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Updated: May 6, 2025
The painter here reached his high-water mark, showed the very best he could produce in sincere, restrained art. Dutch School 1580-04-1666 Pupil of Karel Van Mander Franz Hals belonged to a family which for two hundred years had been highly respected in Haarlem in the Netherlands.
In this surprisingly vivacious and charming sketch we see something that is not inferior to Hals, in its broad truth and its quick seizure of the essentials of what had to be rendered.
It is certain that this fecundity was a very potent factor in the development of the Dutch School of painting. Had Hals confined his talent to painting the portraits of the highest in the land, which would never have been seen by the public at large, it is improbable that such a business-like community would have produced many painters.
Perhaps even you should know him in his overalled, stubble-bearded days, with the rich black loam of the Mississippi bottom-lands clinging to his boots. At twenty-five, given a tasselled cap, doublet and hose, and a long, slim pipe, Ben Westerveld would have been the prototype of one of those rollicking, lusty young mynheers that laugh out at you from a Frans Hals canvas.
Did the chief citizens of Leyden in the year Sixteen Hundred Thirty regard Rembrandt's beggars as immortal? Not exactly! In Sixteen Hundred Thirty-one, Rembrandt concluded that his reputation in the art-world of Holland was sufficient for him to go to Amsterdam and boldly pit himself against De Keyser, Hals, Lastman and the rest.
Constable comes to him as immensely satisfying; Turner, though an object of great intellectual interest, leaves him cold. He knows Velasquez to be supreme among painters, but he turns away to stand before Frans Hals, whose quick, sure strokes call such very human beings into actuality and rouse his spirit to the fullest response.
Poor dear thing, I have heard her lecture Teddy Ashburnham by the hour on the difference between a Franz Hals and a Wouvermans and why the Pre-Mycenaean statues were cubical with knobs on the top. I wonder what he made of it? Perhaps he was thankful. I know I was.
In 1620 Vandyck went to England, having been invited there through the Earl of Arundel. Little is known of this visit, and two years later he was invited to the Hague, where he spent several months. When Vandyck was passing through Haarlem he went to the studio of Franz Hals, who was at a tavern just then.
H. E. Huntington's Vermeer, as well as the supreme Marquand example of that master; more than the regular wealth of Rembrandts, Manet's "Still Life," Gauguin's "Women by the River," El Greco's "View of Toledo," Franz Hals' big jovial Dutchman from Mr. Harry Goldman's walls, and Bellini's "Bacchanale" to say nothing of the lace in galleries 18 and 19, Mr.
Starr says that no day will be complete without a surprise from you; and we depend upon you for our route as part of the surprise." "I thought Mr. Starr was making out our route," remarked Nell to a tall archer of Franz Hals. "If I've contrived to create that impression, I've been clever," said the Mariner.
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