Frans Hals (c. 1580 – August 26, 1666) was a Dutch painter during the Dutch
Golden Age. As a portrait painter, considered by some as second in
the Netherlands only to Rembrandt, he displayed
extraordinary talent and quickness in his art.
Biography
Hals was born in 1580 or 1581, in Antwerp. In 1585, after Antwerp fell to Spain in the Eighty Years' War his family moved to Haarlem in the Northern Low
Countries, where he lived the remainder of his life. It wasn't until he was 27 that Hals became a member of the
Sint-Lucasgilde (Guild of Saint Luke). He took painting lessons from Flemish painter
Karel van Mander (1548–1606), who had also fled from the Spaniards, but Mander's ideas are not visible in Hals' work. The earliest known
example of Hals' art is the 1611, Jacobus Zaffius. His 'breakthrough' came in
1616, with the life-size group portrait, The Banquet of the Officers of the St George Militia
Company.
Historians have erroneously reported that he mistreated his first wife, Anneke Hermansz (Annetje Harmensdochter Abeel), based
on records that a Frans Hals was charged with spousal abuse in Haarlem in 1616. However, as Seymour Slive has pointed out, the
Frans Hals in question was not the artist, but another Haarlem resident of the same name. Indeed, at the time of these charges,
the artist had no wife to mistreat as Anneke had died earlier in 1616. Similarly, historical
accounts of Hals' propensity for drink have been largely based on embellished anecdotes of his early biographers, namely Arnold
Houbraken, with no direct evidence existing documenting such. In 1617, already with two children by
Anneke, he married Lysbeth Reyniers, with whom he had eight children.
Although Hals' work was in demand throughout his life, he experienced financial difficulties. In addition to painting, he
worked as an art dealer and restorer. His creditors took him to court
several times, and to settle his debt with a baker in 1652 he sold his belongings. The inventory of
the property seized mentions only three mattresses and bolsters, an armoire, a table and five
pictures. Left destitute, the municipality gave him an annuity of 200
forms in 1664.
At a time when the Dutch nation fought for independence, Hals appeared in the ranks of its military guilds. He was also a member of the Chamber of Rhetoric, and in 1644 chairman of the
Painters Corporation at Haarlem.
Frans Hals died in Haarlem in 1666 and was buried in the city's St. Bavo Church. His widow later died obscurely in a hospital after seeking outdoor relief from the
guardians of the poor.
Artistic career
Frans Hals.
Officers and Sergeants of the St Hadrian Civic Guard. c. 1633. Oil on canvas, 207 x 337 cm.
Frans Hals Museum, Haarlem.
Hals is best known for his portraits, mainly of wealthy citizens. He also painted large group portraits, many of which showed
civil guards. He was a Baroque painter who practiced an intimate realism with a radically free approach. His pictures illustrate the various strata of society; banquets
or meetings of officers, sharpshooters, guildsmen, admirals, generals, burgomasters, merchants, lawyers, and clerks, itinerant
players and singers, gentlefolk, fishwives and tavern heroes.
In group portraits, such as the Archers of St. Hadrian, Hals captures each character in a different manner. The faces
are not idealized and are clearly distinguishable, with their personalities revealed in a variety of poses and facial
expressions.
His first master at Antwerp was probably Van Noort but he then entered the atelier of painter
and historian Carel van Mander. (Hals owned some Mander paintings, that were amongst
the items sold to pay his bakery debt in 1652). He soon improved upon the practice of the time, as
exemplified by Jan van Scorel and Antonio Moro, and
gradually emancipated himself from traditional portrait conventions.
Hals was fond of daylight and silvery sheen, while Rembrandt used golden glow effects based upon artificial contrasts of low
light in immeasurable gloom. Both men were painters of touch, but of touch on different keys — Rembrandt was the bass, Hals the
treble. Hals seized, with rare intuition, a moment in the life of his subjects. What nature displayed in that moment he
reproduced thoroughly in a delicate scale of color, and with mastery over every form of expression. He became so clever that
exact tone, light and shade, and modeling were obtained with a few marked and fluid strokes of the brush.
The only record of his work in the first decade of his independent activity is an engraving by Jan
van de Velde copied from lost portrait of The Minister Johannes Bogardus. Early
works by Hals, such as Two Boys Playing and Singing and a Banquet of the Officers of the St Joris Doele or
Arquebusiers of St George (1616), show him as a careful draughtsman capable of great finish,
yet spirited withal. The flesh he painted is pastose and burnished, less clear than it subsequently became. Later, he became more
effective, displayed more freedom of hand, and a greater command of effect.
During this period he painted the full-length portrait of Madame van Beresteyn
(Louvre), and a full-length portrait of Willem van Heythuysen
leaning on a sword. Both these pictures are equalled by the other Banquet of the Officers of the Arquebusiers of St George
(with different portraits) and the Banquet of the Officers of the Cloveniers or Arquebusiers of St Andrew of
1627 and an Assembly of the Officers of the Arquebusiers of St Andrew of 1633. A similar painting, with the date of 1637, suggests some study of Rembrandt
masterpieces, and a similar influence is apparent in a picture of 1641 representing the Regents of
the Company of St Elizabeth, and in the portrait of Maria Voogt at Amsterdam.
