Oil On Canvas, Real Flavor of Old Masters

All Bartholomeus van der Helst 's Paintings
The Painting Names Are Sorted From A to Z

ID Image  Painting (From A to Z)       Details 
92826  
Abraham del Court and his wife Maria de Keerssegieter, 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
93117  
Andries Bicker (1586-1652). Trader with Russia and burgomaster of Amsterdam, 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
79878  
Anna du Pire as Granida, 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
79960  
Carpentier and Child, 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
45701  
Celebration zun peace of Munster in the general quarters of the St. Jorisdoele, Bartholomeus van der Helst
  		 Celebration zun peace of Munster in the general quarters of the St. Jorisdoele   mk186 1648 Amsterdams, Rijksmuseum
1628  
Family Portrait, Bartholomeus van der Helst
  		 Family Portrait   1652 The Hermitage, St.Petersburg
29330  
Family Portrait, Bartholomeus van der Helst
  		 Family Portrait   mk65 1652 Oil on canvas 74x89"
78250  
Four aldermen of the Kloveniersdoelen in Amsterdam, 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
66090  
Governors of the archers' civic guard, Amsterdam, 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
71627  
Lady in Black, Bartholomeus van der Helst
  		 Lady in Black   Date ca. 1640 Dimensions 97 x 82 cm (38.19 x 32.28 in)
68690  
Nude drawing back the curtain, Bartholomeus van der Helst
  		 Nude drawing back the curtain   Medium Oil on canvas Dimensions 123.5 X 96 cm
77439  
Portrait of a Family, Bartholomeus van der Helst
  		 Portrait of a Family   Date 1647(1647) Medium Oil on canvas cyf
98097  
Portrait of a Gentleman, Bartholomeus van der Helst
  		 Portrait of a Gentleman   1653(1653) Medium oil on canvas Dimensions 111.2 x 95.1 cm cyf
43156  
Portrait of a Girl in Pale Blue with an Ostrich Feather Fan, Bartholomeus van der Helst
  		 Portrait of a Girl in Pale Blue with an Ostrich Feather Fan   mk170 1645 Oil on canvas 75.4x65.3cm
85295  
Portrait of a woman, Bartholomeus van der Helst
  		 Portrait of a woman   Date 1649(1649) Medium Oil on canvas cjr
83119  
Portrait of Paulus Potter, Bartholomeus van der Helst
  		 Portrait of Paulus Potter   1654 Medium Oil on canvas Dimensions 99 x 80 cm (39 x 31.5 in) cyf
72593  
Portrat eines Patrizierpaares, Bartholomeus van der Helst
  		 Portrat eines Patrizierpaares   1661(1661) Oil on canvas 186 X 149 cm cjr
74348  
Portrat eines Patrizierpaares, Bartholomeus van der Helst
  		 Portrat eines Patrizierpaares   Date 1661(1661) Medium Oil on canvas Dimensions Deutsch: 186 X 149 cm cyf
26850  
Self-Portrait, Bartholomeus van der Helst
  		 Self-Portrait   mk52 1662 Oil on canvas 132.5x112cm Kunsthalle,Hamburg
1627  
The Regents of the Kloveniersdoelen Eating a Meal of Oysters, Bartholomeus van der Helst
  		 The Regents of the Kloveniersdoelen Eating a Meal of Oysters   1655 Amsterdam History Museum
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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