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618:, Saint Petersburg), which combines still life, cityscape and figure piece. The composition shows an old woman holding a big wheelbarrow full of vegetables. On her left hangs the carcass of large slaughtered pig. Next to the pig are four children, one of whom blows the pig's bladder while the others look at the viewer. In the background is a view on the Nieuwmarkt with the Sint Anthoniswaag. This work was probably made for van der Helst's private use as it likely depicts the view from his house on the Nieuwmarkt.
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698:. Van der Helst painted the shepherd boy in the painting. He scratched his signature in the wet paint on the boy's collar while Weenix did the same in the wet paint at the upper right. It is believed the painting was intended to be hung over a large fireplace. This probably explains the contrived perspective with the somewhat too large sheep placed right on the edge in the foreground.
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is resting in front of her. Printed music in tenor and soprano parts is placed on a table nearby. The musician looks directly at the viewer as if inviting him to take up the viola da gamba to join her in a duet. While the work has usually been regarded as a genre scene, it is possible that it is in
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The paintings of the final years of Van der Helst's career are characterized by increased attention to detail and a more even lighting. The subtlety and intensity that characterizes his earlier work has made way for a clarity of expression that leaves nothing to the imagination. The artist also used
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As a portrait painter to
Amsterdam's elite, he created life-sized portraits, which responded to the demand of the patricians of Amsterdam for portraits that offered a good likeness rather than an idealized image. His style is characterized by clear drawing, plasticity, even lighting and a pleasant
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The painting was originally owned by
Adolphe Schloss, a Jewish-German industrialist who resided in France and amassed a large collection of Flemish and Dutch paintings. During the war, the portrait at issue was headed for Hitler's planned FĂĽhrermuseum in Linz, Austria. It was stolen again in 1945
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in 1613. His exact date of birth is not known as the birth records of
Haarlem of that time are lost. He was the son of a Haarlem innkeeper called Lodewijk and Lodewijk's second wife, Aeltgen Bartels. Van der Helst had moved to Amsterdam some time before 1636, the year in which he married Anna du
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painted in 1654. This work was based on a self-portrait of Potter, which he had made shortly before his early death. The gestures and movements of the sitter in the painting are elegant. The artist has further succeeded in rendering the fabrics in a smooth painting style and almost perfect
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237:. His work was considered more immediately appealing than the dark, intense and introspective work during this later period of Rembrandt. Rare among portrait artists in Amsterdam of his time, he was able to attract bourgeois patrons from other cities such as Rotterdam.
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Van der Helst died in
Amsterdam in 1670. While he had been able to charge very high prices for his works, he appears to have lived above his means. He had bought a large house at Nieuwe Doelenstraat and acquired many paintings of leading artists such as
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Van der Helst was principally a painter of portraits. The majority of his work is made up of individual portraits, though he also painted family portraits, double portraits and pendant portraits. An example of the latter are the portraits of
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variations: Bartel van der Elst, Bartelmeus van der Elst, Bartholomeus van der Elst, Bartel van der Helst, Bartelmeus van der Helst, Bartel
Verelst, Bartelmeus Verelst, Bartholomeus Verelst, Bartel Verhelst, Bartelmeus Verhelst, Bartholomeus
1269:, in: E. Buijsen, Ch. Dumas, V. Manuth (red.), Face Book. Studies on Dutch and Flemish Portraiture of the 16th-18th Centuries. Liber Amicorum presented to Rudolf E.O. Ekkart on the occasion of his 65th Birthday, Leiden 2012, pp. 161-166
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202:. Van der Helst received the commission in 1639 and finished it in 1642. The large 7.5m wide canvas was hung over the fireplace of the grand assembly of the Kloveniers guild, the same room for which Rembrandt painted
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In addition to the portraits for which he is most famous, van der Helst painted a few genre, historical, biblical, mythological, and allegorical scenes. In all these paintings, the portrait aspect is still important.
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468:, Amsterdam). In this large-scale composition depicting 25 people, van der Helst was able to do justice to each individual. He also realised a clear composition through his sophisticated use of light and color.
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in France in 1943, was stolen twice: after the Allies recovered it and before it could be restituted, it was taken by thieves from the Allied collecting point in Munich in 1945. It reappeared for sale at the
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378:. Early 1671 Lodewijk and his sister Susanne assisted their mother when they visited their father's former studio, when his belongings were registered. According to the inventory he owned the
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One of Van der Helst's most famous works is the portrait of Gerard
Andriesz Bicker at half-length of 1639 (Rijksmuseum, Amsterdam). Van der Helst painted in 1642 a portrait of
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299:(all three dated 1668 and in the Rijksmuseum) still set the trend in portrait painting in his age. The harbour scenes in the background in these three works were painted by
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The artist remained active throughout his life and maintained a high level of production until the end of his career. His late works such as the pendant portraits of
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dated 1642 (Rijksmuseum, Amsterdam) is typical his work from this period: it is well modeled, of a strong plasticity and painted with a barely visible brush stroke.
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As was common in 17th-century Dutch artistic practice, van der Helst regularly collaborated with other specialist artists. A frequent collaborator was
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Rudolf E. O. Ekkart. "Helst, Bartholomeus van der." Grove Art Online. Oxford Art Online. Oxford
University Press, accessed 15 May 2017
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146:'s circle. Besides portraits, van der Helst painted a few genre pictures as well as some biblical scenes and mythological subjects.
