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638:
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715:. The up-and-down movement of the young woman's right hand as she beats the rhythm of her song is captured in Hals's flickeringly indistinct handling of her fingers. The roll of her upper body comes across in the jagged, unfinished outline of her shoulders and especially in the shifting pleats of her chemise, which are executed as broad, angular, unblended brushstrokes. And above all, the bouncy strands of her unruly hair double as 'motion lines' anticipating the draughtsmanship of comics artists more than three centuries later.
40:
527:
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which she holds in her left hand at the lower right-hand edge of the painting. Because the artist looks up from a position slightly lower than the young woman's face, we can see her eyes. The page she is singing from flitters above the other pages, refusing to lie flat. The artist's low viewpoint together with the young woman's turning gesture and downward look focus our attention on the relationship between her and her music.
719:, who admired Hals's work, noted that imprecision can actually enhance the "likeness" of a portrait, which "consists more in preserving the general effect of the countenance than in the most minute finishing of the features or any of the particular parts". The viewer's imagination, Reynolds added, fills in the details more satisfactorily than could an artist, however careful.
710:
rather condescendingly judged that if only he had blended his colours a little more delicately or thinly, Hals "could have been" one of the greatest masters. However, as Bart
Cornelis contends, "Hals's brush can turn a portrait into a palpable presence." In painting, movement (activity, vitality) can
625:
from broad patches of colour and then made it 'vibrate' in the light with the short parallel strokes visible, for example, in the young woman's forehead. Observers from his own time, as well as more recent technical examinations of his work, tell us Hals 'added' liveliness to his subjects at the end
213:
brow, mouth, shoulders, finger tips, and the page from which she sings almost rhyme with two sides of the painting's lozenge shape; her nose and her one visible ear nearly (but not quite) echo the other two sides—all of which brings unity to the painting's composition while supporting the impression
621:, but we know Hals did employ a multi-stage process to help create an illusion of spontaneity. He generally painted layer over slowly dried layer, like other artists of his time working in oils, and he addressed the hands and facial details in his last (top) layers. Hals constructed the face of the
569:
styles of painting. He advised apprentices and beginners to learn to paint in the smooth style before attempting the rough, because the rough is more difficult. Striking aspects of the smooth style are the painstaking attention to every detail and the absence of visible brushwork. A subject painted
377:
below her collar. That was not the fashion of the time in
Haarlem, nor are her loose hair and loose chemise wiles to attract attention—she is just busy singing. But they suggest an enthusiastic singer in action, and they may suggest a domestic, rather than a public, setting: in 1628 a respectable
221:
face is cheerful, gently animated, and open. Her lips part as she sings. She is clearly concentrating on the music in her book and absorbed in her singing. She keeps rhythm with her right hand (at the bottom left of the painting). She turns her face a little to her left and down towards her book,
232:
wears no lace, embroidery, or other finery to signal elevated social class. That would have suggested she was dressed up to have her portrait painted, compromising the intended illusion of spontaneity. (Compare, for example, the seven daughters in Hals's
444:
in the Dutch of the 17th century), which showed a specific person (or sometimes a couple or family) and were typically painted to order for a paying client. Unless Hals meant it to be kept in the family (which we do not know), we can think of the
201:
singing from a book. As is the case in most of Hals's work, the light falls from the subject's right (our left). To the right in the otherwise plain background is a patch of shade (the young woman's shadow), in which Hals has put his usual FH
420:
they were all keen musicians. Moreover, Hals seldom painted square pictures—but "two square likenesses of the children of Hals done in
Haarlem by " are recorded in a 1644 inventory. Jaap van der Veen suggests they may well have been the
372:
model has her hair tied back loosely in what the early 21st century would call a 'low messy bun'. It seems on the point of coming undone, with strands spilling out in almost every direction. Her chemise comes apart a little at the
133:. Its subject is a young woman singing. More particularly, it is her expressive face as she focuses intently on singing from her music book, and the apparent spontaneity of the moment in which the artist 'captures' her.
843:'s exhaustive 1923 catalogue of Hals's paintings. In Frans Dony's 1976 catalogue of Hals's works it is no. F312. It is no. 25 in Seymour Slive's catalogue for the 1990 Hals exhibition at the Royal Academy, London.