From 1620 till 1640 he painted many double portraits of married
couples, on separate panels, the man on the left panel, his wife at his right. Only once did Hals portray a couple on a single
canvas: Double Portrait of a Couple, (circa 1623, Rijksmuseum Amsterdam).
His style changed throughout his life. Paintings of vivid color were gradually replaced by pieces where one color dominated.
After 1641 he showed a tendency to restrict the gamut of his palette, and to suggest color rather
than express it. Later in his life darker tones, even with much black, took over. His brush strokes became looser in later years,
fine detail becoming less important than the overall impression. Where his earlier pieces radiated gaiety and liveliness, his
later portraits emphasized the stature and dignity of the people portrayed. This austerity is displayed in Regentesses of the
Old Men's Alms House and The Regents and Regentesses of the Oudemannenhuis (c. 1664),
which are masterpieces of color, though in substance all but monochromes. His restricted palette is particularly noticeable in
his flesh tints, which from year to year became more grey, until finally the shadows were painted in almost absolute black, as in
the Tymane Oosdorp.
As this tendency coincides with the period of his poverty, some historians have suggested that a reason for his predilection
for black and white pigment was the low price of these colors as compared with the costly lakes and carmines.
As a portrait painter Hals had scarcely the psychological insight of a Rembrandt or Velazquez, though in a few works, like the Admiral de Ruyter, the Jacob Olycan, and the
Albert van der Meer paintings, he reveals a searching analysis of character which has little in common with the
instantaneous expression of his so-called character portraits. In these, he generally sets upon the canvas the fleeting aspect of
the various stages of merriment, from the subtle, half ironic smile that quivers round the lips of the curiously misnamed
Laughing Cavalier to the imbecile grin of the Malle Babbe. To this group
of pictures belong Baron Gustav Rothschilds Jester, the Bohemienne and the Fisher Boy, whilst the Portrait of
the Artist with his Second Wife, and the somewhat confused group of the Beresteyn Family at the Louvre show a similar
tendency. Far less scattered in arrangement than this Beresteyn group, and in every respect one of the most masterly of Hals'
achievements is the group called The Painter and his Family, which was almost unknown until it appeared at the winter
exhibition at the Royal Academy in 1906.
Many of Hals' works have disappeared, but it is not known how many. According to the most authoritative present day catalogue,
compiled by Seymour Slive in 1970-1974 (Slive's last great Hals exhibition catalogue followed in 1989), another 222 paintings can
be ascribed to Hals. Another authority on Hals, Claus Grimm, believes this number to be lower (145) in his Frans Hals. Das
Gesamtwerk (1989).
It is not known whether Hals ever painted landscapes, still lifes or narrative pieces, but it is unlikely. Many artists in the
17th century in Holland opted to specialise, and Hals also appears to have been a pure portrait specialist.
Painting technique
Frans Hals.
Gypsy Girl. 1628-30. Oil on wood, 58 x 52 cm.
Musée du Louvre, Paris.
People often think that Hals 'threw' his works 'in one toss' (aus einem Guss) onto the canvas.
Research of a technical and scientific nature has clarified that this impression is not correct. True, the odd work was largely
put down without underdrawings or underpainting
('alla prima'), but most of the works were created in successive layers, as was customary at that time. Sometimes a drawing was
made with chalk or paint on top of a grey or pink undercoat, and was then more or less filled in, in stages. It does seem that
Hals usually applied his underpainting very loosely: he was a virtuoso from the beginning. This applies, of course, particularly
to his somewhat later, mature works. Hals displayed tremendous daring, great courage and virtuosity, and had a great capacity to
pull back his hands from the canvas, or panel, at the moment of the most telling statement. He didn't 'paint them to death', as
many of his contemporaries did, in their great accuracy and diligence whether requested by their clients or not.
'An unusual manner of painting, all his own, surpassing almost everyone,' ('Een onghemeyne [ongewone] manier van schilderen,
die hem eyghen is, by nae alle [iedereen] over-treft'), wrote his first biographer, Schrevelius, in the 17th century on Hals'
painting methods. For that matter, schematic painting was not Hals' own idea (the approach already existed in 16th century
Italy), and Hals was probably inspired by Flemish contemporaries, Rubens and
Van Dyck, in his painting method.
As early as the 17th century, people were struck by the vitality of Frans Hals' portraits. For example, Haarlem resident
Theodorus Schrevelius noted that Hals' works reflected 'such power and life' that the painter 'seems to challenge nature with his
brush'. Centuries later Vincent van Gogh wrote to his brother Theo: 'What a joy it is
to see a Frans Hals, how different it is from the paintings – so many of them – where everything is carefully smoothed out in the
same manner.' Hals chose not to give a smooth finish to his painting, as most of his contemporaries did, but mimicked the
vitality of his subject by using smears, lines, spots, large patches of color and hardly any details.
It was not until the 19th century that his technique had followers, particularly among the Impressionists. Pieces such as The Regentesses of the Old Men's Alms House and the civic guard
paintings demonstrate this technique to the fullest.
