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Expressionism and the general favor in which these movements are held, does that mean that responses like the one above are inherently anachronistic? In this paper, I will argue that Hals's method was considered virtuoso by his contemporary audience and not just particularly lively, as has long been assumed. The earliest descriptions of Hals's paintings not only judged them to be particularly masterful, but these accounts also referred back to a tradition of rough painters exalted in theory and practice. I will show that Hals was appreciated as a master painter par Christopher D.M. Atkins Frans Hals, Portrait 0/a man, ca 1660-66, oil on canvas, Musee Jacquemart-Andre, Paris excellence by a sophisticated and knowledgeable community of consumers that perceived Hals's style as particularly artful. In their minds, a portrait painted by Hals simultaneously recorded an individual's features and existed as a valued work of an. Furthermore, I will explore how Hals's manner, because it was so valued, marked those who sat for hirn as cultivated virtuosi-liefhebbers who possessed enough knowledge of the ans to appreciate the artfulness of rough painting. Virtuosity In his 1980 article "On Virtuosity", Thomas Carson Mark offered three features that deBne a work of
Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek Online – Brill
Published: Jan 1, 2003
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