Frans Hals Paintings—The Podcast

In the 19th episode of 'Frans Hals Paintings—The Podcast’, I discuss Frans Hals' c. 1626 'Portrait of Isaac Abrahamsz Massa', which is in the collection of the Art Gallery of Ontario. Seymour Slive numbered the work number 21, in his 1974 catalogue, and Claus Grimm accepted it as number 30, in his 1989. It was accepted by Wilhelm von Bode, Cornelis Hofstede de Groot, and William Valentiner. It has been included in the all of the solo Hals exhibitions of the twentieth century, as well as in those of the twenty-first. Prior to its acquisition by the Art Gallery of Ontario, in 1955, it had been in the collection of John Spencer (1924-1992), father of Diana Princess of Wales. The painting features a seated man depicted in a three-quarter view, turned slightly to his left, his face angled toward the viewer. The subject is clad in a richly textured black garment, adorned with subtle patterns that add visual depth. Around his neck, he wears an extravagant white ruff collar, its intricate lacework radiating outward in soft folds that frame his face. Its landscaped background—on suggestion of Seymour Slive, and his proposal for who painted it—has ignited a debate in Hals studies about hals’ landscapes; a conversation that has continued since talk of someone helping with Hals' landscapes was first discussed by Wilhelm von Bode, in 1922. Read Claus Grimm’s 2024 article about Hals’ landscapes and his proposal of Gerrit Bleker being the one who created them within several of Hals' paintings, published in Old Holland. Read Wilhelm von Bode’s 1922 article 'Frans Hals als Landschafter'. You can find John on X ⁠⁠⁠⁠@johnbezold⁠⁠⁠⁠ and at his website ⁠⁠⁠⁠⁠⁠⁠johnbezold.com⁠⁠⁠⁠⁠⁠⁠. 'Frans Hals Paintings—The Podcast' is published by ⁠⁠⁠⁠Semicolon-Press.

In the 18th episode of 'Frans Hals Paintings—The Podcast’, I discuss Frans Hals' c. early-1660s portrait of Issac Abrahamsz Massa, which is in the collection of the Schloss Wilhelmshöhe, in Kassel, Germany. Seymour Slive numbered the work number 217, in his 1974 catalogue, and Claus Grimm accepted it as number 145, in his of 1989. The portrait was included in the solo Hals exhibitions of the twentieth century of 1937, 1962, and in Haarlem in 1990. Issac is portrayed with Hals' characteristic swift, confident brushstrokes: a muted and muddled color palette defines the work, with deep blacks and earthy tones, subtly punctuated by the crisp white collar, which serves to frame the subject's face and draw the viewer's eye to his, slightly mischievous expression. The relaxed pose, with one arm draped over the back of a chair, is quintessentially Hals, reflecting his ability to break from formality and imbue his portraits with a candid, conversational quality that distinguishes his work from that of his contemporaries. Often considered an anomaly, though nearly entrancing when spending prolonged period of looking at the painting in person; this portrait from Hals' last years of his career, and life, displays the mature techniques he had by then refined, concerning contours and borders—which imbues the work with a complex layering of paint, creating 'foggy', vector-like expanses on the canvas. Learn more about Issac Abrahamsz Massa. You can find John on X ⁠⁠⁠⁠@johnbezold⁠⁠⁠⁠ and at his website ⁠⁠⁠⁠⁠⁠⁠johnbezold.com⁠⁠⁠⁠⁠⁠⁠. 'Frans Hals Paintings—The Podcast' is published by ⁠⁠⁠⁠Semicolon-Press.

In the 17th episode of 'Frans Hals Paintings—The Podcast’, I discuss Frans Hals' c. 1620s work titled The Lute Player, which is in the collection of the Louvre. Seymour Slive numbered the work number 19, in his 1974 catalogue, and Claus Grimm accepted it as number 24, in his 1989. It was accepted by Wilhelm von Bode, Cornelis Hofstede de Groot, and William Valentiner. It was included in the solo Hals exhibitions of the twentieth century of 1937 and 1989-1990, though only in London for the latter. Prior to its acquisition by the Louvre in 1984, it had been in the collection of Gustave de Rothschild (1929-1911). In this painting, a young man, likely a jester or musician, is depicted in a dynamic, three-quarter view. He is dressed in a vibrant costume consisting of red and black stripes, with red tassels and golden ornaments adorning his attire. The work is one of Hals' few paintings that have transcended his oeuvre to become part of popular culture during his own and current times, and the works is best known as being present in the Leiden painter David Bailly's (1584-1957) self portrait, which dates from c. 1651. View the work over on the website of the Louvre. View David Bailly's self-portrait on the website of the Lakenhal. You can find John on X ⁠⁠⁠⁠@johnbezold⁠⁠⁠⁠ and at his website ⁠⁠⁠⁠⁠⁠⁠johnbezold.com⁠⁠⁠⁠⁠⁠⁠. 'Frans Hals Paintings—The Podcast' is published by ⁠⁠⁠⁠Semicolon-Press.