1961:
1953:
1769:
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Hals was equally at home in the rough and the smooth styles. Witness, for example, a pair of marriage portraits from about 1635 that were briefly reunited at the
National Gallery in London in 2023–2024:
244:
commented that Hals does not just paint 'figures singing': the natural play of their facial expression shows us that his youngsters really are singing to us—and we can all but hear their voices.
2265:
386:
Hals did not give his paintings titles. The names by which we now know them do not always identify them uniquely, nor do all authors necessarily use the same name for a particular painting.
2249:
1809:
1649:
A note to the contrary effect on p. 212 in the 2023–2024 London and
Amsterdam exhibition catalogue (mentioned above) appears to be in error. There is an English translation of the Grimm
2461:
831:. Otherwise it has generally been regarded by the reliable writers and by the curators as an authentic Frans Hals work, and attributed accordingly in the catalogues. For example,
752:
has always been in private ownership and has changed hands several times. Its whereabouts has not always been known to the public. At the time
Hofstede de Groot compiled his 1910
2209:
2073:
570:
in the smooth style will look relatively static (or composed, or tranquil). Intended motion is likely to look frozen. A gifted exponent of the smooth style was Hals's apprentice
599:
Bart
Cornelis has commented: "I'm not sure Hals was interested in people sitting still; he wanted to capture what they were like when they were talking, drinking, or smiling."
574:, who later competed with Hals for portrait commissions in Haarlem. Clients chose Verspronck if they sought a detailed, carefully posed and controlled smooth portrait like his
498:
In the 17th century, there was little call for religious art to hang in
Protestant Dutch churches, but ordinary townspeople in the Dutch Republic would buy paintings (such as
580:
191:
exhibits the same sparkling technique and blond tonality seen in the commissioned portraits on the same small scale that Hals painted in the second half of the 1620s.
1033:
1889:
711:
be imparted through imprecision and with "springy" brushstrokes—and these effects are evident in the emphatically unblended, non-delicate brushwork of Hals's
2081:
1479:
149:. Both paintings have a musical theme. Both show casually dressed young people, presumably at home. They are the same quite small size and each is in square
307:
The young woman is dressed casually in an everyday green bodice over a white linen chemise, reminiscent of Hals's similarly attired, similarly posed, lusty
1511:
John Walsh described these techniques in a lecture he gave at the Yale
University Art Gallery on 20 February 2015, particularly in relation to Hals's 1626
962:
translated from the German and edited by Edward G. Hawke; Macmillan & Co., London; 1910; pp. 32, 33. (On line at archive.org, retrieved 23 June 2024:
1528:
2283:
2033:
1230:
A chapter in the catalogue for the 2024 exhibition in Berlin, translated from the Dutch into German by
Susanne H. Karau & Kordelia Nitsch. p. 26.
2404:
606:
was clearly not detail, or composure, or tranquillity. "Hals did not dash off painted sketches, but he encouraged viewers to think " (Christopher D.
1610:, ed. Mary Hagen. New York & London. Academic Press 1980. The effects may be culturally determined: strong for Europeans; less so for Africans.
2113:
1602:
The psychology behind all these techniques for depicting movement was researched by Sarah Friedman and Marguerite Stevenson and reported in their
440:
of the governors of charitable institutions, volunteer officers of city guards, and the like. There were also individual likenesses or portraits (
1185:
2417:
2412:
2089:
456:
the term for another category, in which the subject is an expressive, interesting, or funny generic face (so, not a named individual person).
2275:
2256:
1785:
960:
A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century, based on the work of John Smith, Volume III;
283:
7½ inches) and (also unusually for Hals) in lozenge format (that is to say, it hangs as if from one of its corners). The grain of the wooden
1945:
1732:
1483:
299:
frames — "delightful carapace" in "uncompromising good taste" — in a gallery designed to emulate the interior of a 17th-century palace.
