Bartholomeus van der Helst
1613-1670 Dutch Bartholomeus Van Der Helst Galleries Dutch painter. He was the son of a Haarlem inn-keeper and presumably undertook part or all of his training in Amsterdam. His earliest works suggest that the painter Nicolaes Eliasz. Pickenoy was his master. Although van der Helst had probably already established himself as an independent master by the time he married Anna du Pire in Amsterdam in 1636, his earliest known work, a portrait of The Regents of the Walloon Orphanage, Amsterdam (Amsterdam, Maison Descartes), dates from 1637. Stylistically it is close to the work of Pickenoy. His portrait of a Protestant Minister of 1638 (Rotterdam, Boymans-van Beuningen) reveals the influence of Rembrandt. The young artist must have risen rapidly to fame in Amsterdam, for as early as 1639 he received the prestigious commission for a large painting for the Kloveniersdoelen (Arquebusiers or Musketeers Hall): The Civic Guard Company of Capt. Roelof Bicker and Lt Jan Michielsz. Blaeuw (Amsterdam, Rijksmus.), which formed part of the same series as Rembrandt Night Watch (Amsterdam, Rijksmus.). Van der Helst may not have completed this commission until 1642 or 1643. The ingenious arrangement of the figures in a broad composition shows the artist special talent for composing large groups. Pickenoy influence is less noticeable here than in the portrait of 1637; the self-assured poses of the individual figures were to become a characteristic feature of van der Helst work. The successful execution of this portrait established van der Helst reputation: from 1642, when he began to receive an increasing number of commissions for individual portraits, until 1670 he was the leading portrait painter of the ruling class in Amsterdam. From 1642 his technique in portrait painting gradually became more fluent and the rendering of costume materials more detailed. Some typical portraits of his earlier period are those of Andries Bicker (Amsterdam, Rijksmus.), his wife Catharina Gansneb Tengnagel (Dresden, Gemeldegal. Alte Meister) and their son Gerard Bicker (Amsterdam, Rijksmus.), all of 1642, and the Portrait of a Young Girl (1645; London, N.G.). In 1648 van der Helst painted a second civic guard portrait, The Celebration of the Peace of M?nster at the Crossbowmen Headquarters, Amsterdam (Amsterdam, Rijksmus.), a superbly composed and well painted portrait that, until the late 19th century, was considered one of the masterpieces of the Golden Age but later lost popularity because of its smooth and modish execution. It can nevertheless still be regarded as one of the most important group portraits of the 17th century. Its technical perfection, characterized by a well-modelled rendering of the figures and a smooth handling of the brush, dominated the rest of van der Helst oeuvre.

 

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Bartholomeus van der Helst The Regents of the Kloveniersdoelen Eating a Meal of Oysters oil painting   

Painting ID::  1627
Bartholomeus van der Helst
The Regents of the Kloveniersdoelen Eating a Meal of Oysters
1655 Amsterdam History Museum

   
   
     

 

 

Bartholomeus van der Helst Family Portrait oil painting   

Painting ID::  1628
Bartholomeus van der Helst
Family Portrait
1652 The Hermitage, St.Petersburg

   
   
     

 

 

Bartholomeus van der Helst Self-Portrait oil painting   

Painting ID::  26850
Bartholomeus van der Helst
Self-Portrait
mk52 1662 Oil on canvas 132.5x112cm Kunsthalle,Hamburg

   
   
     

 

 

Bartholomeus van der Helst Family Portrait oil painting   

Painting ID::  29330
Bartholomeus van der Helst
Family Portrait
mk65 1652 Oil on canvas 74x89"

   
   
     

 

 

Bartholomeus van der Helst Portrait of a Girl in Pale Blue with an Ostrich Feather Fan oil painting   

Painting ID::  43156
Bartholomeus van der Helst
Portrait of a Girl in Pale Blue with an Ostrich Feather Fan
mk170 1645 Oil on canvas 75.4x65.3cm

   
   
     

 

 

Bartholomeus van der Helst Celebration zun peace of Munster in the general quarters of the St. Jorisdoele oil painting   

Painting ID::  45701
Bartholomeus van der Helst
Celebration zun peace of Munster in the general quarters of the St. Jorisdoele
mk186 1648 Amsterdams, Rijksmuseum

   
   
     

 

 

Bartholomeus van der Helst Governors of the archers' civic guard, Amsterdam oil painting   

Painting ID::  66090
Bartholomeus van der Helst
Governors of the archers' civic guard, Amsterdam
Oil on canvas on panel 49.1 x 68.1 cm (19.33 x 26.81 in) 1653

   
   
     

 

 

Bartholomeus van der Helst Nude drawing back the curtain oil painting   

Painting ID::  68690
Bartholomeus van der Helst
Nude drawing back the curtain
Medium Oil on canvas Dimensions 123.5 X 96 cm

   
   
     

 

 

Bartholomeus van der Helst Lady in Black oil painting   

Painting ID::  71627
Bartholomeus van der Helst
Lady in Black
Date ca. 1640 Dimensions 97 x 82 cm (38.19 x 32.28 in)

   
   
     

 

 

Bartholomeus van der Helst Portrat eines Patrizierpaares oil painting   

Painting ID::  72593
Bartholomeus van der Helst
Portrat eines Patrizierpaares
1661(1661) Oil on canvas 186 X 149 cm cjr

   
   
     

 

 

Bartholomeus van der Helst Portrat eines Patrizierpaares oil painting   

Painting ID::  74348
Bartholomeus van der Helst
Portrat eines Patrizierpaares
Date 1661(1661) Medium Oil on canvas Dimensions Deutsch: 186 X 149 cm cyf

