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Antoon Erftemeijer (2004): Frans Hals in het Frans Hals Museum, Amsterdam/Gent (in Dutch, English and French), in which various chapters are devoted to Hals's life, his predecessors, portrait painting in the Golden Age, Hals's painting technique and other subjects. Many pictures with close-ups in this book show Hals's ... |
Christopher D. M. Atkins (2003): "Frans Hals's Virtuoso Brushwork", Nederlands Kunsthistorisch Jaarboek, pp. 281–309). Parts of this article are excerpts of The Frans Hals Museum, Haarlem, July 2005 by Antoon Erftemeijer, Frans Hals Museum curator. |
Christopher D. M. Atkins (2012): The Signature Style of Frans Hals: Painting, Subjectivity, and the Market in Early Modernity, Amsterdam University Press. |
Henry R. Lew (2018): Imaging the World, Hybrid Publishers, Melbourne, Australia Chapter 9: Frans Hals, pages 108–126. |
Steven Nadler (2022): The Portraitist: Frans Hals and His World, The University of Chicago Press. |
Lelia Packer and Ashok Roy (2022): Frans Hals: The Male Portrait, The Wallace Collection. |
External links |
Media related to Frans Hals at Wikimedia Commons |
27 artworks by or after Frans Hals at the Art UK site |
Frans Hals Museum in Haarlem |
Frans Hals Works, Biography and Style |
The National Gallery |
The Wallace Collection |
Web Gallery of Art (large collection of pictures and extensive biography) |
Frans Hals at zeno.org (in German) |
Olga's Gallery |
Works and literature on Frans Hals |
Walter Liedtke, "Frans Hals: Style and Substance" (Metropolitan Museum of Art, 2011) |
Frans Janszoon Post (17 November 1612 – 17 February 1680) was a painter during the Dutch Golden Age. He was the first European artist to paint landscapes of the Americas, during and after the period of Dutch Brazil. In 1636 he traveled to Dutch Brazil in northeast of South America at the invitation of the governor Joha... |
Biography |
Post was born in Haarlem and was the son of Jan Janszoon Post, a highly regarded glass painter trained in Leiden, and Francijntje Verbraken of Haarlem. His elder brother was Pieter Post, one of the most important architects of Dutch classicism. Little is known of his life before his trip to Brazil. |
He was born in Haarlem circa 1612 and he most likely received his early training from his father and his elder brother. He was a contemporary of Frans Hals, who painted his portrait, and prominent Haarlem landscape painters such as the brothers Jacob and Salomon van Ruysdael, Adriaen and Isaac van Ostade, and in partic... |
Post won a commission at court likely through the connections of his older brother and was encouraged to travel abroad by John Maurice, Prince of Nassau-Siegen. At the time, Haarlem experienced an outbreak of the plague, so that his going to Brazil may have seemed a good option. Post lived in Brazil from 1637 to 1644. ... |
Post continued to paint Brazilian scenes until 1669, and the lack of dated paintings in the 1670s suggests he stopped ten years before his death. Whitehead and Boeseman claim that Post developed an alcohol problem, which may be the reason, so little is known of the last decade of his life. He died in Haarlem and was bu... |
Work |
Post produced approximately 140 paintings during his lifetime. Of these, nearly half are dated, making it possible to track the evolution of his work between 1637, the day he landed in Brazil, and 1669, the date of his last letter. The paintings Post produced while he was in Brazil drastically differ from those he pai... |
His Brazilian works strongly resemble the landscapes by his Haarlem contemporaries in terms of composition, style, and technique. Wolfgang Stechow describes Post’s landscapes as ‘the old bottle filled with new wine’. These works depict specific locations in Dutch Brazil, identifiable because of the representation of r... |
Brazilian landscapes from Haarlem |
Post continued to paint images of Brazil upon his return to The Netherlands in 1642; however, his work undergoes a radical transformation. In addition to Post’s wonderful imagination, the evolution of his work may also be consequent of a change in popular style. The further he was from Brazil, in both time and space, t... |
Upon Post’s return to The Netherlands, he also increased the number of figures and incorporated greater diversity into his work. Nearly every painting he completed in The Netherlands includes a large group of people interacting in some way, whether they are dancing or working in the sugar mills. Typically, these figure... |