364:
wears a chemise closed tight up to the throat and a big black bonnet concealing nearly all her hair. This contrasts with the model for
1937:
1513:
436:
of Hals's time conventionally distinguished various categories of painting that featured people. For example, there were commissioned
1642:
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1432:
1407:
1339:
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927:
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387:
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775:
145:
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2193:
571:
468:(or portrait) in the Dutch analysis and terminology of the time. If money changed hands between the artist and the sitter for a
416:
were two of Frans Hals's own children: He had many children, and a Haarlem resident who claimed to have known most of them told
1755:
485:
2362:
2217:
2137:
2097:
1969:
1817:
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1102:
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to model the physical depth of his subject. He left little visible trace of brushwork on the surface of his painting. The Ter
275:
in the sense that it was painted small enough to hang in an ordinary Dutch home. It is (unusually for Hals) square (about 7½
1240:
206:
signature. The painting is not dated; the conjectured date of "about 1628" relies on comparison with other works by Hals.
1929:
1761:
173:
1502:
At the time of writing, Cornelis was the curator of the 17th-century Dutch paintings at the National Gallery in London.
1034:"VMFA Welcomes Elegance and Wonder: Masterpieces of European Art from the Jordan and Thomas A. Saunders III Collection"
963:
637:
2451:
2241:
1905:
656:
1018:
A chapter in the London and Amsterdam catalogue for an exhibition shown in London, Amsterdam, and Berlin. pp. 38, 40.
2233:
2153:
1801:
695:
Brugghen singer's gestures are similar to, but more pronounced (and more dramatic) than, the 'busy-ness' of Hals's
322:
291:
can be seen to slope from the lower left-hand side of the painting towards the upper right, mirroring the grain in
234:
1074:
The catalogue for a London exhibition that also travelled to Washington DC and Haarlem in 1989–1990. pp. 202, 203.
2225:
1913:
1593:
A chapter in the London and Amsterdam catalogue for an exhibition shown in London, Amsterdam, and Berlin. p. 112.
130:
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2169:
2105:
1725:
1668:
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exhibitions in 2023–2024 but did not travel on to Berlin (Gemäldegalerie) for a similar 2024 exhibition there,
491:
20:
987:
The catalogue for a London exhibition that also travelled to Washington D.C. and Haarlem in 1989–1990. p. 52.
295:(which is the same size and shape). Both paintings are currently (2024) exhibited in elaborate perpendicular
2145:
1897:
1881:
783:
2326:
2201:
2177:
2065:
2009:
1993:
1825:
1124:
735:
39:
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it was the artist who paid the model. Normally, we cannot tell who the individuals were who modelled for
2041:
794:
672:
344:
309:
1141:(p. 35). Presumably De Boschère's translation into French is from Moes's Dutch, but this is not stated.
703:
Brugghen painting appears posed and static alongside the active young woman pictured in the Hals work.
327:
86:
Lozenge with sides of about 18.5 cm × 18.5 cm (7½ in × 7½ in)
1486:
is all 'smooth' except for a little unblended ('trademark') highlight at the tip of the sitter's nose.
1841:
1793:
1777:
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of his process. Such finishing flourishes, including facial highlights and the like, might be added
2302:
2017:
1718:
680:
592:
335:
The conventions applying to girls' and women's clothes, hairstyles, and headwear were stern in the
122:
2025:
1977:
840:
739:
537:
519:
360:
241:
225:
Overall, Hals's painting convincingly evokes a young woman's energy and joy in a passing moment.
1301:
1247:. Vol. 29, no. 6. Washington, DC: National Endowment for the Humanities. November 2008
351:, unbound hair, or even too skimpy headwear might attract a chiding or worse. (In this context,
313:(known in the past as "The Gypsy Girl"), which is also from about 1628. (For these reasons, the
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1833:
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923:
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738:. They are now (in 2024, since 2022) on long-term loan to the Virginia Museum of Fine Arts at
2356:
1671:[Frans Hals—The Master's Paintings in 322 Illustrations (second, revised edition)].
1519:
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558:
526:
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352:
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young woman might have preferred not to be seen out and about in Haarlem in such disarray.
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765:
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272:
249:
150:
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2161:
2001:
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1865:
1849:
511:
503:
433:
336:
158:
1669:"Frans Hals—des Meisters Gemälde in 322 Abbildungen (zweite, neu bearbeitete Auflage)"
958:
Hofstede de Groot, Cornelis (with the assistance of Kurt Freise and Dr Kurt Erasmus);
561:, the master under whom Hals learnt his trade, taught a distinction between the rough
2440:
2367:
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2185:
1537:
elsewhere on line. The relevant passage begins at 30m:02s. (retrieved 1 August 2024).
