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A candidate of BOLD EAGLE 2018 (BE 18), removes excess paint with a twig during the Final Training Exercise (FTX) of BE 18 at 3rd Canadian Division Support Base Garrison Wainwright’s training area on August 11, 2018.
Image By: Corporal Jay Ekin,
Wainwright Garrison Imaging
WT01-2018-0040-073
WIP -- back of sweater, Bold Ribbed Pullover from "Quick Knits to Wear" in Jaeger Matchmaker Merino DK yarn; child's size 12 for granddaughter Karyssa
Portrait of a Woman Aged Sixty - 1633
Frans Hals
Dutch, c. 1582/1583 - 1666
The strength and vitality of the people who helped establish the new Dutch Republic are nowhere better captured than in the work of Frans Hals, who was the preeminent portrait painter in Haarlem, the most important artistic center of Holland in the early part of the seventeenth century. This unidentified sitter—one of Hals’ most impressive portraits—was sixty years old when the painting was made, according to the artist’s inscription. Hals conveys her strong personality through the twinkle in her eyes, the smile on her lips, the firm grip of her hand on the chair, and the boldness of her silhouette against the light gray-brown background. The small Bible or prayer book she holds implies a pious character, and her clothing is conservative for the period. The velvet-trimmed brocade jacket, satin skirt, and lace cuffs and cap are nonetheless of the highest quality and remind us that Haarlem’s wealth derived from the processing of and trade in textiles. The woman’s elaborate linen ruff collar, starched and supported by concealed wires, was gradually going out of style at this time.
Hals’ portraits were often commissioned as pendants in which a husband and wife face each other, with the man on the left and the woman on the right. It is quite possible that a similarly sized Portrait of an Elderly Man standing behind a chair, currently in the Frick Collection, New York, is the pendant to this superb and engaging work.
Son of Franchoys Hals, a cloth worker from Mechelen, and Adriana van Geertenryck of Antwerp, Frans Hals was probably born in Antwerp in about 1582 or 1583. Sometime after the fall of Antwerp to the Spanish in August 1585, the family moved to Haarlem, in the northern Netherlands. Dirck Hals (1591–1656) followed in his brother Frans’ footsteps and became a painter; a third brother, Joost (died before October 16, 1626), apparently worked as an artist as well, but no works by him have been identified.
According to the posthumous second edition of Karel van Mander’s Het schilder-boeck (1618), Frans Hals had studied painting with the author (1548–1606); if so, this training probably occurred before 1603, when Van Mander left Haarlem for a country estate outside the city to finish writing his book. Van Mander’s teachings, however, did not appear to have much effect on Hals, who rarely depicted the type of subjects that Het schilder-boeck urged young artists to choose and whose style bears no obvious resemblance to that of his mentor. Nonetheless, it should also be noted that extremely little is known of Hals’ activities prior to his late twenties, and it is conceivable that as-yet unearthed or unidentified juvenilia will necessitate a reappraisal of his early career.
Hals is first documented as an artist in 1610, when he entered Haarlem’s Saint Luke’s Guild. His wife, Annetje Harmansdr, died in June 1615, leaving him with two young children, one of whom, Harmen (1611–1669), became a painter. The next year Hals made his only recorded trip outside Holland, traveling to Antwerp, where he stayed from August until November. He remarried in 1617 to Lysbeth Reynier, a feisty woman who was reprimanded by the city authorities on several occasions for brawling. She bore the artist at least eight children—one baptized nine days after the wedding—including the artists Frans the Younger (1618–1669), Reynier (1627–1671), and Nicolaes (1628–1686). Another artist named Jan or Johannes (active c. 1635–1650) was also probably a child of this marriage, and a daughter, Adriaentje, married the Haarlem genre and still-life painter Pieter Gerritsz van Roestraten (1629/1630–1700), bringing the total number of artists in the family to about a dozen, if one includes Hals’ brothers and nephews.
Although Hals specialized in portraiture, he also painted genre scenes and images of the four evangelists. In his early maturity, from 1616 to 1625, he was associated with a Haarlem rederijkerskamer (rhetoricians’ chamber) called De Wijngaertranken (the Grapevines). Appreciation of his painting skills, to which a number of important group portrait commissions testify, was documented as early as 1628, when Samuel Ampzing’s general description of the city of Haarlem included a passage praising Hals’ ability to capture the spirit of his portrait sitters. Despite this recognition, Hals was continually plagued by financial difficulties. Even during the 1630s, when his services as a portraitist seem to have been in the greatest demand, he is known to have been sued by his butcher, his baker, and his shoemaker in pursuit of unpaid debts. In 1654 he paid a debt to a baker by surrendering his household goods and several paintings, and from 1662 until his death he received relief from the burgomasters—an initial gift of 50 guilders, plus an annual allowance of 150 guilders per year, increased to 200 guilders in 1663.
Hals died in Haarlem on August 29, 1666, and was buried in the Church of Saint Bavo on September 1. His only documented pupils were his son-in-law Van Roestraeten and Vincent Laurensz van der Vinne (1628–1702). Houbraken states that Brouwer, Adriaen, Dirck van Delen (1604/1605–1671), Wouwerman, Philips, Ostade, Adriaen van, and Hals’ sons also trained in his studio. His style can be felt in the work of his brother Dirck and that of Leyster, Judith and her husband, Jan Miense Molenaer (c. 1610–1668). Despite his artistic success, Hals was almost totally forgotten after his death. It was not until the 1860s and the rise of realism and then impressionism in the late nineteenth century that the vigorous and free brushwork that brought his portraits of Dutch burghers so vividly to life was once again appreciated by critics, collectors, and contemporary artists.
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For earlier visit in 2024 see:
www.flickr.com/photos/ugardener/albums/72177720320689747/
The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
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