Frans Hals

Lore & Background

Frans Hals was born in Antwerp around 1582, the son of cloth merchant Franchois Fransz Hals van Mechelen and his second wife Adriaentje van Geertenryck. His family fled the Fall of Antwerp (1584–1585) to Haarlem in the new Dutch Republic, where Hals lived for the rest of his life. He studied under Flemish émigré Karel van Mander, though van Mander's Mannerist influence is barely noticeable in Hals's work. In 1610, Hals became a member of the Haarlem Guild of Saint Luke and began earning money as an art restorer for the town council, working on a large art collection that included works by Geertgen tot Sint Jans, Jan van Scorel, and Jan Mostaert. Because the local authority frowned on religious painting in places of worship, the market for religious themes disappeared, and Hals began his career in portraiture.

Hals married his first wife Anneke Harmensdochter around 1610; because he was of Catholic birth, the marriage was recorded at city hall. Anneke died in 1615 shortly after the birth of their third child. In 1617, Hals married Lysbeth Reyniers, who was already eight months pregnant; they had eight children. Hals insisted that his customers come to him in Haarlem, refusing to paint in Amsterdam. His work was in demand through much of his life, but he eventually went out of style and experienced financial difficulties. He worked as a restorer, art dealer, and art tax expert, but creditors took him to court several times. In 1652, he sold his belongings to settle a debt with a baker; the inventory mentioned only three mattresses and bolsters, an armoire, a table, and five pictures. Left destitute, the municipality granted him an annuity of 200 florins in 1664. Hals died in Haarlem in 1666 and was buried in the Grote Kerk church.

Reader's Guide

Frans Hals is significant as a leading portraitist of the Dutch Golden Age, whose work reflects the cultural context of Haarlem, where citizens decorated their homes with art and the local authority discouraged religious painting in places of worship. His portraits, including individual, married-couple, family, and institutional-group works, were in high demand among wealthy burgher commissioners. Hals's style—characterized by a loose, painterly approach and a subdued palette reflecting the serious tones of his clients' wardrobe—contrasted with the neat school of Verspronck. He captured his subjects with a friendly glint in the eye or the glimmer of a smile, giving them a sense of life. His group portraits, such as The Banquet of the Officers of the St George Militia Company (1616) and The Banquet of the Officers of the St Adrian Militia Company (1627), show each character in a different manner, with faces not idealized and clearly distinguishable. Hals's legacy includes his influence on portraiture through his intimate realism and free brushwork. He remained in Haarlem throughout his career, insisting that sitters come to him, which ensures that all his subjects were from Haarlem or visiting. Despite financial difficulties late in life, he was esteemed enough to receive a city pension, a highly unusual sign of regard.

Did You Know?

• Hals was born in Antwerp but his family fled to Haarlem during the Fall of Antwerp (1584–1585).
• He refused to paint in Amsterdam, insisting that militiamen come to Haarlem to sit for their portraits.
• Hals was a member of the local schutterij (military guild) and painted the St Joris company three times.
• In 1664, the municipality granted him an annuity of 200 florins after he was left destitute.