761:
507:
296:
284:
184:
964:
https://archive.org/details/catalogueraisonn03hofsuoft/page/32/mode/2up?view=theater
355:' fashionable marriage-portrait attire would have been seen as forward in Haarlem.)
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154:
73:
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The art market also expected strict propriety. For instance, the model for Hals's
2372:
2320:
2121:
1529:"Frans Hals's Portrait of a Preacher (ca. 1660): Virtuosity and the Rough Style"
981:
Du Mortier, Bianca M. (1989). "Costume in Frans Hals". In Slive, Seymour (ed.).
820:
802:
686:
257:
that could have been angelic, had she not been painted for a Protestant market.
1302:"Frans Hals (1582/83–1666) in Heilbrunn Timeline of Art History (August, 2011)"
2350:
1921:
1741:
1535:
Lecture 5: Frans Hals's Portrait of a Preacher: Virtuosity and the Rough Style
1496:
Cornelis, Bart (6 October 2023). "How Frans Hals made up for his slow start".
627:
437:
126:
50:
1131:(in French). Translated by De Boschère, Jean. Brussels: G. van Oest & cie
1272:
1113:(passim—but note that some of Houbraken's writing about Hals was inventive).
340:
515:
1482:'s portrait is 'rough' throughout, while the pendant portrait of his wife
510:
as well as retail sales. On the right-hand side of this 1670s painting by
330:
of the Works of the Most Eminent Dutch Painters of the Seventeenth Century
2332:
488:
includes several examples in each of these three categories (and others).
348:
203:
886:
1619:
And consequently not mentioned in its catalogue: Baard, H. P., et al.;
506:) to hang at home. Open-market channels for art included lotteries and
374:
140:
797:, London, and the Frans Hals Museum. It was also shown in the London (
1156:"Finding colour among Frans Hals's black-swathed Protestant subjects"
451:
1962:
The Banquet of the Officers of the St George Militia Company in 1627
1954:
The Banquet of the Officers of the St Adrian Militia Company in 1627
1770:
The Banquet of the Officers of the St George Militia Company in 1616
548:
for which the identity of the sitter happens no longer to be known.
1218:] (in German). Hatje Cantz Verlag, Berlin. pp. 19 to 37.
636:
579:
525:
490:
480:
put names to the relatively wealthy people who sat, and paid, for
756:
of the Dutch masters, it was owned by American railway financier
518:, Frankfurt) we can see the stall of an art retailer outside the
1675:(in German). Deutsche Verlags-Anstalt Stuttgart, Berlin, Leipzig
1533:
Yale University Art Gallery has posted a video recording titled
1402:] (in German). Ostfildern: Hatje Cantz Verlag. p. 183.
1084:
1082:
1080:
198:
1714:
1701:
Masters of the Art of Painting—The Complete Works of Frans Hals
214:
that the subject is in motion within its compositional frame.
1710:
1068:
Slive, Seymour (1989). "Catalogue". In Slive, Seymour (ed.).
614:
chimes with the seeming spontaneity of the scene it depicts.
630:. According to Houbraken, Hals called such added liveliness
1697:
Meesters der schilderkunst—Het komplete werk van Frans Hals
839:
and is also included with an illustration at p. 68 in
240:
Discussing the artist's several pictures of young singers,
860:
858:
856:
94:
Virginia Museum of Fine Arts, Richmond (on long-term loan)
19:
For the Chinese song sometimes called "Singing Girl", see
2250:
Portrait of Stephan Geraedts, Husband of Isabella Coymans
1810:
Marriage Portrait of Isaac Massa and Beatrix van der Laen
197:
depicts the head, part of the upper body, and hands of a
913:
911:
909:
907:
905:
903:
901:
899:
897:
895:
235:
group portrait of Gijsbert Claeszoon van Campen's family
1210:
Van der Veen, Jaap (2024). "Das Leben von Frans Hals".
161:. Possibly the models were two of Hals's own children.
