Frans Hals (Antwerp c. 1582/83 - Haarlem 1666)

Frans Hals was born in Antwerp, probably in 1582 or 1583, as the eldest son of Franchois Fransz Hals, a cloth dresser from Mechelen, and his second wife, Adriana van Geertenryck. He emigrated with his family to Haarlem sometime between the end of 1585 and July 1586. The earliest documentation of the family’s presence in Haarlem is the 19 March 1591 baptism of Frans’s younger brother Dirck into the Reformed Church there. Hals joined the Guild of St Luke in 1610, when he was about 28 years old. In 1644, he was appointed warden of the guild for one year. Nothing is known about his career before 1610, except that he might have been apprenticed to Karel van Mander. This information is supplied by the older artist’s anonymous biographer in the introduction to the second edition of the Schilder-boeck. Van Mander himself says nothing to this effect in the first edition, however. The hypothetical apprenticeship would have taken place before 1603, when Van Mander left Haarlem. Hals served as a musketeer in the St George Civic Guard from 1612 to 1624, and in 1616 he was listed as a friend (‘beminnaer’) of the Haarlem chamber of rhetoric, De Wijngaardranken.

Hals’s first marriage to Anneke Harmensdr was shortlived. They married around 1610 and Anneke died in 1615. In 1617, Hals posted the banns for his second marriage, to Lysbeth Reyniersdr (1593-1675). In the meantime, he had visited Antwerp for several months in 1616. His son Harmen (1611-69) from his first marriage and four of his seven sons from his second marriage, Frans the Younger (1618-69), Reynier (1627-72), Claes (1628-86) and Jan (c. 1620-54), also became painters. Hals was probably responsible for their training. According to Houbraken, he was also the teacher of Adriaen Brouwer (c. 1605/06-38) and Adriaen van Ostade (1610-85), and De Bie mentions Philips Wouwerman (1619-68) as a pupil. In 1635, Judith Leyster (1609-60), who had most likely been a pupil of Hals herself, accused him of luring away her pupil Willem Woutersen (dates unknown). None of Hals’s pupils were recorded as such by the guild.

Hals’s earliest dated painting, the Portrait of Jacobus Hendricksz Zaffius, is known from a copy dated 1611 and an engraving by Jan van de Velde II, dated 1630.¹¹For the copy, in the Frans Hals Museum, Haarlem, and Van de Velde’s print see Van Thiel 1993 (ill.). His last dated works are from 1650, although he was certainly active after that year. The majority of his paintings are portraits of individuals, couples shown in pendants, and groups, both families and municipal bodies. Hals received several commissions for official group portraits, most notably for five militia pieces for the headquarters of the Haarlem St George civic guard and the arquebusiers’ civic guard executed between 1616 and 1639. In 1633, he was commissioned by the officers and guardsmen of the XIth District in Amsterdam to paint their portrait (SK-C-374). Hals, however, never completed the commission. In 1641, he portrayed the regents of the St Elisabeth’s Hospital as a pendant to Johannes Verspronck’s portrait of the regentesses.²²Haarlem, Frans Hals Museum; illustrated in Slive II, 1970, pl. 226. At the end of his career, Hals painted the regents and regentesses of the Haarlem Old Men’s Home.³³These paintings are traditionally dated 1664. Haarlem, Frans Hals Museum; illustrated in Slive II, 1970, pls. 340, 349. In addition to portraits, Hals painted several genre scenes, the subjects of which can sometimes be related to the chamber of rhetoric. The influence of the Utrecht Caravaggisti is apparent in the style and often the choice of subject matter of his genre scenes. Apart from supposed scenes of the Prodigal Son, Hals’s only known biblical paintings are a series of the four evangelists from around 1625.⁴⁴St Luke, St Mark, Odessa, Museum of Western European and Oriental Art; illustrated in Slive II, 1970, pls. 72, 73; St Mark, private collection; illustrated in Washington etc. 1989, p. 193, fig. 22b; St John the Evangelist, Los Angeles, The J. Paul Getty Museum; illustrated in the catalogue for the sale, London (Sotheby’s), 3 July 1997, no. 22. In addition to selling his own works, Hals occasionally sold those of other artists, cleaned and restored paintings, and made valuations.

Hals was in debt during most of his career, and in the last few years of his life could no longer make ends meet. In 1661, he was exempted from paying his annual guild dues on account of his age. In 1662, he received a subsidy from the town, and two years later was awarded a life pension of 200 guilders annually, three cartloads of peat and his rent was paid for him. Hals died in 1666 and was buried in the choir of St Bavokerk. In his own lifetime, he was eulogized by Samuel Ampzing and Theodorus Schrevelius, both of whom Hals immortalized in paint.⁵⁵Portrait of Samuel Ampzing, c. 1630; private collection; illustrated in Slive II, 1970, pl. 139; Portrait of Theodorus Schrevelius, 1617, Haarlem, Frans Hals Museum; illustrated in Slive II, 1970, pl. 23.

Jonathan Bikker, 2007

References
Van Mander 1618, fol. Siiir; Ampzing 1621, unpag.; Ampzing 1628, p. 371; Schrevelius 1648, p. 289; Houbraken I, 1718, pp. 90-95; Van der Willigen 1866, pp. 116-23; Bredius 1913b; Bredius 1914; Bredius 1917; Bredius VI, 1919, p. 2216; Bredius 1921; Bredius VII, 1921, p. 281; Hofstede de Groot in Thieme/Becker XV, 1922, pp. 531-34; Bredius 1923a; Van Roey 1957; Van Hees 1959; Van Roey 1972, pp. 148-51; Van Thiel-Stroman 1989 (documents); Van Thiel-Stroman in Haarlem-Worcester 1993, pp. 234-35; Worm in Turner 1996, XIV, pp. 91-96; Van Thiel-Stroman 2006, pp. 178-84