See also |
Albert Eckhout |
Dutch Golden Age painting |
List of paintings by Frans Post |
Gillis Peeters the Elder |
Zacharias Wagenaer |
Ricardo Brennand Institute |
Further reading |
References |
External links |
Frans Post at ArtCyclopedia |
Frans Snyders or Frans Snijders (11 November 1579, Antwerp – 19 August 1657, Antwerp) was a Flemish painter of animals, hunting scenes, market scenes, and still lifes. A versatile artist, his works depict all sorts of foods, utensils and tableware and wide assortment of animals. He was one of the earliest specialist an... |
Life |
Snyders was born in Antwerp as the son of Jan Snijders, the keeper of a wine inn frequented by artists. According to legend the famous 16th-century painter Frans Floris squandered his fortune in the inn of his father. Snyders' mother was Maria Gijsbrechts. Snyders had five siblings. His brother Michiel also became ... |
Snyders was recorded as a student of Pieter Brueghel the Younger in 1593, and subsequently trained with Hendrick van Balen, who was the first master of Anthony van Dyck. Snyders became a master of the Antwerp Guild of Saint Luke in 1602. He travelled to Italy in 1608-9 where he first resided in Rome. The artist subsequ... |
Snyders had returned to Antwerp in the spring of 1609. In 1611 he married Margaretha, the sister of Cornelis de Vos and Paul de Vos, two leading painters in Antwerp. His collaboration with Rubens started in the 1610s. |
Snyders had many patrons including the Ghent Bishop Antonius Triest who commissioned four paintings of market scenes around 1615 (Hermitage Museum, Saint Petersburg). He was a friend of van Dyck who painted Snyders and his wife more than once (Frick Collection, Kassel etc.). Snyders was commercially successful and was... |
In the period 1636–1638, he was one of the Antwerp artists who assisted Rubens in a large commission for decorations for the hunting pavilion Torre de la Parada of Philip IV of Spain. The two artists also worked together on decorations for the Royal Alcazar of Madrid and the royal Buen Retiro Palace in Madrid. Snyders... |
After Peter Paul Rubens' death Snyders acted as one of the appraisers of the inventory of Rubens' collection. |
In the years 1641 and 1642 Snyders traveled with other artists to the Dutch Republic. In 1646 Snyders was probably in Breda working on a commission. Snyders became a widower in 1647. He died himself on 19 August 1657 in Antwerp. He died childless and bequeathed his fortune to his sister, a beguine. The Antwerp art de... |
He had many apprentices. His pupils are believed to have included Nicasius Bernaerts, Peter van Boucle, Juriaen Jacobsze, Jan Roos and Paul de Vos. Jan Fyt (Joannes Fijt) was a student, and then assistant of Snyders from 1629. Peter van Boucle claimed that he was a pupil of Frans Snyders but there are no written source... |
Work |
General |
Sny initially devoted himself to painting flowers, fruit and still lifes. Later he turned to painting animals. He was particularly interested in depicting wild animals, which he showed engaged in lively hunts and fierce combats. He was one of the earliest specialist animaliers. His work as an animal painter was very... |
His residence in Italy is believed to have had an important influence on his style of fruit painting. He is likely to have seen Caravaggio's Basket of Fruit in Cardinal Borremeo's collection in Milan. |
Market and pantry scenes |
He painted many market scenes and his earliest work in this area was inspired by the work of Pieter Aertsen and Joachim Beuckelaer who had pioneered and developed the genre in 16th century Antwerp. Whereas Aertsen and Beuckelaer often included a religious scene in the background of their market pieces, Snyders dispense... |
He not only created many large market and pantry scenes and game still lifes, usually including dead deer, he also painted smaller works which were reminiscent of the breakfast pieces and still lifes that originated in northern art around 1600. Rather than continue the descriptive manner of the Antwerp painter Osias ... |