Influence
Frans influenced his brother Dirck Hals (born at Haarlem, 1591-1656), who was also a painter. Additionally, four of his sons followed in his
path and became painters:
Of the master's numerous family members only Frans Hals the Younger (1622–1669) is notable, with paintings of cottages and poultry. A table laden with
gold and silver dishes, cups, glasses and books, is considered one of his finest works.
Quite in another form, and with much of the freedom of the elder Hals, Dirk Hals, his
brother, painted festivals and ballrooms. But Dirk had too much of the freedom and too little of the skill in drawing which
characterized his brother.
Other contemporary painters who took inspiration from Frans Hals were:
Often it is suggested that many painters were students of Hals. But study has since shown that there are quite a few questions
surrounding the suggestion. In his De Groote Schouburgh (1718-21), Arnold Houbraken
mentions Adriaen Brouwer, Adriaen van Ostade
and Dirck van Delen as students. Vincent Laurensz van der Vinne,
according to his son, and Pieter Gerritsz van Roestraten, according to a notarised document (he also became a son-in-law of Hals)
were students of Hals. The Haarlem portrait painter, Johannes Verspronck, one of about 10
competing portraitists in Haarlem at the time, possibly studied for some time with Hals.
In terms of style, the closest to Hals' work is the handful of paintings that are ascribed to Judith Leyster, which she often signed. She also 'qualifies' as a possible student, as does her husband,
the painter Jan Miense Molenaer.
Two centuries after his death, Hals received a number of 'posthumous' students. Claude
Monet, Édouard Manet, Charles-François
Daubigny, Max Liebermann, James Whistler,
Gustave Courbet, and in the Netherlands, Jacobus van
Looy and Isaac Israëls are some of the Impressionists and realists who have delved deeply into the work
of Hals by making study copies of his work and further building on his techniques and style. Many of them travelled to the
Frans Hals Museum in Haarlem (since 1913 on the Groot Heiligland, and before that in
the Town Hall), where several of his most important works were, and are, kept.
Legacy
Hals' reputation waned after his death and for two centuries he was held in such poor esteem that some of his paintings, which
are now among the proudest possessions of public galleries, were sold at auction for a few pounds or even shillings. The portrait
of Johannes Acronius realized five shillings at the Enschede sale in 1786. The portrait of the man with the sword at the Liechtenstein gallery sold in 1800 for 4, 5s.
Malle Babbe, c.1630. Oil on canvas, 75cm by 64cm. Staatliche Museen, Munich.
Starting at the middle of the 19th century his prestige rose again. With his
rehabilitation in public esteem came the enormous rise in values, and, at the Secretan sale in 1889, the portrait of Pieter van de Broecke Danvers was bid up to 4,420, while in 1908 the National Gallery paid 25,000 for the large group from the collection of Lord Talbot de Malahide.
Hals' works have found their way to countless other cities all over the world and into museum collections. From the late 19th
century, they were collected everywhere — from Antwerp to Toronto, and from London to New York. Many of his paintings were then
sold to American collectors, who appreciated his uncritical attitude towards wealth and status.
A primary collection of his work is displayed in the Frans Hals Museum in
Haarlem.
Trivia
Image of Dutch 10 guilder banknote bearing a portrait of Frans Hals
References
The two most important publications about Hals were written by the American art historian Seymour Slive: Frans Hals, 3
dln (oeuvre catalogue), New York / London 1970-1974, and Frans Hals (exhibition catalogue Washington/London/Haarlem,
1989.
Claus Grimm published his Frans Hals. Das Gesamtwerk in 1989 (Stuttgart/Zürich; also translated into Dutch).
Published in the Dutch language in 1988: N. Middelkoop and A. van Grevenstein, Frans Hals. Leven, werk, restauratie
(Life, work and restorations) (Haarlem Amsterdam 1988). This work gives an account of restorations of the riflemen's
pieces, but it also gives a picture of Hals' life and work.
A new book about Hals was recently published: Frans Hals in het Frans Hals Museum, by Antoon Erftemeijer;
Amsterdam/Gent 2004 (in Dutch, English and French), in which various chapters are devoted to Hals' life, his predecessors,
portrait painting in the Golden Age, Hals' painting technique and other subjects. Many pictures with close-ups in this book show
Hals' works in great detail.
Christopher Atkins recently wrote an article in English on Hals' virtuoso painting style (Frans Hals's Virtuoso
Brushwork, Nederlands Kunsthistorisch Jaarboek 2003, Zwolle 2004, p. 281-309).
Parts of this wikipedia article are excerpts of The Frans Hals Museum, Haarlem, July 2005 by Antoon Erftemeijer, Frans
Hals Museum curator.
Banquet of the Officers of the St George Civic Guard WGA
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Catharina Hooft with her Nurse WGA
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Family Portrait in a Landscape WGA
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Hals Frans Portrait Of A Man
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Jonker Ramp and his Sweetheart WGA
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Married Couple in a Garden WGA
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Portrait of a Man Holding a Skull WGA
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Singing Boy with a Flute WGA
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The Meagre Company detail WGA
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The Rommel Pot Player WGA
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See also
External links
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