In the 16th episode of 'Frans Hals Paintings—The Podcast’, I discuss Frans Hals' portrait of Tieleman Roosterman, which since 1999, has been part of the collection of the Cleveland Museum of Art, in Ohio, in the USA. The painting has long been attributed to Hals by scholars, since the late-1800s. Seymour Slive numbered the work number 93, in his 1974 catalogue; Claus Grimm numbered it 76, in his 1989 catalogue. It is the pendant to Hals’ portrait of Catherina Brugman, numbered 94 in the same catalogue. This is a portrait of a very self-assured man. Standing at a three-fourth portrayal at nearly life-size; the canvas shows Tieleman positioned against a tan, neutral background, with a confident, jaunty posture. Dressed in a black doublet adorned with intricate black embroidery along the seams and along his cuffs; his eyes gaze directly at the viewer, creating an intense connection between observer and sitter. The composition reflects Hals’ skill in capturing the personality and vitality of his sitter, through dynamic brushwork and keen observation of details. Learn more about the work at the Cleveland Museum of Art. You can find John on X ⁠⁠@johnbezold⁠⁠ and at his website ⁠⁠⁠⁠⁠johnbezold.com⁠⁠⁠⁠⁠. 'Frans Hals Paintings—The Podcast' is published by ⁠⁠Semicolon-Press.

In the 15th episode of 'Frans Hals Paintings—The Podcast’, I discuss Frans Hals' 1624 portrait The Laughing Cavalier, which is in the collection of the Wallace Collection in London. Seymour Slive numbered the work number 30, in his 1974 catalogue, and Claus Grimm accepted it as number 18, in his catalogue of 1989. Wilhelm von Bode, Cornelis Hofstede de Groot, and William Valentiner all accepted it, too. The work was not included in any of the twentieth century's Hals exhibitions of 1937, 1962, or 1989-1990. The portrait depicts a young man with a robust and confident demeanor—shown from the waist up, seated against a plain, dark background that accentuates his brightly lit figure. He wears an elaborately embellished doublet, whose embroidery is rendered in detail. This painting is heavily engrained in British cultural and has been, since it was won at auction, in 1865, by Richard Seymour-Conway, 4th Marquess of Hertford. Read a review of Frans Hals: The Male Portrait by Lelia Packer and Ashok Roy, published by Early Modern Low Countries in 2022. Learn more about the painting at the Wallace Collection. You can find John on X ⁠⁠⁠⁠⁠@johnbezold⁠⁠⁠⁠⁠ and at his website ⁠⁠⁠⁠⁠⁠⁠⁠johnbezold.com⁠⁠⁠⁠⁠⁠⁠⁠. 'Frans Hals Paintings—The Podcast' is published by ⁠⁠⁠⁠⁠Semicolon-Press.

In the 14th episode of 'Frans Hals Paintings—The Podcast’, I discuss Frans Hals' c. 1630s portrait of Claes Duyst van Voorhout, which is in the collection of the Metropolitan Museum in Manhattan. Seymour Slive numbered the work number 119, in his 1974 catalogue, and Claus Grimm accepted it as number 81, in his 1989. It was accepted by Wilhelm von Bode, Cornelis Hofstede de Groot, and William Valentiner. It was included in the solo Hals exhibitions of the twentieth century of 1937 and 1989-1990, though only in Washington for the latter. Claes Duyst van Voorhout is depicted in a three-quarter view, standing against a plain, dark background that highlights his figure and attire. He is dressed in a dark, elaborately designed doublet, richly textured, and adorned with intricate gold embroidery. The details of the garment, including the ornate buttons and the subtle play of light on the fabric, showcase Hals's mastery in rendering different materials with striking realism. Learn more about fashion in seventeenth-century European paintings, see Emilie E.S. Gordenker's 2002 dissertation in book form published by Brepols, Van Dyck and the Representation of Dress in Seventeenth-Century Portraiture. Read a review of the book, by Julia Marciari Alexander in the Burlington Magazine, from 2004. You can find John on X ⁠⁠⁠⁠@johnbezold⁠⁠⁠⁠ and at his website ⁠⁠⁠⁠⁠⁠⁠johnbezold.com⁠⁠⁠⁠⁠⁠⁠. 'Frans Hals Paintings—The Podcast' is published by ⁠⁠⁠⁠Semicolon-Press.

