|
|
home
|
HALS, Frans/ ARTISTS
BEFORE 1650/ ART MAIN
|
film and food |
Dutch painter (b. 1591,
Haarlem, d. 1656, Haarlem)
|
literature and food |
Early life and works Frans Hals left no written
evidence about his life or his works, and only a brief outline of his
biography is known. He was the son of a cloth worker from Mechelen
(Malines) and of a local girl, and the family moved from Spanish-held
Flanders to Haarlem in the free Netherlands by 1591 at the latest; the
local town hall records give this date for the christening of Frans’s
younger brother Dirck, who also
became a painter. Except for a brief visit to Antwerp in 1616, Hals
lived all his life in Haarlem.
What he did for the first 25 or 30 years of his life is not known.
The earliest indication of his activity as an artist was that about 1610
he joined the Guild of St Luke of Haarlem, a body empowered to register
artists as masters. Shortly afterward he married his first wife, Annetje
Harmensdochter Abeel. She bore him two children before her death in
1615. Two years later, Hals married Lysbeth Reyniers, who was to survive
her husband by some nine years. In all, Hals had 10 children, and 5 of
his 8 sons became painters. None, however, was of note.
Tradition has it that Frans Hals was the pupil of Carel van Mander, a
minor painter and poet who helped found a successful painting academy at
Haarlem. There is no evidence either to support this claim or to refute
it. From the beginning, howeve
Frans Hals was the great 17th-century portraitist of the Dutch
bourgeoisie of Haarlem, where he spent practically all his life. Hals
evolved a technique that was close to impressionism in its looseness,
and he painted with increasing freedom as he grew older. The jovial
spirit of his early work is typified by the Shrovetide Revellers (Merry
Company, c. 1615; Metropolitan Museum of Art, New York). In middle age
his portraits grew increasingly sad, revealing sometimes a sense of
foreboding (e.g., Nicolaes Hasselaer, 1630-33; Rijksmuseum, Amsterdam).
The paintings of his old age show best his genius for portraying
character (e.g., Man in a Slouch Hat, 1660-66; Staatliche Museen,
Kassel).
Hals’s work conflicted with the typical mannerisms of his presumed
master. His early work is actually closer in spirit to that of
Jacob Jordaens, who was an
outstanding Baroque painter from Antwerp and a pupil of Peter Paul
Rubens. The good humour of Hals’s popular scenes recalls the joyous
gatherings painted by the contemporary Dutch followers of the earthy,
sensuous Italian painter Caravaggio.
|
music and food
|
photography and food
|
|
|
|
|
artists before 1650 bookshop (UK) |
|
HALS, Frans
Banquet of the Officers of the St George Civic Guard
1616
Oil on canvas, 175 x 324 cm
Frans Halsmuseum, Haarlem |
|
Hals later works seem to have more of a psychological subtlety. Van Gogh
once calculated that Hals used twenty-seven different tones of black. In
any event, early or late, there is a compelling seriousness and sympathy
for the human condition that emanates from his work; and the more raw
the more this is apparent. After all, some of the lewd gestures and
leering point to a deeper melancholic consciousness that points to the
work of a Watteau, by establishing the representation of self-awareness
as a subject in itself and Hals’ talent for representing real people
living life for the moment. ‘Being” as it were, seemed to be unique for
his time. While a contemporary like Rembrandt may have surpassed Hals
through a more profound sense of human character that mined some ancient
historical continuities, Hals earthy immediacy was unique and even
refreshing to be unburdened by that historical prerogative. |
|
|
|
The places the officers occupy are in strict accord with military
protocol. The colonel, the company’s highest ranking officer, is seated
at the head of the table; at his right is the provost, the second
ranking officer. They are flanked by the company’s three captains and
the three lieutenants are at the lower end of the table. The three
ensigns, who were not members of the officer corps, and the servant
stand. |
|
|
HALS, Frans
Banquet of the Officers of the St George Civic Guard (detail)
1616
Oil on canvas
Frans Halsmuseum, Haarlem |
|
|
|
|
Merrymakers at Shrovetide,
ca. 1615
Oil on canvas |
This important early painting by
Hals dates from about 1615 and recalls contemporary works by the
Flemish artist Jacob Jordaens in its coloring, brushwork, and
crowded composition. The subject is Vastenavond (Shrovetide or
Mardi Gras), a pre-Lenten feast devoted to fools. Two of the
figures are recognizable as stock characters from comic theater:
Peeckelhaering (Pickled Herring) with the garland of eggs and
sausages, and Hans Wurst with sausages on his cap. The young
woman (a male actor?) is surrounded by food, objects such as the
bagpipe, and an obscene gesture, all of which comprise a chorus
of sexual references. The painting inspired copies and versions
by Haarlem artists and in its coarse humour brings to mind
Adriaen Brouwer, Hals’s famous Flemish pupil of the 1620s.
"Frans Hals: Merrymakers at Shrovetide
(14.40.605)". In Heilbrunn Timeline of Art History. New
York: The Metropolitan Museum of Art, 2000
ndash;.
http://www.metmuseum.org/toah/works-of-art/14.40.605 (October
2006) |
|
Amsterdam, the Hague, Haarlem: Critical Notes on The Rijks Museum, The Hague Museum and the Hals Museum – amazon.uk
|
Von Frans Hals bis Jan Steen – amazon.de
|
|
|