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Frans Hals is one of the most important portrait painters of all time. Like Rembrandt, the famous Dutch Baroque master's striking portraits of the bourgeoisie and social outsiders are distinguished by their extraordinary vividness and accurate depiction. His sketch-like paintings, executed with bold brushstrokes, had a decisive influence on modernist painting. This comprehensive publication coincides with the first major survey exhibition of Hals' oeuvre in more than thirty years. FRANS HALS (1582/84–1666) was born in Antwerp, the son of a cloth merchant. In 1610 he was accepted into the Haarlem Guild of St. Luke. Hals created hundreds of genre paintings, individual, and group portraits and enjoyed great public prestige. Despite his fame during his lifetime, it was not until the nineteenth century that he was enthusiastically rediscovered by the Impressionists and Realists.
In the 21st century we have witnessed a significant expansion in the field of transhistorical exhibition practice. A range of curatorial efforts have emerged in which objects and artefacts from various periods and art historical and cultural contexts are combined in display, in an effort to question and expand traditional museological notions such as chronology, context, and category. Such experiments in transcending art historical boundaries can result in fresh insights into the workings of entrenched historical presumptions, providing a space to reassess interpretations of individual objects. With contributions by Mieke Bal, Hendrik Folkerts, Nicola Setari, Maria Iñigo Clavo, and others.
This is a showcase of 11 major works by Frans Hals. The author also discusses the formation of Hals's style and considers his work in the context of broader European trends.
From peasant fairs and carnival celebrations to lavish al fresco parties, processions and civic guard banquets, the Netherlands in the seventeenth century was a golden age of partying. Celebrating the Golden Age provides a pageant of people making merry through the eyes of Dutch masters Esaias van de Velde, Dirck Hals, Willem Buytewech, Jan Miense Molenaar, Frans Hals and Jan Steen, who was perhaps the ultimate painter of these festivities. This volume brings to life the painted party, with scenes of celebration at weddings, elegant garden parties, carnivals, Twelfth Night and May festivities, masquerades and family gatherings on Saint Nicholas' Eve. A series of essays explicates these narrative scenes: their often sly and humorous views of the values of their time, the role of alcohol and bawdy humor, the ways in which painters persuaded their subjects to pose and what costumes and gestures can reveal when the seventeenth century lets its hair down.
Foreword Marrigje Rikken, Head of Collections and Exhibitions – Frans Hals Museum. Frans Hals was one of the greatest portrait painters in history, and his style transformed ideas and expectations about what portraiture can do and what a painting should look like. Hals was a member of the great trifecta of Dutch Baroque painters alongside Rembrandt and Vermeer, and he was the portraitist of choice for entrepreneurs, merchants, professionals, theologians, intellectuals, militiamen, and even his fellow artists in the Dutch Golden Age. His works, with their visible brush strokes and bold execution, lacked the fine detail and smooth finish common among his peers, and some dismissed his works as sloppy and unfinished. But for others, they were fresh and exciting, filled with a sense of the sitter’s animated presence captured with energy and immediacy. This is the first full-length biography of Hals in many years. It offers a view into seventeenth-century Haarlem and this culturally rich era of the Dutch Republic. Nadler tells the story not only of Hals’s life, but also of the artistic, social, political, and religious worlds in which he lived and worked. Foreword Marrigje Rikken, Head of Collections and Exhibitions – Frans Hals Museum.
In the seventeenth and eighteenth centuries, Haarlem's thriving art community made the city an important center of artistic activity, second only to Amsterdam in influence. Inventories from this period serve as key implements in describing collectors' tastes, and they also provide information about the social habits of living among and displaying luxury goods. This book transcribes for the first time a selection of one hundred twelve important documents discovered by author Pieter Biesboer in the notarial archives of Haarlem. It also contains indexes by artist and subject, as well as a list of more than thirty-five hundred documents in which art objects are listed, found in the Archiefdienst voor Kennemerland in Haarlem. Biesboer's introductory essay provides an in-depth survey of the history of collecting in Haarlem during the seventeenth and early-eighteenth centuries. The inventories of citizens, patricians, merchants, artists, and silversmiths are included, along with the inventories of the Convent of Saint Jan, the Prinsenhof, Saint Elisabeth's Hospital, the Old Men's Almshouse, the Orphanage, and other almshouses. Together they present a comprehensive look at commissioned paintings for public buildings and institutions by artists such as Cornelis Cornelisz van Haarlem, Frans Hals, Johannes Verspronck, and Cornelis Holsteijn. In addition to paintings, Biesboer catalogues a small number of drawings, porcelain, lace, sculpture, and jewelry.
How a famous painting opens a window into the life, times, and philosophy of René Descartes In the Louvre museum hangs a portrait that is considered the iconic image of René Descartes, the great seventeenth-century French philosopher. And the painter of the work? The Dutch master Frans Hals—or so it was long believed, until the work was downgraded to a copy of an original. But where is the authentic version, and who painted it? Is the man in the painting—and in its original—really Descartes? A unique combination of philosophy, biography, and art history, The Philosopher, the Priest, and the Painter investigates the remarkable individuals and circumstances behind a small portrait. Through this image—and the intersecting lives of a brilliant philosopher, a Catholic priest, and a gifted painter—Steven Nadler opens a fascinating portal into Descartes's life and times, skillfully presenting an accessible introduction to Descartes's philosophical and scientific ideas, and an illuminating tour of the volatile political and religious environment of the Dutch Golden Age. As Nadler shows, Descartes's innovative ideas about the world, about human nature and knowledge, and about philosophy itself, stirred great controversy. Philosophical and theological critics vigorously opposed his views, and civil and ecclesiastic authorities condemned his writings. Nevertheless, Descartes's thought came to dominate the philosophical world of the period, and can rightly be called the philosophy of the seventeenth century. Shedding light on a well-known image, The Philosopher, the Priest, and the Painter offers an engaging exploration of a celebrated philosopher's world and work.
Presents a catalog that surveys the Dutch paintings found in the Metropolitan Museum of Art.