1 A visit to the workshop
- 1.1 A new visual approach
- 1.2 The fully autograph paintings
- 1.3 Collaborations with other artists
- 1.4 Contributions by the workshop
- 1.5 An understanding of craftmanship
- 1.6 Compositions based on the master’s directions
- 1.7 The interplay of various ‘hands’
- 1.8 The difficult anatomy of hands
- 1.9 Willem Buytewech in Hals‘s workshop
- 1.10 A connection with Judith Leyster
- 1.11 Representing movement
- 1.12 Increasing involvement of the workshop in the civic guard portraits
- 1.13 Prints made after the master’s design
- 1.14 The challenging attribution of the miniature portraits
- 1.15 A presumably more expensive commission
- 1.16 Genre paintings by workshop-assistants, based on designs by Hals
- 1.17 Free compositions based on templates by Hals
- 1.18 The merry fisherchildren
- 1.19 The production of genre-like portraits in the Hals workshop
- 1.20 The workshop during the 1640s and 1650s
- 1.21 Hals’s assistants during his later career
- 1.22 Frans I and Frans II
2 By his own hand
- 2.1 Hals as painter of ruffs, cuffs and lace
- 2.2 Hals’s contribution to the major painting projects
- 2.3 Hals’s more successful imitator
- 2.4 Momentary captures of short movements
- 2.5 Flickering ornaments
- 2.6 Expressive inclinations
- 2.7 Benchmarks, autograph and undamaged
- 2.8 What did Frans Hals look like?
- 2.9 Epilogue: Hals’s particular art
3 Frans Hals in his time
- 3.1 An advanced state of research
- 3.2 Changing perceptions of Frans Hals
- 3.3 The personal circumstances of the painter Frans Hals
- 3.4 The development of Frans Hals the artist
- 3.5 Hals’s recognition by his contemporaries
- 3.6 Colleagues and competitors
- 3.7 Patrons, supporters, maecenases
- 3.8 Experiencing the art of Frans Hals