In the 13th episode of 'Frans Hals Paintings—The Podcast’, I discuss Frans Hals' c. early-1630s work The Fisher Boy, which is in the collection of the Royal Museum of Fine Arts Antwerp. Seymour Slive numbered the work number 71, in his 1974 catalogue. It was accepted by Wilhelm von Bode, Cornelis Hofstede de Groot, William Valentiner, though not Claus Grimm. It was included in the solo Hals exhibitions of the twentieth century of 1937 and 1962, yet only in Washington and not Haarlem and London, for the 1989-1990 exhibition. This painting is a quintessential example of Hals’ skill in capturing the essence of his subjects with both realism and expressive brushwork, with the ever-so-famous ‘virtuosity’ of Hals present, throughout the foreground of the canvas in the clothing of the boy. You can find John on X ⁠⁠⁠⁠@johnbezold⁠⁠⁠⁠ and at his website ⁠⁠⁠⁠⁠⁠⁠johnbezold.com⁠⁠⁠⁠⁠⁠⁠. 'Frans Hals Paintings—The Podcast' is published by ⁠⁠⁠⁠Semicolon-Press.

In the 12th episode of 'Frans Hals Paintings—The Podcast’, I discuss Frans Hals' portrait of Cunera van Baersdorp, which is in a private collection. The painting has long been attributed to Hals by scholars, nearly universally. Seymour Slive numbered the work number 120, in his 1974 catalogue, and it was identified only in 2012 as the pendant to Michiel de Wael; numbered 85 in the same catalogue. It was not included in any of solo Hals exhibitions of the twentieth century; 1937, 1962, or 1989-1990. It is a masterful work that encapsulates the elegance and sophistication of Frans Hals' portraiture, making it a valuable piece for both art historians and connoisseurs of Old Master paintings. View the new catalogue of Susan and Matthew Weatherbie's collection, written by Peter Sutton and published by the Museum of Fine Arts Boston. View Ann Jensen Adams' 2009 book Public Faces and Private Identities in Seventeenth-Century Holland, published by Cambridge University Press; read a 2016 review of the book. You can find John on X ⁠⁠⁠@johnbezold⁠⁠⁠ and at his website ⁠⁠⁠⁠⁠⁠johnbezold.com⁠⁠⁠⁠⁠⁠. 'Frans Hals Paintings—The Podcast' is published by ⁠⁠⁠Semicolon-Press.

In the 11th episode of 'Frans Hals Paintings—The Podcast’, I discuss Frans Hals' portrait of Catherina Burgman, which is in a private collection. The painting has long been attributed to Hals by scholars, since the late-1800s. Seymour Slive numbered the work number 94, in his 1974 catalogue. It is the pendant to Hals’ portrait of Tieleman Roosterman, numbered 93 in the same catalogue. Hardly ever on public view; it was last exhibited in the 1920s, in London. The painting exemplifies Hals' mastery in capturing the textures of fabrics and the subtleties of facial expressions, as well as his ability to convey the status and personality of his sitters, through detailed and realistic portraiture. Learn more about pearls in seventeenth-century Dutch paintings in Eddy de Jongh's 1975-1976 article 'Pearls of Virtue and Pearls of Vice', originally published in Simiolus. Learn about the history of the 'why not both' meme. You can find John on X ⁠⁠@johnbezold⁠⁠ and at his website ⁠⁠⁠⁠⁠johnbezold.com⁠⁠⁠⁠⁠. 'Frans Hals Paintings—The Podcast' is published by ⁠⁠Semicolon-Press.