   
   
     

 

 

Bartholomeus van der Helst Portrait of a Family oil painting   

Painting ID::  77439
Bartholomeus van der Helst
Portrait of a Family
Date 1647(1647) Medium Oil on canvas cyf

   
   
     

 

 

Bartholomeus van der Helst Four aldermen of the Kloveniersdoelen in Amsterdam oil painting   

Painting ID::  78250
Bartholomeus van der Helst
Four aldermen of the Kloveniersdoelen in Amsterdam
Date 1655 Medium Oil on canvas Dimensions 171 x 283 cm (67.3 x 111.4 in) cyf

   
   
     

 

 

Bartholomeus van der Helst Anna du Pire as Granida oil painting   

Painting ID::  79878
Bartholomeus van der Helst
Anna du Pire as Granida
1660(1660) Oil on canvas Height: 70 cm (27.6 in). Width: 58.5 cm (23 in). cjr

   
   
     

 

 

Bartholomeus van der Helst Carpentier and Child oil painting   

Painting ID::  79960
Bartholomeus van der Helst
Carpentier and Child
1652(1652) Medium Oil on canvas Dimensions Height: 188 cm (74 in). Width: 227 cm (89.4 in). cyf

   
   
     

 

 

Bartholomeus van der Helst Portrait of Paulus Potter oil painting   

Painting ID::  83119
Bartholomeus van der Helst
Portrait of Paulus Potter
1654 Medium Oil on canvas Dimensions 99 x 80 cm (39 x 31.5 in) cyf

   
   
     

 

 

Bartholomeus van der Helst Portrait of a woman oil painting   

Painting ID::  85295
Bartholomeus van der Helst
Portrait of a woman
Date 1649(1649) Medium Oil on canvas cjr

   
   
     

 

 

Bartholomeus van der Helst Abraham del Court and his wife Maria de Keerssegieter oil painting   

Painting ID::  92826
Bartholomeus van der Helst
Abraham del Court and his wife Maria de Keerssegieter
1654 Medium oil on canvas Dimensions 172 X 146 cm (67.7 X 57.5 in) cjr

   
   
     

 

 

Bartholomeus van der Helst Andries Bicker (1586-1652). Trader with Russia and burgomaster of Amsterdam oil painting   

Painting ID::  93117
Bartholomeus van der Helst
Andries Bicker (1586-1652). Trader with Russia and burgomaster of Amsterdam
1642 Medium oil on panel Dimensions 93.5 X 70.5 cm (36.8 X 27.8 in) cjr

   
   
     

 

 

Bartholomeus van der Helst Portrait of a Gentleman oil painting   

Painting ID::  98097
Bartholomeus van der Helst
Portrait of a Gentleman
1653(1653) Medium oil on canvas Dimensions 111.2 x 95.1 cm cyf

   
   
     

 

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Bartholomeus van der Helst
1613-1670 Dutch Bartholomeus Van Der Helst Galleries Dutch painter. He was the son of a Haarlem inn-keeper and presumably undertook part or all of his training in Amsterdam. His earliest works suggest that the painter Nicolaes Eliasz. Pickenoy was his master. Although van der Helst had probably already established himself as an independent master by the time he married Anna du Pire in Amsterdam in 1636, his earliest known work, a portrait of The Regents of the Walloon Orphanage, Amsterdam (Amsterdam, Maison Descartes), dates from 1637. Stylistically it is close to the work of Pickenoy. His portrait of a Protestant Minister of 1638 (Rotterdam, Boymans-van Beuningen) reveals the influence of Rembrandt. The young artist must have risen rapidly to fame in Amsterdam, for as early as 1639 he received the prestigious commission for a large painting for the Kloveniersdoelen (Arquebusiers or Musketeers Hall): The Civic Guard Company of Capt. Roelof Bicker and Lt Jan Michielsz. Blaeuw (Amsterdam, Rijksmus.), which formed part of the same series as Rembrandt Night Watch (Amsterdam, Rijksmus.). Van der Helst may not have completed this commission until 1642 or 1643. The ingenious arrangement of the figures in a broad composition shows the artist special talent for composing large groups. Pickenoy influence is less noticeable here than in the portrait of 1637; the self-assured poses of the individual figures were to become a characteristic feature of van der Helst work. The successful execution of this portrait established van der Helst reputation: from 1642, when he began to receive an increasing number of commissions for individual portraits, until 1670 he was the leading portrait painter of the ruling class in Amsterdam. From 1642 his technique in portrait painting gradually became more fluent and the rendering of costume materials more detailed. Some typical portraits of his earlier period are those of Andries Bicker (Amsterdam, Rijksmus.), his wife Catharina Gansneb Tengnagel (Dresden, Gemeldegal. Alte Meister) and their son Gerard Bicker (Amsterdam, Rijksmus.), all of 1642, and the Portrait of a Young Girl (1645; London, N.G.). In 1648 van der Helst painted a second civic guard portrait, The Celebration of the Peace of M?nster at the Crossbowmen Headquarters, Amsterdam (Amsterdam, Rijksmus.), a superbly composed and well painted portrait that, until the late 19th century, was considered one of the masterpieces of the Golden Age but later lost popularity because of its smooth and modish execution. It can nevertheless still be regarded as one of the most important group portraits of the 17th century. Its technical perfection, characterized by a well-modelled rendering of the figures and a smooth handling of the brush, dominated the rest of van der Helst oeuvre.