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His early works show the influence of
Pickenoy, his presumed master, and to a certain extent of Rembrandt. This is clear in the
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Bartholomeus van der Helst (Haarlem 1613 – 1670 Amsterdam), The
Marriage Portraits of Gabriel Marselis and Maria van Arckel
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a more colourful palette and richer contrasts and emphasized more strongly the distinctions between dark and light tones.
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belonging to the family. This portrait is often used to illustrate the decadent wealth of the
Amsterdam merchants of the
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who followed his style. Marcus Waltes was his pupil in 1650. He had no other known pupils but exerted an influence on
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Van der Helst also painted a number of genre scenes. An example of a genre scene by van der Helst is the
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The fashion for the French elegant style was visible in his work after 1650. An example is the
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1363:"Seller Yanks Nazi-Looted Painting From Im Kinsky Auction at Last Minute | artnet News"
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673:. No less than four painters had a hand in its creation: Bartholomeus van der Helst,
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An interesting case of a collaboration between multiple Golden Age painters is the
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palette relying on light and clear tones. He preferred balanced compositions.
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Civic Guard led by Captain Roelof Bicker and Lieutenant Jan Michielsz. Blaeuw
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Banquet of the Amsterdam Civic Guard in Celebration of the Peace of MĂĽnster
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who was already orphaned. The couple had six children of whom one, called
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Banquet of the Amsterdam Civic Guard in Celebration of the Peace of MĂĽnster
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De groote schouburgh der Nederlandsche konstschilders en schilderessen
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Even though van der Helst was active in Amsterdam at the same time as
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won a restitution battle for the stolen painting fifty years later.
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Pieter Lucaszn van de Venne and Anna de Carpentier with their child
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Bartholomeus van der Helst: Portrait of Gerard Andriesz. Bicker
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Geertruida den Dubbeld, wife of Lieutenant-Admiral Aert van Nes
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Dutch Paintings in the Metropolitan Museum of Art, Volumes 1-2
167:(1642 - c. 1684), became a portrait painter like his father.
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Banquet of the Amsterdam Civic Guard in Celebration of the
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Banquet of the Amsterdam Civic Guard in Celebration of the
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Pire, an 18-year-old woman from a prosperous family of the
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Portrait of an unknown man, probably a Protestant minister
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Advertisements in the Oprechte Haerlemse Courant of 1671
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Van der Helst also collaborated with the animal painter
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fact a portrait of Anna du Pire, the artist's wife.
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Van der Helst found his own style in the 1640s. The
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420:List of paintings by Bartholomeus van der Helst
718:in World War II as part of their campaign to
183:Regents of the Walloon Orphanage in Amsterdam
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1267:Cornelis van Poelenburch als portretschilder
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526:Portrait of the animal painter Paulus Potter
119:Mary, Princess Royal and Princess of Orange
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35:Self-portrait with a miniature of
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1235:"Tot in de pruimentijd! Muiden"
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289:Lieutenant-Admiral Aert van Nes
255:. The painting was admired by
1224:(1639); Rijksmuseum, Amsterdam
483:in 1665, with his second wife
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297:Vice-Admiral Johan de Liefde
269:William II, Prince of Orange
1297:Siegal, Nina (2017-05-12).
1170:, at Otto Naumann Ltd, 2013
1029:at the J. Paul Getty Museum
662:wife Geertruida den Dubbeld
605:The Nieuwmarkt in Amsterdam
455:wife Geertruida den Dubbeld
293:wife Geertruida den Dubbeld
188:Nicolaes Eliaszoon Pickenoy
59:1670 (buried 16 December),
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837:The arms dealer Jacob Trip
708:Little Boy on His Deathbed
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574:Attack on Amsterdam (1650)
517:Portrait of Andries Bicker
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1425:1670 deaths
1420:1613 births
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839:(1627–1670)
714:during the
586:mercenaries
582:civic guard
530:technique.
466:Rijksmuseum
249:Rijksmuseum
144:Stadtholder
67:Nationality
1409:Categories
1373:2021-11-14
1348:2021-11-14
1316:2021-11-14
1271:(in Dutch)
1193:(in Dutch)
1154:(in Dutch)
1111:(in Dutch)
1090:(in Dutch)
1072:(in Dutch)
1013:(in Dutch)
948:Dutch name
935:References
683:Jacob Duck
1311:0362-4331
744:Im Kinsky
552:Herwijnen
507:of 1638 (
434:Portraits
400:Vitruvius
291:and his
231:Rembrandt
114:Patron(s)
61:Amsterdam
1367:Archived
1342:Archived
1128:Archived
1104:Archived
951:Verhelst
679:Jan Both
635:while a
569:Gooiland
453:and his
404:Palladio
396:Scamozzi
344:Goltzius
308:Lodewijk
165:Lodewijk
99:Movement
1253:at the
1067:at the
750:Gallery
710:,” was
692:on the
633:theorbo
627:(1662,
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425:General
156:Haarlem
138:of the
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565:Muiden
392:Serlio
370:, and
48:1613,
39:, 1667
71:Dutch
1307:ISSN
1048:in:
681:and
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56:Died
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