Shrovetide Revellers (The Merry Company)
Frans Hals
Frans Hals the Elder was a Dutch Golden Age painter, normally of portraits, who lived and worked in Haarlem. Hals played an important role in the evolution of 17th-century group portraiture.
Max Resolution:1940×2508 PX
Title:Shrovetide Revellers (The Merry Company)
Artists:Frans Hals
Date:c.1615
Style:Baroque
Genre:portrait
Medium:oil,canvas
Location:Metropolitan Museum of Art (Met), New York City, NY, US
Dimensions:131.4×90.8 cm
Copyright:Public domain
Shrovetide Revellers is a painting by the Dutch Golden Age painter Frans Hals, painted in 1615 and now in the Metropolitan Museum of Art, New York City. The painting shows people enjoying festivities at Shrovetide (Dutch: Carnaval).
The painting shows the face of an elegantly dressed smiling woman raising her right finger to make a point, while a man with a string of wurst around his neck grabs her shoulder to whisper in her ear. Another amused gentlemen leans on his shoulder and listens to their banter. Some claim these are the Baroque theatre characters Hans Wurst and Peeckelhaeringh. Behind them other people are talking and laughing.
The painting was first documented by Wilhelm von Bode in 1883, and after that was included in most catalogs of Hals' works, including by Ernst Wilhelm Moes in 1909, Hofstede de Groot in 1910, by W.R. Valentiner in 1923, and by Gerrit David Gratama in 1946. The MET lists an Amsterdam sale entry from 1765 mentioning a genre work of Vasten-Avond, or Shrovetide, and Slive mentions a period drawing by Mathys van den Bergh.
The female wears much more brightly colored clothing than any of Hals other sitters, and shows a strong resemblance to the young woman portrayed in Hals' Yonker Ramp and His Sweetheart. Both are considered to be genre works today, so the models could be anyone in Hals circle such as his children or pupils. In his 1989 catalog of the international Frans Hals exhibition, Slive included a full color photo of this work to demonstrate Hals' "love of life". The painting itself could not be included in the exhibition because it can never be lent out. It is interesting to note that in the same year that Slive was writing his exhibition catalog, Claus Grimm rejected the attribution of this painting to Frans Hals, though he conceded it was probably after a painting by Hals, calling it a copy of a lost original.
Hals' positioning of the figures are related to two other known paintings:
The painting shows the face of an elegantly dressed smiling woman raising her right finger to make a point, while a man with a string of wurst around his neck grabs her shoulder to whisper in her ear. Another amused gentlemen leans on his shoulder and listens to their banter. Some claim these are the Baroque theatre characters Hans Wurst and Peeckelhaeringh. Behind them other people are talking and laughing.
The painting was first documented by Wilhelm von Bode in 1883, and after that was included in most catalogs of Hals' works, including by Ernst Wilhelm Moes in 1909, Hofstede de Groot in 1910, by W.R. Valentiner in 1923, and by Gerrit David Gratama in 1946. The MET lists an Amsterdam sale entry from 1765 mentioning a genre work of Vasten-Avond, or Shrovetide, and Slive mentions a period drawing by Mathys van den Bergh.
The female wears much more brightly colored clothing than any of Hals other sitters, and shows a strong resemblance to the young woman portrayed in Hals' Yonker Ramp and His Sweetheart. Both are considered to be genre works today, so the models could be anyone in Hals circle such as his children or pupils. In his 1989 catalog of the international Frans Hals exhibition, Slive included a full color photo of this work to demonstrate Hals' "love of life". The painting itself could not be included in the exhibition because it can never be lent out. It is interesting to note that in the same year that Slive was writing his exhibition catalog, Claus Grimm rejected the attribution of this painting to Frans Hals, though he conceded it was probably after a painting by Hals, calling it a copy of a lost original.
Hals' positioning of the figures are related to two other known paintings: