Frans Hals

1580-1666 Frans Hals Galleries In the field of group portraiture his work is equalled only by that of Rembrandt. Hals's portraits, both individual and group, have an immediacy and brilliance that bring his sitters to life in a way previously unknown in the Netherlands. This effect, achieved by strong Baroque designs and the innovative use of loose brushstrokes to depict light on form, was not to the taste of critics in the 18th century and the early 19th, when his work was characterized as lazy and unfinished. However, with the rise of Realism and, later, Impressionism, Hals was hailed as a modern painter before his time. Since then his works have always been popular.
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Frans Hals Peeckelhaering oil


Peeckelhaering
Painting ID::  90430 		Peeckelhaering
between 1628(1628) and 1630(1630) Medium oil on canvas Dimensions Height: 75 cm (29.5 in). Width: 61.5 cm (24.2 in). cyf
   
   
     
Frans Hals Portrat einer etwa vierzigjahrigen Frau mit verschrankten Handen oil


Portrat einer etwa vierzigjahrigen Frau mit verschrankten Handen
Painting ID::  91031 		Portrat einer etwa vierzigjahrigen Frau mit verschrankten Handen
1638(1638) Medium oil on canvas Dimensions 98 x 70 cm (38.6 x 27.6 in) cyf
   
   
     
Frans Hals Theodorus Schrevelius oil


Theodorus Schrevelius
Painting ID::  91117 		Theodorus Schrevelius
1617(1617) Medium Oil on copper set into a wooden panel Dimensions Height: 15.5 cm (6.1 in). Width: 12 cm (4.7 in). cyf
   
   
     
Frans Hals Portrait of Isaak Abrahamsz Massa oil


Portrait of Isaak Abrahamsz Massa
Painting ID::  91506 		Portrait of Isaak Abrahamsz Massa
1626(1626) Medium oil on canvas Dimensions 79.7 x 65.1 cm (31.4 x 25.6 in) cyf
   
   
     
Frans Hals Der Mulatte oil


Der Mulatte
Painting ID::  92188 		Der Mulatte
1627(1627) Medium oil on canvas Dimensions 75,5 X 63,5 cm cyf
   
   
     
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     Frans Hals
     1580-1666 Frans Hals Galleries In the field of group portraiture his work is equalled only by that of Rembrandt. Hals's portraits, both individual and group, have an immediacy and brilliance that bring his sitters to life in a way previously unknown in the Netherlands. This effect, achieved by strong Baroque designs and the innovative use of loose brushstrokes to depict light on form, was not to the taste of critics in the 18th century and the early 19th, when his work was characterized as lazy and unfinished. However, with the rise of Realism and, later, Impressionism, Hals was hailed as a modern painter before his time. Since then his works have always been popular.

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