Hals paintings. School encyclopedia

In Hals's portraits all layers of society are represented: burghers, riflemen, artisans, representatives of the lower classes; his special sympathies are on the side of the latter, and in their images he showed the depth of a powerful, full-blooded talent. The democracy of his art is due to connections with the traditions of the era of the Dutch revolution. Hals portrayed his heroes without embellishment, with their unceremonious morals and powerful love of life. Hals expanded the scope of the portrait by introducing plot elements, capturing those portrayed in action, in a specific life situation, emphasizing facial expressions, gestures, poses, instantly and accurately captured. The artist sought emotional intensity and vitality of the characteristics of those portrayed, conveying their irrepressible energy. Hals not only reformed individual commissioned and group portraits, but was the creator of a portrait bordering on the everyday genre.

Hals was born in Antwerp, then moved to Haarlem, where he lived all his life. He was a cheerful, sociable person, kind and carefree. The creative personality of Khalsa took shape by the early 20s of the 17th century. Group portraits of officers of the St. George's rifle company (1627, Haarlem, Frans Hals Museum), and the St. Adrian's rifle company (1633, ibid.) gained him wide popularity. Strong, energetic people who took an active part in the liberation struggle against the Spanish conquerors are presented during the feast. A cheerful mood with a touch of humor unites officers of different characters and manners. There is no main character here. All those present are equal participants in the celebration. Hals overcame the purely external connection of characters characteristic of the portraits of his predecessors. The unity of the asymmetrical composition is achieved by lively communication, relaxed freedom of arrangement of figures, united by a wave-like rhythm.

The artist's energetic brush sculpts the volumes of forms with brilliance and strength. Streams of sunlight slide across faces, sparkle in lace and silk, sparkle in glasses. The colorful palette, dominated by black suits and white collars, is enlivened by the sonorous golden-yellow, purple, blue and pink officer's baldrics. Full of self-esteem and at the same time free and relaxed, gesticulating, the Dutch burghers appear in the portraits of Hals, conveying an instantly captured state. An officer in a wide-brimmed hat, arms akimbo, smiles provocatively (1624, London, Wallace Collection). The naturalness and liveliness of the poses, the sharpness of the characterization, and the highest skill in using the contrast of white and black in painting are captivating.

Hals's portraits are varied in themes and images. But those portrayed are united by common features: integrity of nature, love of life. Hals is a painter of laughter, a cheerful, infectious smile. With sparkling joy, the artist brings to life the faces of representatives of the common people, visitors to taverns, and street urchins. His characters do not withdraw into themselves; they turn their gazes and gestures towards the viewer.

The image of “The Gypsy” (circa 1630, Paris, Louvre) is filled with a freedom-loving breath. Hals admires the proud position of her head in a halo of fluffy hair, her seductive smile, the perky sparkle of her eyes, her expression of independence. The vibrating outline of the silhouette, sliding rays of light, running clouds, against which the gypsy is depicted, fill the image with the thrill of life. The portrait of Malle Babbe (early 1630s, Berlin-Dahlem, Picture Gallery), an innkeeper, not accidentally nicknamed the “Harlem Witch,” develops into a small genre scene. An ugly old woman with a burning, cunning gaze, turning sharply and grinning widely, as if answering one of the regulars of her tavern. An ominous owl looms in a gloomy silhouette on her shoulder. The artist’s sharpness, vision, gloomy strength and vitality of the image he created is striking. The asymmetry of the composition, dynamics, and the richness of the angular brushstroke enhance the anxiety of the scene.

By the mid-17th century, the shifts that had taken place in Dutch society were clearly visible; As the position of the bourgeoisie, which has lost contact with the masses, strengthens in it, it acquires an increasingly conservative character. The attitude of bourgeois clients towards realist artists has changed. Hals also lost his popularity, whose democratic art became alien to the degenerating bourgeoisie, which rushed after aristocratic fashion.

The life-affirming optimism of the master was replaced by deep thought, irony, bitterness, and skepticism. His realism became more psychologically profound and critical, his skill more refined and perfect. The color of the Khalsa also changed, acquiring greater restraint; in the predominant silver-gray, cold tonal range, among black and white, small, accurately found spots of pinkish or red color acquire a special sonority. The feeling of bitterness and disappointment is palpable in “Portrait of a Man in Black Clothes” (circa 1660, St. Petersburg, Hermitage), in which the subtlest colorful shades of the face are enriched and come to life next to the restrained, almost monochrome black and white tones.