782:, Haarlem. In 1989–1990 the painting was shown at the
734:
are in the collection of Jordan Saunders and the late
460:
were intended to be offered on the open art market. A
2210:
The Officers of the St George Militia Company in 1639
2074:
The Officers of the St Adrian Militia Company in 1633
1325:
1323:
1002:
Van der Veen, Jaap (2023). "The Life of Frans Hals".
339:
in Hals's time—and particularly so in Haarlem, where
1581:. National Gallery Global, London. pp. 84–128.
2397:
2381:
2313:
2294:
1748:
1295:
1293:
1006:. National Gallery Global, London. pp. 28–47.
106:
98:
90:
82:
72:
64:
56:
46:
30:
1072:. Royal Academy of Arts, London. pp. 130–369.
172:are displayed together, on long-term loan, at the
1179:
1177:
1368:] (in Dutch). Amsterdam & Gent: Ludion.
1097:] (in Dutch). Amsterdam & Gent: Ludion.
985:. Royal Academy of Arts, London. pp. 45–60.
976:
974:
972:
102:The Jordan and Thomas A. Saunders III Collection
1577:Cornelis, Bart (2023). "Portraiture into Art".
827:in his 1989 catalogue of Hals's complete works
723:Location, owners, exhibitions, and authenticity
1149:
1147:
2462:Paintings in the Virginia Museum of Fine Arts
1890:Two Singing Boys with a Lute and a Music Book
1726:
1637:(in German). Stuttgart & ZĂĽrich: Belser.
742:in the United States, and can be seen in the
253:discerns something in the countenance of the
139:is one of a pair of pictures Hals painted at
8:
2082:Portrait of a Man in a Yellowish-Gray Jacket
1623:published by Frans Halsmuseum, Haarlem 1962.
1517:. Walsh's observations in that regard apply
1063:
1061:
1059:
1057:
1055:
663:Instructive comparison can be drawn between
1685:The lower of two illustrations on the page.
1394:Sander, Jochen; Hollein, Max, eds. (2011).
1028:
1026:
1024:
997:
995:
993:
954:
952:
950:
948:
946:
944:
1733:
1719:
1711:
1400:Old Masters 1300–1800 at the Städel Museum
1308:. The Metropolitan Museum of Art, New York
1154:Illingworth, Arabella (11 November 2023).
1127:[Frans Hals, His Life and Works].
683:who used deep shade and bright highlights
408:There are reasons to think the models for
38:
27:
2034:Willem van Heythuysen Posing with a Sword
1551:. Amsterdam: Amsterdam University Press.
1427:. Amsterdam: Amsterdam University Press.
1334:. Amsterdam: Amsterdam University Press.
1216:Frans Hals—Master of the Momentary Glance
922:. Amsterdam: Amsterdam University Press.
869:. Amsterdam: Amsterdam University Press.
815:Frans Hals—Master of the Momentary Glance
2405:Marriage pendant portraits by Frans Hals
2114:Portrait of a Man in a Wide-Brimmed Hat
1703:] (in Dutch). Rotterdam: Lekturama.
1396:Alte Meister 1300–1800 im Städel Museum
852:
2284:Regentesses of the Old Men's Almshouse
2090:Portrait of Sara Wolphaerts van Diemen
760:, who developed what would become the
610:M. Atkins). The 'dashed-off' look of
7:
1946:Two Laughing Boys with a Mug of Beer
1514:Portrait of Isaak Abrahamszoon Massa
699:. Nonetheless, the singer in the Ter
617:No preparatory drawing is known for
303:Clothes and hair: social conventions
1366:Frans Hals at the Frans Hals Museum
1362:Frans Hals in het Frans Hals Museum
1095:Frans Hals at the Frans Hals Museum
1091:Frans Hals in het Frans Hals Museum
2276:Regents of the Old Men's Almshouse
1938:Portrait of Isaak Abrahamsz. Massa
1604:Perception of Movement in Pictures
1271:Todd, Jasmin, ed. (30 June 2024).
1212:Frans Hals—Meister des Augenblicks
835:is no. 118 in Hofstede de Groot's
811:Frans Hals—Meister des Augenblicks
544:but an example of a made-to-order
143:in about 1628; its pendant is the
14:
1549:The Signature Style of Frans Hals
1547:Atkins, Christopher D.M. (2012).
