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A Music Party

Dirk Hals (Dutch, 1591 – 1656)Circa. 1630 - 1640

USC Fisher Museum of Art

USC Fisher Museum of Art
Los Angeles, United States

Small pictures of elegant people feasting, drinking, flirting and playing music or gambling became very popular in the first half of the seventeenth century. Dirk Hals specialized in this kind of painting. The most important influences on him were the lively works of William Buytwech (1591 – 1624). Elias van de Velde had painted similar pictures in the decade before. Together, the three artists developed this time of “Merry Company” scene. Although Dirk Hals studied with his elder brother Frans (1582/83 – 1666), and the influence of his brother’s style is frequently obvious, the scarcity of works from Fans Hals’ early period makes it difficult to determine how much the elder influenced the younger.

In the seventeenth century, Dirk Hals was not overshadowed by the reputation of his elder brother. He was equally well regarded and established himself as a popular artist whose works were appreciated and collected. He was also an innovator in Dutch genre; the work of the “Merry Company” artists and “not (Frans) Hals, laid the foundation for the great accomplishment of the artists of the following generation who specialized in genre scenes set in interiors: Terborch, Pieter de hooch, and Vermeer.” (Slive 1970, 72).

The USC Fisher Museum’s “A Music Party” is an excellent example of the work of Dirk Hals. It belongs to the later period of the artist (c. 1630 – 1640) when he showed a preference for interiors. Our painting is signed with a monogram, now barely discernable, on the chair rail on the lower left. Although his work was crucial to the next generation when the interior would take on a new importance, Hals was particularly known for his figures. Dirk van Dalen, an architectural painter, would ship his paintings from Zeeland so that Dirk Hals could place figures in his fanciful interiors.

Around 1630 the color scheme of Dutch painting became more subdued. Dirk Hals followed this trend as his palette became more monochromatic with spare color accents. “A Music Party” displays this sense of coloration well. The major tones of the painting are pale and mellow, yet achieves a lively and interesting effect, containing pleasing contrasts.

Despite the political and economic dislocations of the seventeenth century, Dirk Hals’ generation was able to take advantage of a relatively greater degree of stability. This led the poor cloth worker’s son to an interest in scenes and pleasure. “Rubens’ figures are presented as pillars of their society, whereas Dirk Hals’ are merely ornaments of theirs, and amusing at that” (Metropolitan Museum of Art 1985, 266).

Some have interpreted these graceful scenes, as well as the entire content of Dutch seventeenth century art as a “hidden warning.” This warning, against sexual vice, vanity, or evil doing in general has even been found in Dirk Hals’ pictures of children. However, this type of picture developed out of the theme of the prodigal son feasting (MET 1985, 265). The attractiveness of the setting and its participants argues against concealed negativity on the part of Dirk Hals. We need not search for “hidden warnings” in this roomful of beautiful people having such a good time. Instead, we can appreciate it as a document of bourgeois fashions and activities as well as a fine example of the skill of an artist who chose, rightfully, to celebrate the joys of life.

Excerpted from "Masterworks from the 16th & 17th Centuries" catalog. Entry by Nancy Weston. (Los Angeles: USC Fisher Museum of Art, 1987), 20.

Bibliography:
Slive, Seymore. Frans Hals, Vol. I. London: Phaidon, 1970.
“Lichtenstein: the Princely Collections.” New York: The Metropolitan Museum of Art, 1985.

Details

  • Title: A Music Party
  • Creator: Dirk Hals (Dutch, 1591 – 1656)
  • Date Created: Circa. 1630 - 1640
  • Physical Location: USC Fisher Museum of Art, Los Angeles, Gift of Mrs. Elizabeth Holmes Fisher, EF:47
  • Physical Dimensions: 48.3 x 71.1 cm (19 x 28 in.)
  • Rights: Photography by Brian Forrest
  • Medium: Oil on Panel

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