Hals's highest achievement is his last group portraits of the regents and regents (trustees) of a nursing home, executed in 1664, two years before the death of the artist, who ended his life alone in the shelter. Full of vanity, cold and devastated, power-hungry and arrogant, the old trustees sitting at the table from the group “Portrait of the Regents of a Home for the Elderly” (Harlem, Frans Hals Museum. The hand of the old artist unerringly accurately applies free, swift strokes. The composition has become calm and strict. Sparsity of space , the arrangement of the figures, the even diffused light, equally illuminating all those depicted, contribute to focusing attention on the characteristics of each of them. The color scheme is laconic with a predominance of black, white and gray tones. The late portraits of Hals stand next to the most remarkable creations of world portraiture: with their psychologism they are close to the portraits of the greatest of Dutch painters - Rembrandt, who, like Hals, experienced his lifetime fame by coming into conflict with the bourgeois elite of Dutch society.

Epochs of the Golden Age of Dutch art. He was very popular, he had many orders and students, but the artist died in complete poverty in a shelter for the poor. This is how the life of a genius turned out.

Frans Hals: biography

A little less than four hundred years separate us from the life of the great artist. But little is known about him personally. His father was a weaver in Antwerp, married for the second time, into which Frans Hals was born. The family then moved to Haarlem, which is located about twenty kilometers from Antwerp. At the time of his birth there was no peace in his homeland. cities were besieged, stormed, and destroyed. Immigrants fled to Haarlem from all directions. The city grew rich and began to show great interest in art. That’s probably why Frans Hals almost never left Haarlem. Having learned the profession and been accepted into the Guild of St. Luke, which in those days was an analogue of the Academy of Painting, young Hals first became a restorer.

Six years later he gains fame as a portrait painter. And a year later he gets married. Five sons will be born in the marriage, and all will follow in their father’s footsteps - they will become portrait painters. The peak of popularity and flowering of the genius's creativity occurred in the years 1620-1640. But then they begin to forget him. This is how the fame of a painter named Frans Hals passes. Paintings are almost never commissioned. Poverty is approaching, which leads the master to the poorhouse. He dies in it. In the Hermitage you can see two male portraits painted by the great artist.

Portrait of an Unknown Man (1650-1652)

The meager color scheme that Frans Hals came up with in these years allows one to fully concentrate on the face of the person depicted. The model's wide white collar further draws attention to her facial expression. with long curly hair and a mustache, calmly and confidently looks at the viewer.

He is wealthy and independent, mocking and, perhaps, full of aplomb. His pose is natural and relaxed. No disruptions in life threaten him. He clearly knows how to cope with any life situations. The portrait does not give the impression of being frozen or static. The artist achieves this dynamic effect due to the fact that the model is close to the viewer, her gaze is directed directly at him, and the elbow of the hand on which the person being portrayed leans is moved forward. It “torn” the flat canvas. It was a step forward into the future of portraiture of his time.

Portrait of a young man with a glove in his hand (1650)

The model gives the impression of calm self-confidence and cheerfulness. The gaze directed at the viewer is full of attention, interest and goodwill.

A slight smile plays on his lips. The model’s face is simply “sculpted” with noticeable thick strokes of undiluted paint. The white lace collar, illuminated hair and glove are painted in the same way. But the background and shadows are painted with translucent paint. Thus, the figure protrudes from the canvas in relief and approaches the viewer. All hand movements are accurately and skillfully calculated. This achieves the creation of a complete image.

Portrait of Isabella Cooymans (1689)

Without going deeply into psychologism, the artist Frans Hals paints a young, round-faced, pretty, friendly and simple-minded woman. This is a wealthy customer, and the painter uses all his skill to show jewelry and luxurious expensive clothes. The lace of the collar and cuffs was made with extraordinary care. The satin bows and ribbons that decorate the model’s belt and collar, as well as the translucent ribbons in her hair, shine.

A pearl necklace shimmers on a slender neck and a bracelet on a graceful hand that holds a rose. It is impossible to take your eyes off the satin of the dress, which is decorated with a light insert with lace at the hem. The portrait is made in golden-brown tones. The rich nuances of the color of the dark dress and the play of shadows make it possible to make the model convex, protruding from the plane of the picture. Despite all the pomp, the portrait has not lost its democratic character. It is in a private collection.

"Head of a Boy in a Beret" (1640)

Close-up of a baby's head placed in a circle on a golden light background. The circle immediately completes the portrait.