1425:The Signature Style of Frans Hals
1423:Atkins, Christopher D.M. (2012).
1332:The Signature Style of Frans Hals
1330:Atkins, Christopher D.M. (2012).
1273:"How to Do a Messy Bun Hairstyle"
1125:"Frans Hals, sa vie et son Ĺ“uvre"
920:The Signature Style of Frans Hals
918:Atkins, Christopher D.M. (2012).
867:The Signature Style of Frans Hals
865:Atkins, Christopher D.M. (2012).
634:—the master's distinctive touch.
2194:Portrait of a Woman (Marie Larp)
1184:McNay, Anna (17 November 2023).
667:and a nearly contemporary work,
572:Johannes Corneliszoon Verspronck
632:"het kennelyke van den meester"
2218:Portrait of a Man with a Glove
2138:Portrait of Feyntje Steenkiste
2098:Portrait of Catharina Brugmans
1970:Portrait of a Woman in a Chair
1818:Yonker Ramp and His Sweetheart
347:influences were strong. A low
1:
1111:Het kennelyke van den meester
557:Painter and art theoretician
399:"A Girl Singing from a Book".
1930:Portrait of Anna van der Aar
1786:Portrait of a Woman Standing
1762:Portrait of a Woman Standing
1667:Valentiner, Wilhelm (1923).
1655:Frans Hals—The Complete Work
1360:Erftemeijer, Antoon (2004).
1261:in its tortoise-shell frame.
1123:Moes, Ernst Wilhelm (1909).
1089:Erftemeijer, Antoon (2004).
789:exhibition in Washington, D.
174:Virginia Museum of Fine Arts
2242:Family Group in a Landscape
1906:Boy with a Glass and a Lute
768:of the London Underground.
657:Museum of Fine Arts, Boston
2478:
2234:Portrait of Dorothea Berck
2154:Portrait of a Dutch Family
1802:Catharina Both-van der Eem
1657:(1990) ISBN 9780810934047.
1608:The Perception of Pictures
706:As reported by Houbraken,
323:Cornelis Hofstede de Groot
18:
2226:Portrait of Mrs. Bodolphe
1914:Laughing Boy with a Flute
1635:Frans Hals—das Gesamtwerk
1382:Conterfeytsels en tronies
936:A Liveliness Uniquely His
776:1962 centenary exhibition
533:Portrait of a Young Woman
321:have adjacent entries in
131:17th-century Dutch master
37:
2170:Claes Duyst van Voorhout
774:was not included in the
520:Amsterdam stock exchange
464:is thus distinct from a
368:who is bare-headed. The
265:as a panel in an altar.
21:The Wandering Songstress
2447:Paintings by Frans Hals
2146:Portrait of Hylck Boner
1898:Laughing Boy with Flute
1563:See the chapter titled
1439:See the chapter titled
1380:See the chapter titled
1348:Painting for the Market
1346:See the chapter titled
1241:"Unlimited Partnership"
1109:See the chapter titled
934:See the chapter titled
881:See the chapter titled
784:National Gallery of Art
595:, Pasadena, California)
565:and the smooth or neat
2363:Théophile Thoré-Bürger
2327:Frans Hals the Younger
2202:Maritge Claesdr. Voogt
2178:Maria Pietersdr Olycan
2066:Cornelia Claesdr Voogt
2010:Fisher Boy with Basket
1994:Young Man with a Skull
1480:Pieter Dirkszoon Tjark
736:Thomas A. Saunders III
732:Boy Playing the Violin
660:
596:
549:
523:
427:Boy Playing the Violin
414:Boy Playing the Violin
293:Boy Playing the Violin
176:in the United States.
170:Boy Playing the Violin
164:Currently (2024), the
146:Boy Playing the Violin
16:Painting by Frans Hals
2409:Catalogues raisonnés
1633:Grimm, Claus (1989).
1257:Includes an image of
673:Hendrick ter Brugghen
640:
583:
529:
494:
2295:Possible attribution
1842:Cunera van Baersdorp
1794:The Rommelpot Player
1778:Shrovetide Revellers
1695:Dony, Frans (1976).
1500:. London: Spectator.
