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.  Related Paintings of Frans Hals :. | Two Singing Boys | Portrait of Paulus van Beresteyn | Portrait of a Man | Portrat eines jungen Paares, Detail | Portrait of Catharina Both van der Eem |
Related Artists:
Samuel Palmer,OWS
1805-1881
Hoogstraten, Samuel Dircksz van
Dutch Baroque Era Painter, 1627-1678
Jacob Maris
(August 25, 1837, The Hague - August 7, 1899, Karlsbad) was a Dutch painter, who with his brothers Willem and Matthijs belonged to what has come to be known as the Hague School of painters. Maris studied at the Antwerp Academy, and subsequently in Hubertus van Hove's studio during a stay in Paris from 1865 till 1871. He returned to Holland when the Franco-Prussian War broke out, and died there in August 1899. Though he painted, especially in early life, domestic scenes and interiors invested with deeply sympathetic feeling, it is as a landscape painter that Maris excelled. He was the painter of bridges and windmills, of old quays, massive towers, and level banks; even more was he the painter of water, and misty skies, and chasing clouds. In all his works, whether in water or oil color, and in his etchings, the subject is always subordinate to the effect. His art is suggestive rather than decorative, and his force does not seem to depend on any preconceived method, such as a synthetical treatment of form or gradations of tone. And yet, though his means appear so simple, the artist's mind seems to communicate with the spectator's by directness of pictorial instinct, and we have only to observe the admirable balance of composition and truthful perspective to understand the sure knowledge of his business that underlies such purely impressionist handling.