The attentive gaze of the brown-eyed child is directed towards something curious, upward and to the right. The artist reflects a moment, a living moment of life. He grabbed it and transferred it to the canvas. The left side of the face is in shadow, which allows you to more clearly sculpt the oval of a young face and a chin with a dimple. The right one, illuminated by the light, plays with blush. Bright lips of a beautiful pattern are tightly compressed. The face is framed by light golden waves of short hair. Their large curls hang low on the forehead, showing the beauty of the eyebrow shape. A low bluish collar and a white frill reveal a slender neck. The hair and beret follow the original circle shape. The work is in a private collection in London.

In this article we tried to include works of the master known and unfamiliar to the public. The painter primarily tried to convey feelings, emotions, intellect, and not a formal costume. And therefore the artist paid his attention to facial expressions, gestures, and poses. His artistic heritage, which is mainly located in his homeland, has gone far beyond its borders.

- “Gypsy”, Louvre Frans Hals (Dutch Frans Hals) (1580/1585, Antwerp 1666, Haarlem) one of the most famous Dutch painters of the so-called Golden Age of Dutch art. Contents 1 Biography ... Wikipedia

- “Gypsy”, Louvre Frans Hals (Dutch Frans Hals) (1580/1585, Antwerp 1666, Haarlem) one of the most famous Dutch painters of the so-called Golden Age of Dutch art. Contents 1 Biography ... Wikipedia

Frans Hals Self-Portrait ... Wikipedia

Frans Hals. Portrait of France ... Wikipedia

- “Gypsy”, Louvre Frans Hals (Dutch Frans Hals) (1580/1585, Antwerp 1666, Haarlem) one of the most famous Dutch painters of the so-called Golden Age of Dutch art. Contents 1 Biography ... Wikipedia

- (Hals, Frans) (c. 1580 1666), also Hals, Dutch painter; born in Antwerp. His father left Flanders for religious and commercial reasons and settled in Haarlem when Hals was still a boy. There, one of his teachers became... ... Collier's Encyclopedia

Hals, Hals (Hals) France (between 1581 and 1585, Antwerp, ≈ 26.8.1666, Haarlem), Dutch painter. H.'s art is characterized by its democracy and keen interest in folk types; it reflected the spiritual upsurge of the Dutch people that came in... ... Great Soviet Encyclopedia

Hals (between 1581 and 1585 1666), Dutch painter. Portraits, including group ones, are full of life and movement, executed in a free, virtuoso manner (“Gypsy”, around 1630; “Group portrait of the rifle company of St. Adrian”, 1633;... ... encyclopedic Dictionary

Hals (born between 1581 1585 died 1666), Dutch painter. Portraitist. Hals’s work embodied the cheerfulness and democracy characteristic of Dutch art during the years of its rise, which came after the victory in the country... ... Art encyclopedia

Books

• , Constantine Hagens Category: Poetry Series: Trionfi Publisher: Aquarius Publishers, Manufacturer: Aquarius Publishers,
• Edifying pictures: With parallel texts, Huygens Constantijn, Edition with parallel texts in Russian and Dutch. Constantijn Huygens, the great Dutch poet and father of the great mathematician Christian Huygens (the same surname is established... Category: Bilinguals (other languages) Series: Trionfi Publisher:

Frans Hals is a Dutch portrait painter whose work sends chills down your spine. It is no coincidence that the elusive horror and slight chills arise: in the contours, worked out to the smallest detail, there really is something chilling to the soul.

Muted, cold tones transport viewers to a frozen parallel world, where the characters find themselves frozen forever. But at the same time, one cannot help but admire the accuracy with which the love of life, joy, doubt, determination and other feelings of the characters are conveyed. Why does this strange feeling arise?

The realism of the people depicted by the artist is what confuses the audience. He managed to capture a moment in a person’s life in all its colors: with facial expressions, gestures, subtle movements of the pupils. But taking real life, bursting with splendor, and suddenly stopping it, transferring it to canvas in a momentary state is not at all the same as conveying the feeling of life and time.

The heroes in Hals' paintings are unique individuals with unique characteristics, but they seem torn out of their history. It was this combination of life, dynamic and changing, and frozen eternity that became the “calling card” of the work of Frans Hals. The artist depicted not only the person as such, but also the situation in which the hero found himself, his reaction and emotions at that moment.