1454:"Portrait of a Lady"
1190:Studio International
536:(about 1658) at the
496:The open art market:
388:Hofstede de Groot's
259:Studio International
2303:The Fingernail Test
2018:Man with a Beer Jug
1458:Norton Simon Museum
1160:The Catholic Herald
744:Elegance and Wonder
681:Utrecht Caravaggist
602:Hals's aim for his
593:Norton Simon Museum
576:Portrait of a Lady.
553:Style and technique
228:The young woman in
123:figurative painting
2452:Portraits of women
2026:Smiling Fishergirl
1978:Laughing Fisherboy
1653:by JĂĽrgen Riehle:
841:Wilhelm Valentiner
837:Catalogue Raisonné
754:Catalogue Raisonné
661:
597:
589:Portrait of a Lady
550:
524:
390:Catalogue Raisonné
361:Smiling Fishergirl
328:Catalogue Raisonné
242:Ernst Wilhelm Moes
2434:
2433:
2389:Frans Hals Museum
2269:(Jacquemart-André
2267:Portrait of a Man
2258:Portrait of a Man
2106:Portrait of a Man
2058:The Merry Drinker
1834:Laughing Cavalier
1756:List of paintings
801:) and Amsterdam (
780:Frans Hals Museum
758:Charles T. Yerkes
746:galleries there.
585:The smooth style:
382:Titles and models
209:The lines of the
129:, who was a male
114:
113:
2469:
2357:Karel van Mander
1735:
1728:
1721:
1712:
1705:
1704:
1692:
1686:
1684:
1682:
1680:
1664:
1658:
1648:
1630:
1624:
1621:Frans Hals 1962;
1617:
1611:
1600:
1594:
1592:
1574:
1568:
1562:
1544:
1538:
1532:
1520:mutatis mutandis
1509:
1503:
1501:
1493:
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1475:
1469:
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1464:
1450:
1444:
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1391:
1385:
1379:
1357:
1351:
1345:
1327:
1318:
1317:
1315:
1313:
1300:Liedke, Walter.
1297:
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1268:
1262:
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1114:
1108:
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1019:
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999:
988:
986:
978:
967:
956:
939:
933:
915:
890:
880:
862:
829:(Das Gesamtwerk)
823:did not include
813:(approximately:
799:National Gallery
792:
766:Piccadilly lines
708:Anthony van Dyck
702:
694:
679:Brugghen was an
678:
659:, Massachusetts)
648:
644:
609:
559:Karel van Mander
418:Arnold Houbraken
401:Slive has it as
353:Isabella Coymans
282:
278:
78:Dutch Golden Age
42:
28:
2477:
2476:
2472:
2471:
2470:
2468:
2467:
2466:
2457:1620s paintings
2437:
2436:
2435:
2430:
2393:
2377:
2309:
2290:
2130:Lucas de Clercq
2050:Peeckelhaeringh
1826:The Lute Player
1744:
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717:Joshua Reynolds
700:
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384:
305:
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273:cabinet picture
250:Catholic Herald
182:
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17:
12:
11:
5:
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2298:
2296:
2292:
2291:
2289:
2288:
2280:
2272:
2263:
2254:
2253:(c. 1650–1652)
2246:
2245:(c. 1645–1648)
2238:
2230:
2222:
2214:
2206:
2198:
2197:(c. 1635–1638)
2190:
2182:
2174:
2166:
2162:Meagre Company
2158:
2150:
2142:
2134:
2126:
2125:(c. 1633–1635)
2118:
2117:(c. 1625–1635)
2110:
2102:
2094:
2093:(c. 1630–1633)
2086:
2078:
2070:
2062:
2061:(c. 1628–1630)
2054:
2046:
2042:The Gypsy Girl
2038:
2030:
2022:
2014:
2006:
2002:The Fisher Boy
1998:
1990:
1982:
1974:
1966:
1958:
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1942:
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1886:
1878:
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1797:(c. 1618–1620)
1790:
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1781:(c. 1616–1617)
1774:
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1765:(c. 1610–1615)
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554:
551:
540:in Hull—not a
512:Job Berckheyde
508:Dutch auctions
479:
442:conterfeytsels
434:Dutch language
403:"Singing Girl"
383:
380:
337:Dutch Republic
304:
301:
297:tortoise-shell
187:remarked that
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2368:Seymour Slive
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2186:Pieter Tjarck
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1558:9789089643353
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1525:Girl Singing.