Snyders typically depicted game in the stage before it is prepared as food. These dead animals therefore resemble hunting trophies, which were often not even intended as food but rather for stuffing. Snyders often included live animals such as cats to create a contrast between the animate and inanimate elements. Snyd... |
The large and abundant still lifes of Snyders have been interpreted in many ways. Some read a propagandistic message into these paintings. The display of the luxurious abundance available in Antwerp which was at the time under Spanish administration possibly served the propagandistic purpose of showing the superiori... |
While in the Baroque tradition many of his compositions are complex and dynamic some are more focused and quiet. An example of the latter is the Grapes, Peaches and Quinces in a Niche (Museum of Fine Arts, Boston), where his brushwork is also more sketchy than usual. |
Collaborations |
Snyders is believed to have been a skilled figure painter in his own right as is evidenced by Jan Breughel the Elder's request that he make a copy after a Titian portrait in the Borromeo collection during his stay in Milan. |
Even so, he still often collaborated with figure artists such as Rubens, Anthony van Dyck, his brother-in-law Cornelis de Vos, Theodoor van Thulden and Jan Boeckhorst, who painted the figures in compositions to which he added the still life elements. He also collaborated with landscape specialists such as Jan Wildens,... |
Collaborations with Rubens were particularly frequent. Snyders' expressiveness and ability to render different textures of furs and skins excited the admiration of Rubens. Rubens frequently employed him to paint animals, fruit and still life in his own pictures. Snyders developed a particularly close collaborative r... |
His pupil and brother-in-law Paul de Vos was also a regular collaborator with Rubens. One art historian has compared Paul de Vos' contributions to Rubens' hunting scenes with those of Frans Snyders' and found de Vos to be less accurate in the animal anatomy and less accomplished in the psychological expression of the ... |
Snyders also painted the still life elements for other Antwerp painters such as Jacob Jordaens, Thomas Willeboirts Bosschaert, Jan Janssens and other artists. Frans Snyders collaborated with his second brother-in-law Cornelis de Vos. An example is the Still life with fruit and vegetables, which likely represents a la... |
Animalier |
Snyders was the first artist to concentrate on incidents exclusively featuring animals in everyday environments. In these creations animals such as dogs, cats and monkeys were the sole protagonists. The scenes included fights between animals, hunts by animals, scenes from fables and symbolic representations. |
Concert of Birds |
One of the symbolic representations that Snyders created and to which he returned regularly is the concert of birds. Compositions on this theme represent different species of birds perched on tree trunks in the form of a concert of birds, sometimes with a musical score. |
The theme of the concert of birds predates the courtly fashion of the Baroque period of maintaining aviaries. |
The theme has its roots in the representations of Aeolus with birds in the Middle Ages, which became very popular at the end of the 16th century. Its symbolic meaning is linked to the representation of the birds of Saint Francis of Assisi and to the devotion to Our Lady of the Birds. According to legend, in the 13th ... |
One of the four Concert of Birds pictures by Frans Snyders in the Prado Museum shows an owl on a branch. The owl conducts the other 15 species of birds shown in the composition while it holds a musical score between its legs. As in many of Snyders' compositions, the larger birds are placed near the border and protect t... |
Monkey business |
His compositions with monkeys wreaking havock became very popular. The Louvre collection holds four such monkey-themed paintings. Three of them show capuchin monkeys pillaging baskets of fruit and toppling dishes in pantries or in an outdoor setting. The monkeys are painted with naturalism, neither idealizing nor car... |
While the monkey had since the Middle Ages symbolized the sinner - a greedy, lecherous creature, driven by its senses only – during the 16th and 17th centuries it became the symbol of stupidity. Through their uncontrolled grabbing and consuming of food the monkeys show their barbaric nature which is driven solely by an... |
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