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 The Women Regents of the Haarlem Almshouse oil painting


The Women Regents of the Haarlem Almshouse
1664 Frans Hals Museum
Painting ID::  1517 		Frans Hals
The Women Regents of the Haarlem Almshouse
1664 Frans Hals Museum
   
   
     
Frans Hals Portrait of a Young Man Holding a Glove oil painting


Portrait of a Young Man Holding a Glove
1650 The Hermitage, St.Petersburg
Painting ID::  1518 		Frans Hals
Portrait of a Young Man Holding a Glove
1650 The Hermitage, St.Petersburg
   
   
     
Frans Hals Boy with a Lute oil painting


Boy with a Lute

Painting ID::  1519 		Frans Hals
Boy with a Lute
   
   
     
Frans Hals Jester with a Lute (mk05) oil painting


Jester with a Lute (mk05)
Wood,28 x 24 1/2''(71 x 62 cm)Assigned to the Louvre in 1984
Painting ID::  20389 		Frans Hals
Jester with a Lute (mk05)
Wood,28 x 24 1/2''(71 x 62 cm)Assigned to the Louvre in 1984
   
   
     
Frans Hals Portrait of a Woman (mk05) oil painting


Portrait of a Woman (mk05)
Canvas,42 1/2 x 31 1/2''(108 x 80 cm)Bequest of Dr.Louis La Caze 1869
Painting ID::  20391 		Frans Hals
Portrait of a Woman (mk05)
Canvas,42 1/2 x 31 1/2''(108 x 80 cm)Bequest of Dr.Louis La Caze 1869
   
   
     
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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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