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2339:Reynier Hals
2301:
2282:
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2240:
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2032:
2024:
2016:
2008:
2000:
1992:
1986:Girl Singing
1985:
1984:
1976:
1968:
1960:
1952:
1944:
1936:
1928:
1920:
1912:
1904:
1896:
1888:
1882:Laughing Boy
1880:
1872:
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1856:
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1824:
1816:
1808:
1800:
1792:
1784:
1776:
1768:
1760:
1700:
1696:
1690:
1677:. Retrieved
1672:
1662:
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1628:
1620:
1615:
1607:
1603:
1598:
1578:
1572:
1564:
1548:
1542:
1534:
1524:
1518:
1512:
1507:
1497:
1491:
1473:
1461:. Retrieved
1457:
1448:
1440:
1424:
1418:
1399:
1395:
1389:
1381:
1365:
1361:
1355:
1347:
1331:
1310:. Retrieved
1305:
1280:. Retrieved
1276:
1266:
1259:Girl Singing
1258:
1249:. Retrieved
1244:
1235:
1215:
1211:
1205:
1193:. Retrieved
1189:
1186:"Frans Hals"
1164:. Retrieved
1159:
1133:. Retrieved
1128:
1118:
1110:
1094:
1090:
1069:
1042:. Retrieved
1040:. 6 May 2022
1037:
1003:
982:
959:
935:
919:
883:Introduction
882:
866:
836:
833:Girl Singing
832:
828:
825:Girl Singing
824:
819:
814:
810:
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786:
772:Girl Singing
771:
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753:
750:Girl Singing
749:
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728:Girl Singing
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713:Girl Singing
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697:Girl Singing
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665:Girl Singing
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631:
623:Girl Singing
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619:Girl Singing
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195:Girl Singing
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189:Girl Singing
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169:
166:Girl Singing
165:
163:
159:wooden panel
144:
137:Girl Singing
136:
135:
118:Girl Singing
117:
116:
115:
68:Oil on panel
32:Girl Singing
31:
25:
2373:Claus Grimm
2321:Harmen Hals
2165:(1633–1637)
2122:Malle Babbe
2053:(1628–1630)
2045:(1628–1630)
2037:(1625–1630)
1997:(1626–1628)
1858:St. Matthew
1829:(1623–1624)
1789:(1618–1620)
1673:archive.org
1129:archive.org
821:Claus Grimm
803:Rijksmuseum
687:chiaroscuro
669:Boy Singing
652:Boy Singing
649:Brugghen's
504:genre works
486:Hals's work
476:. Often we
199:young woman
180:Description
155:oil colours
153:format, in
2441:Categories
2425:Frans Hals
2351:Dirck Hals
1922:The Smoker
1742:Frans Hals
1651:Gesamtwerk
1579:Frans Hals
1484:Marie Larp
1441:Virtuosity
1375:9055445096
1245:Humanities
1104:9055445096
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1004:Frans Hals
983:Frans Hals
847:References
807:Frans Hals
787:Frans Hals
671:(1627) by
628:wet-in-wet
310:Bohémienne
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110:L2020.6.14
83:Dimensions
60:About 1628
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2359:(teacher)
2353:(brother)
2306:(c. 1626)
2287:(c. 1664)
2271:(c. 1660)
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2157:(c. 1635)
2029:(c. 1630)
2021:(c. 1630)
2013:(c. 1630)
2005:(c. 1630)
1989:(c. 1628)
1949:(c. 1626)
1901:(c. 1625)
1893:(c. 1625)
1885:(c. 1625)
1813:(c. 1622)
1749:Paintings
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1567:(passim).
1565:Modernity
1443:(passim).
1384:(passim).
1350:(passim).
938:(passim).
484:by Hals.
482:portraits
341:Mennonite
261:imagines
107:Accession
2333:Jan Hals
1874:St. Mark
1866:St. Luke
1850:St. John
1162:. London
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1463:26 July
1306:The Met
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1044:22 June
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1282:6 July
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