Frans Hals and Gerrit Bleker: A joint collaboration on a fragmented family portrait (1623-1625)

IF 0.1 2区 艺术学 0 ART OUD HOLLAND Pub Date : 2024-05-14 DOI:10.1163/18750176-1370102002
Claus Grimm
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Abstract

Frans Hals (1582-1666) is renowned for his vivid family portraits, usually set outdoors. A debate has long taken place as to whether Hals ran a workshop with assistants and specialists who helped him with the production of particular motifs and genres, such as the landscapes in the background of these often-extensive group portraits. In seeking answers, the monumental family portrait of Gijsbert Claesz van Campen (1585-1645) and Maria Jorisdr Palesteyn (1582-1666) with their thirteen children is particularly illuminating. Based on the meticulous stylistic analysis of the three remaining fragments of this painting – Hals’ earliest-known family group portrait – it can now be determined that the landscape was painted by his contemporary, Gerrit Claesz Bleker (1592-1656).

As a celebrated landscape painter of the time, Bleker must have shared a social and professional network with Hals and his commissioners. The manner in which the trees and foliage in the background and the large goat at its centre have been depicted in the family portrait shares a striking resemblance to Bleker’s other work. The painting can therefore be identified as a joint collaboration between the two Haarlem specialists – possibly the only known occurrence.

The dating of the group portrait to circa 1623-1625 also has important implications for another painting by Frans Hals: the double portrait of Isaac Massa and Beatrix van der Laan. Formerly dated around 1622, the year the two were married, the work reveals such an advanced style and technique that it should instead be placed among Hals’ later works from circa 1627. It also explains why Hals asked another landscape specialist to collaborate; Pieter de Molijn’s skills were more in line with Hals’ new approach to vivid portraits in outdoor settings. Therefore, rather than a usual wedding portrait, as is commonly accepted in literature, this much beloved painting was likely a commission on the occasion of the featured couple’s anniversary in 1627.

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弗兰斯-哈尔斯(Frans Hals)和格利特-布雷克(Gerrit Bleker):共同合作绘制一幅支离破碎的家庭肖像(1623-1625 年)
弗兰斯-哈尔斯(Frans Hals,1582-1666 年)以其生动的家庭肖像画而闻名,这些肖像画通常以户外为背景。长期以来,人们一直在争论哈尔斯是否开设了一个工作室,由助手和专家帮助他创作特定主题和体裁的作品,例如这些经常是大幅群像的背景风景画。在寻找答案的过程中,吉斯伯特-克莱斯-凡-坎彭(Gijsbert Claesz van Campen,1585-1645 年)和玛丽亚-约里斯德尔-帕勒斯坦(Maria Jorisdr Palesteyn,1582-1666 年)及其 13 个子女的巨幅全家福尤其具有启发性。作为当时著名的风景画家,布莱克肯定与哈尔斯及其委托人有着共同的社交和职业网络。在这幅全家福中,背景中的树木和树叶以及中心的大山羊的描绘方式与布雷克的其他作品极为相似。因此,这幅画可以确定为两位哈勒姆专家的共同合作作品,这可能是目前已知的唯一一幅作品。这幅群像的创作年代约为 1623-1625 年,这也对弗兰斯-哈尔斯的另一幅作品产生了重要影响:艾萨克-马萨和贝娅特丽克丝-范德兰的双人肖像。这幅作品以前的创作年代约为 1622 年,也就是两人结婚的那一年,但它所展现的风格和技法都非常先进,因此应将其归入哈尔斯约 1627 年的后期作品之列。这也解释了为什么哈尔斯会邀请另一位风景画专家合作;彼得-德-莫利恩的技巧更符合哈尔斯在户外环境中创作生动肖像的新方法。因此,这幅备受喜爱的画作很可能是为纪念这对新人在 1627 年的结婚周年而创作的,而非文学作品中常见的婚礼肖像。
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来源期刊
OUD HOLLAND
OUD HOLLAND Arts and Humanities-Visual Arts and Performing Arts
CiteScore
0.30
自引率
33.30%
发文量
7
期刊介绍: The periodical Oud Holland is the oldest surviving art-historical periodical in the world. Founded by A.D. de Vries and N. der Roever in 1883, it has appeared virtually without interruption ever since. It is entirely devoted to the visual arts in the Netherlands up to the mid-nineteenth century and has featured thousands of scholarly articles by Dutch and foreign authors, including numerous pioneering art-historical studies. Almost from the magazine’s inception, the publication of archival information concerning Dutch artists has played an important role. From 1885 to his death in 1946, the renowned art historian Dr. Abraham Bredius set a standard of excellence for Oud Holland.
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