In the painting “Regents of a Home for the Elderly,” the artist depicted five female figures dressed in black. They stand out against the swamp-gray background, but the viewer is aware of their connection with the depicted place: the heroines of the picture did not sit down at the table for a minute - their life is inseparable from the hospital. Women are not alike, and there is no doubt that each has a whole interesting, long life behind her with her own decisions, views, and thoughts. But in their eyes there is something in common that links all five images together. And there is also the predominance of black in the picture, which amazes with its diversity and helps to more fully reveal the characters of the heroines. Hals has “many faces” of this color, which he also noted when he said that the artist uses 27 shades of black.

Children in Hulse's work are a stunning aspect of his work. The artist did not cover these flowers of life with glass covers, as the Little Prince did with his Rose. He did not paint rosy cheeks and sparkling eyes on the porcelain faces of the dolls. On the contrary, the artist paid attention to the most wonderful and natural aspects of babies, to what they really are. In one of the early paintings, “The Laughing Boy” (1625), a child smiling from ear to ear seems to have been torn out of a real situation in order to freeze on the artist’s canvas. What was he doing a moment ago: playing with the neighbor’s dog, eating delicious cookies, or enthusiastically making something? We will never know this, but we will understand that the activity gave the little hero happiness.

Frans Hals is a painter whose talent allowed him to amazingly accurately convey the real beauty of people, manifested in everyday moments, daily actions and ordinary little things. The brush in his hands became a magical camera that could capture not only real situations, but also feelings, thoughts, and therefore life itself.

The life path of Frans Hals was as bright and eventful as his paintings. To this day, the world knows stories about the drunken brawls of Khalsa, which he every now and then organized after major holidays. An artist with such a cheerful and violent character could not win respect in a country in which Calvinism was the state religion.

Frans Hals was born in Antwerp in early 1582. However, his family left Antwerp. In 1591, the Khals arrived in Haarlem. Frans's younger brother named Dirk was born here. Hals's painting teacher was an artist named Karel van Mander. He was interested in historical painting. In the biography of Hals's teacher, it was written that thanks to his efforts "many students passed through, the most famous of whom was Frans Hals, a portrait painter from Haarlem."

At the beginning of 1610, Hals joined the Guild of St. Luke, which was open to glassblowers, artists, and stone cutters. Early next year he started a family with Anetje Harmansdr. Their firstborn was baptized on September 2, 1611. However, in June 1615, Khalsa's first wife died in childbirth. A few days later, the baby born to Anetje also died. They didn't even have time to give him a name. A failed family life did not in the least hinder Hals's creative activity. In 1615 he was already among the most famous portrait painters.

In addition, he periodically wrote genre sketches. To find the most pleasant style of painting for himself, Hals painted paintings belonging to a variety of genres of painting. His painting entitled “Banquet of the Officers of the Company of St. George,” painted in 1616, became the largest group portrait in the history of Frans Hals’ creative activity. This painting became a kind of “cannon shot”, marking the beginning of the golden age of Dutch painting.

In 1617, Hals created a 2nd marriage with Lisbeth Reiners. They lived together for about 50 years. Surprisingly, they had eleven children. In addition, their first daughter was born just 9 days after their marriage. Khalsa's new wife was brought up in a poor family, was illiterate and had a very scandalous character. From 1616 to 1625, Hals was a member of the Chair of Rhetoric in the city of Haarlem, and in 1624, France painted his famous painting entitled “The Smiling Cavalier.”

Despite his talent, Frans Hals never managed to get rich due to his carelessness and stubborn, arrogant character. Over the years, the artist’s life became more and more painful and hopeless. In mid-1642, Hals's mentally retarded son, named Peter, completely went mad. Hals had to send him to an insane asylum. His unmarried first daughter, Sarah, became pregnant twice. Poverty increasingly took the Khalsa family by the throat. In 1661, for debts on membership fees, Hals was expelled from the Guild of St. Luke.

The City Council assigned him a pension, but it was so modest that its size did not even allow him to cover his accumulated debts. Friends said that the elderly artist had already lost his mind. To spite the scoffers, Hals painted two magnificent group portraits in early 1664: “Regents of a Home for the Elderly” and “Regents of a Home for the Elderly.” Frans Hals died on August 29, 1666. Already on September 1 he was buried.

Only a few of his close friends came to the artist’s funeral. This is how the legendary artist Frans Hals ended his earthly life. However, he undoubtedly continues to live in each of the paintings he painted!