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Frans Hals
Shrovetide Revellers c. 1615 (MET)
Story of a common feast where a man dresses up as a woman and plays "princess" for a day. Debated whether the woman in the center is actually a woman or a man. Sausages hint that the man on the right is more endowed than the man on the left who sits behind the delflated bagpipes, indicating his impotence. |
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Frans Hals
Boy Drinking c.1626-28
Often thought to be the Taste painting in a series of the five senses. |
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Frans Hals
Malle Babba c.1630-33
Elderly crazy woman, Hals is very loose with his brushstrokes. |
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Frans Hals
Catherina Hooft and Her Nurse c.1619-20
Portrait is of the young girl but maids were very important in a child's rearing, so the maid is pictured alongside the girl. The clothing shows off the status of the child. |
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Frans Hals
The Laughing Cavalier, 1624 |
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Frans Hals
Portrait of a Standing Man c.1650-52 (MET)
Hals gets a lot looser with his brushstrokes later in his career, moving more towards an impressionistic style. |
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Frans Hals
Banquet of the Officers of the St. George Civic Guard COmpany of Haarlem, 1616 |
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Rembrandt
Self Portrait, 1629 |
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Rembrandt
The Artist in His Studio, c.1629
The studio is bare, the painting palette has not been used, there is a golden glow emanating from the canvas that the viewer cannot see. |
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Rembrandt
Self-Portrait Leaning on a Stone Sill, 1640 |
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Rembrandt
Self-Portrait With Saskia on his Lap, 1635 |
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Rembrandt
St. Paul at His Writing Desk, c.1629-30 |
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Rembrandt
The Prodigal Son, c.1635
Story told by Jesus in the bible about forgiveness. |
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Rembrandt
The Anatomy Lesson of Dr. Tulp, 1632 |
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Rembrandt
The Blinding of Samson, 1636 |
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Rembrandt
The Night Watch, 1642 |
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Rembrandt
Aristotle with a Bust of Homer, 1653 (MET)
Intense impasto on the golden chain of Aristotle, the brushwork has become much looser in his later works. |
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Rembrandt
Sampling Officials of the Amsterdam Draper's Guild (The Syndics), 1662 |
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Rembrandt
The Conspiracy of Claudius Civilus, 1661-2
Was much bigger when first commissioned, but was rejected so it was cut down in hopes that someone would want the center section (which is what remains). |
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Rembrandt
Portrait of an Oriental, 1633 (MET) |
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