hospital regents. Hals practiced intimate realism with a free and expressive approach, showcasing different social strata in his works. His group portraits, like "The Banquet of the Officers of the St Adrian Militia Company" (1627), revealed each character's personality through varied poses and facial expressions.
Hals favored natural light and silvery tones, in contrast to Rembrandt's use of golden glow effects and dramatic lighting. He had a keen eye for capturing a moment in his subjects' lives, reproducing it with precision in color and expression. Hals became a sought-after portrait painter, frequently commissioned for wedding portraits. While some of his wedding portrait pairs have been separated, his double portrait of the Olycans remains displayed together in the Mauritshuis.
The early works of Frans Hals, a Dutch painter, demonstrate his skill as a meticulous draftsman capable of creating highly finished yet lively compositions. Examples of his early works include "Two singing boys with a lute and a music book" and "Banquet of the Officers of the St George Militia" (1616), where his brushwork creates thick and polished textures in flesh tones. As he matured, Hals developed a more expressive and spontaneous style, exhibiting greater freedom in his brushwork and a deeper understanding of the desired effects in his paintings.
During this period, Hals produced notable portraits such as "Madame van Beresteyn" and "Willem van Heythuyzen leaning on a sword." He also painted various versions of the "Banquet of the Officers of the St George Militia" and the "Banquet of the Officers of the St Hadrian Militia" in subsequent years. In these works, one can detect the influence of Rembrandt, particularly in the use of chiaroscuro and the exploration of character. Hals' portraits of the regents of the St Elisabeth Gasthuis and Maria Voogt also reflect this influence.
Between 1620 and 1640, Hals created numerous double portraits of married couples on separate panels, with the man on the left and his wife on the right. However, he only painted a couple on a single canvas once, as seen in the "Couple in a Garden: Wedding portrait of Isaac Abrahamsz. Massa and Beatrix van der Laan" (c. 1622). Hals' style evolved over time, with his earlier works exuding vivacity and liveliness, while his later portraits emphasized the dignity and stature of the subjects. This shift is evident in paintings such as the "Regents of the St Elizabeth Hospital" (1641) and "The Regents and Regentesses of the Old Men's Almshouse" (c. 1664), which showcase his mastery of color despite their predominantly monochromatic palettes.
As Hals received fewer commissions from wealthy clients in his later years, he began using a more limited color palette, with black dominating his compositions. This shift can be attributed to the conservative dress of his Protestant sitters rather than personal preference. Some art historians believe that the availability and affordability of black and white pigments compared to more expensive colors also influenced his choice. Hals' decision to have sitters come to his studio rather than traveling to them contributed to his efficiency and success but proved challenging when Haarlem experienced economic hardships.
While Hals did not possess the same psychological depth as artists like Rembrandt or Velázquez in his portrait paintings, he demonstrated a keen understanding of the character in select works like "Admiral de Ruyter," "Jacob Olycan," and "Albert van der Meer." His character portraits captured fleeting moments of merriment, ranging from subtle, ironic smiles to full-fledged grins, as seen in the "Laughing Cavalier" and "Malle Babbe." Notable among his achievements is "The Painter and his Family," a group portrait that showcases Hals' mastery and was relatively unknown until its exhibition in 1906.
According to the Frans Hals catalogue raisonné, there are 222 known paintings attributed to Hals. However, another authority on Hals, Claus Grimm, published a shorter œuvre of 145 paintings in his work "Frans Hals. Das Gesamtwerk" (1989). Hals' specialization in portraiture is evident as there is little evidence of his engagement with landscape, still life, or narrative genres.
Hals' painting technique was characterized by visible brushstrokes, a quality
Starting in the middle of the 1860s, Frans Hals's prestige began to rise again, thanks to the efforts of critic Théophile Thoré-Bürger. With his rehabilitation in public esteem came an enormous increase in the value of his paintings. At the Secretan sale in 1889, the portrait of Pieter van den Broecke was bid up to a remarkable 4,420 francs, while in 1908, a record-breaking price of 128,000 guilders was paid for the large group portrait "The Meagre Company" (also known as "The Banquet of the Officers of the St George Militia") at the Sedelmeyer sale in Paris.
Hals's art became highly influential, particularly on later generations of painters. The technique he employed, with visible brushstrokes and a lively, vibrant style, captivated artists such as Édouard Manet, Claude Monet, and James Abbott McNeill Whistler. His loose and bold approach to portraiture, emphasizing overall impression rather than fine details, inspired the realists and impressionists of the 19th century. Vincent van Gogh, in particular, expressed admiration for Hals's ability to capture the vitality of his subjects with dynamic brushwork.
Despite experiencing a period of obscurity and undervaluation after his death, Hals gradually regained recognition and appreciation. His influence continued to be felt long after his time, with artists like Lovis Corinth acknowledging him as a significant source of inspiration. Today, his paintings are regarded as masterpieces, treasured possessions of public galleries worldwide. Hals's unique style and ability to breathe life into his subjects have secured his place as one of the most celebrated portrait painters in art history.
In conclusion, Frans Hals's legacy extends beyond his own lifetime. His impact on the art world, from his contemporaries to modern-day painters, is a testament to his extraordinary talent and innovative approach to portraiture. His dynamic brushwork, vibrant color palette, and ability to capture the essence of his subjects continue to captivate viewers and inspire artists across generations.
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