Bartholomeus van der Helst
1613-1670 Dutch Bartholomeus Van Der Helst Galleries Dutch painter. He was the son of a Haarlem inn-keeper and presumably undertook part or all of his training in Amsterdam. His earliest works suggest that the painter Nicolaes Eliasz. Pickenoy was his master. Although van der Helst had probably already established himself as an independent master by the time he married Anna du Pire in Amsterdam in 1636, his earliest known work, a portrait of The Regents of the Walloon Orphanage, Amsterdam (Amsterdam, Maison Descartes), dates from 1637. Stylistically it is close to the work of Pickenoy. His portrait of a Protestant Minister of 1638 (Rotterdam, Boymans-van Beuningen) reveals the influence of Rembrandt. The young artist must have risen rapidly to fame in Amsterdam, for as early as 1639 he received the prestigious commission for a large painting for the Kloveniersdoelen (Arquebusiers or Musketeers Hall): The Civic Guard Company of Capt. Roelof Bicker and Lt Jan Michielsz. Blaeuw (Amsterdam, Rijksmus.), which formed part of the same series as Rembrandt Night Watch (Amsterdam, Rijksmus.). Van der Helst may not have completed this commission until 1642 or 1643. The ingenious arrangement of the figures in a broad composition shows the artist special talent for composing large groups. Pickenoy influence is less noticeable here than in the portrait of 1637; the self-assured poses of the individual figures were to become a characteristic feature of van der Helst work. The successful execution of this portrait established van der Helst reputation: from 1642, when he began to receive an increasing number of commissions for individual portraits, until 1670 he was the leading portrait painter of the ruling class in Amsterdam. From 1642 his technique in portrait painting gradually became more fluent and the rendering of costume materials more detailed. Some typical portraits of his earlier period are those of Andries Bicker (Amsterdam, Rijksmus.), his wife Catharina Gansneb Tengnagel (Dresden, Gemeldegal. Alte Meister) and their son Gerard Bicker (Amsterdam, Rijksmus.), all of 1642, and the Portrait of a Young Girl (1645; London, N.G.). In 1648 van der Helst painted a second civic guard portrait, The Celebration of the Peace of M?nster at the Crossbowmen Headquarters, Amsterdam (Amsterdam, Rijksmus.), a superbly composed and well painted portrait that, until the late 19th century, was considered one of the masterpieces of the Golden Age but later lost popularity because of its smooth and modish execution. It can nevertheless still be regarded as one of the most important group portraits of the 17th century. Its technical perfection, characterized by a well-modelled rendering of the figures and a smooth handling of the brush, dominated the rest of van der Helst oeuvre.
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Bartholomeus van der Helst Portrat eines Patrizierpaares oil painting


Portrat eines Patrizierpaares
Date 1661(1661) Medium Oil on canvas Dimensions Deutsch: 186 X 149 cm cyf
Painting ID::  74348 		Bartholomeus van der Helst
Portrat eines Patrizierpaares
Date 1661(1661) Medium Oil on canvas Dimensions Deutsch: 186 X 149 cm cyf
   
   
     
Bartholomeus van der Helst Portrait of a Family oil painting


Portrait of a Family
Date 1647(1647) Medium Oil on canvas cyf
Painting ID::  77439 		Bartholomeus van der Helst
Portrait of a Family
Date 1647(1647) Medium Oil on canvas cyf
   
   
     
Bartholomeus van der Helst Four aldermen of the Kloveniersdoelen in Amsterdam oil painting


Four aldermen of the Kloveniersdoelen in Amsterdam
Date 1655 Medium Oil on canvas Dimensions 171 x 283 cm (67.3 x 111.4 in) cyf
Painting ID::  78250 		Bartholomeus van der Helst
Four aldermen of the Kloveniersdoelen in Amsterdam
Date 1655 Medium Oil on canvas Dimensions 171 x 283 cm (67.3 x 111.4 in) cyf
   
   
     
Bartholomeus van der Helst Anna du Pire as Granida oil painting


Anna du Pire as Granida
1660(1660) Oil on canvas Height: 70 cm (27.6 in). Width: 58.5 cm (23 in). cjr
Painting ID::  79878 		Bartholomeus van der Helst
Anna du Pire as Granida
1660(1660) Oil on canvas Height: 70 cm (27.6 in). Width: 58.5 cm (23 in). cjr
   
   
     
Bartholomeus van der Helst Carpentier and Child oil painting


Carpentier and Child
1652(1652) Medium Oil on canvas Dimensions Height: 188 cm (74 in). Width: 227 cm (89.4 in). cyf
Painting ID::  79960 		Bartholomeus van der Helst
Carpentier and Child
1652(1652) Medium Oil on canvas Dimensions Height: 188 cm (74 in). Width: 227 cm (89.4 in). cyf
   
   
     
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     Bartholomeus van der Helst
     1613-1670 Dutch Bartholomeus Van Der Helst Galleries Dutch painter. He was the son of a Haarlem inn-keeper and presumably undertook part or all of his training in Amsterdam. His earliest works suggest that the painter Nicolaes Eliasz. Pickenoy was his master. Although van der Helst had probably already established himself as an independent master by the time he married Anna du Pire in Amsterdam in 1636, his earliest known work, a portrait of The Regents of the Walloon Orphanage, Amsterdam (Amsterdam, Maison Descartes), dates from 1637. Stylistically it is close to the work of Pickenoy. His portrait of a Protestant Minister of 1638 (Rotterdam, Boymans-van Beuningen) reveals the influence of Rembrandt. The young artist must have risen rapidly to fame in Amsterdam, for as early as 1639 he received the prestigious commission for a large painting for the Kloveniersdoelen (Arquebusiers or Musketeers Hall): The Civic Guard Company of Capt. Roelof Bicker and Lt Jan Michielsz. Blaeuw (Amsterdam, Rijksmus.), which formed part of the same series as Rembrandt Night Watch (Amsterdam, Rijksmus.). Van der Helst may not have completed this commission until 1642 or 1643. The ingenious arrangement of the figures in a broad composition shows the artist special talent for composing large groups. Pickenoy influence is less noticeable here than in the portrait of 1637; the self-assured poses of the individual figures were to become a characteristic feature of van der Helst work. The successful execution of this portrait established van der Helst reputation: from 1642, when he began to receive an increasing number of commissions for individual portraits, until 1670 he was the leading portrait painter of the ruling class in Amsterdam. From 1642 his technique in portrait painting gradually became more fluent and the rendering of costume materials more detailed. Some typical portraits of his earlier period are those of Andries Bicker (Amsterdam, Rijksmus.), his wife Catharina Gansneb Tengnagel (Dresden, Gemeldegal. Alte Meister) and their son Gerard Bicker (Amsterdam, Rijksmus.), all of 1642, and the Portrait of a Young Girl (1645; London, N.G.). In 1648 van der Helst painted a second civic guard portrait, The Celebration of the Peace of M?nster at the Crossbowmen Headquarters, Amsterdam (Amsterdam, Rijksmus.), a superbly composed and well painted portrait that, until the late 19th century, was considered one of the masterpieces of the Golden Age but later lost popularity because of its smooth and modish execution. It can nevertheless still be regarded as one of the most important group portraits of the 17th century. Its technical perfection, characterized by a well-modelled rendering of the figures and a smooth handling of the brush, dominated the rest of van der Helst oeuvre.

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