In the tenth episode of 'Frans Hals Paintings—The Podcast’, I discuss the painting titled 'Singing Girl' and 'Boy Playing a Violin', both of which are in a private American collection. They are well documented in the last century by scholars, critics, and connoisseurs; Wilhelm von Bode and Seymour Slive considered them to be by Hals, and so did William Valentiner. Slive numbered them 54 and 53, respectively, in his 1974 Hals catalogue raisonné. Claus Grimm, as of 2024, does not consider them to be by Hals. These genre works, whose original purpose remains unknown, show two children merrily making music—both caught in happy moments of fleeting joy, as they sing and play their tune. You can find John on X ⁠⁠@johnbezold⁠⁠ and at his website ⁠⁠⁠⁠⁠johnbezold.com⁠⁠⁠⁠⁠. 'Frans Hals Paintings—The Podcast' is published by ⁠⁠Semicolon-Press.

In the ninth episode of 'Frans Hals Paintings—The Podcast’, I discuss a painting titled 'Family Group in a Landscape', which is in the collection of the Museo Thyssen-Bornemisza, Madrid. It was purchased by Baron Hans Heinrich Thyssen-Bornemisza, in 1935, and has been widely exhibited throughout the twentieth century. Cornelis Hofstede de Groot and Seymour Slive consider the work to be by Hals; Grimm considers it a workshop product. Slive numbered it 177, in his 1974 Hals catalogue raisonné. In the painting, five figures are positioned against a backdrop of a pastoral landscape; a sort of dune landscape in the distance whereas in the foreground is the edge of a forest, against which they are set. To learn more about the work, visit the Thyssen-Bornemisza Museum website. Watch Titus Kaphar's ⁠TED talk⁠ about the painting. To learn more about Kaphar's 2017 painting Shifting the Gaze, visit the website of the Brooklyn Museum. You can find John on X ⁠⁠@johnbezold⁠⁠ and at his website ⁠⁠⁠⁠⁠johnbezold.com⁠⁠⁠⁠⁠. 'Frans Hals Paintings—The Podcast' is published by ⁠⁠Semicolon-Press.

In the eighth episode of 'Frans Hals Paintings—The Podcast’, I discuss a painting titled 'The Rommelpot Player', which is in the collection of the Kimbell Art Museum; which it has been part of, since 1964. It was purchased by the Kimbells, in 1951. Seymour Slive numbered it five, in his 1974 Hals catalogue. Most Hals scholars name it a copy, or variant, or a replica, etc. Claus Grimm names it 'workshop'. In the work, a central figure, an older man, is prominent in the foreground, smiling broadly as he interacts with a group of children. He holds a rommelpot, drawing the viewer’s attention with his extended arm. He gazes left toward the viewer; with a ruddy complexion, full beard, and glinting eyes suggesting a moment of fleeting joyful. This is a difficult painting to appreciate, as well as visually decipher. But sustained looking offers unexpected nuances in finding variation, of attention to finish and detail in different patches across the canvas; the search being a true intellectual delight. To learn more about the work, visit the Kimbell Art Museum website. Learn more about the iconography of rommelpots, on Essential Vermeer. Read the 2023 catalogue chapter 'Genre Paintings by Workshop Assistants, Based on Designs by Hals', by Claus Grimm. You can find John on X ⁠⁠@johnbezold⁠⁠ and at his website ⁠⁠⁠⁠⁠johnbezold.com⁠⁠⁠⁠⁠. 'Frans Hals Paintings—The Podcast' is published by ⁠⁠Semicolon-Press.

In the seventh episode of 'Frans Hals Paintings—The Podcast’, I discuss Frans Hals' portrait of 'Willem van Heythuyen', which is in the collection of the Alte Pinakothek, in Munich; which it has been part of, since 1969. The painting was purchased for about 18 million Euros, c. 2024; or, about 12 million 1969 German Marks—the most expensive painter ever sold at the time. Slive numbered the work number 31, in his 1974 catalogue; Grimm catalogued it as number 23, in his 1989 catalogue. It is a full-length portrait of Heythuysen (c. 1590-1650), with his right hand on his hip and his left hand resting on the hilt of a sword. He is set against a large draped curtain in a rich burgundy hue on the right, while to his left, an Italianate landscape is visible—in which a couple can be seen. Standing confidently, Heythuysen is fashionable, and proud; which together, make for a lusciously landscaped life-sized portrait, by Frans Hals. To learn more about the painting's landscape, read the 2023 chapter 'Collaborations with Other Artists', by Claus Grimm. You can find the 2006 portrait by Kehinde Wiley, in the ⁠Virginia Museum of Fine Arts. You can find John on X ⁠@johnbezold⁠ and at his website ⁠⁠⁠⁠johnbezold.com⁠⁠⁠⁠. 'Frans Hals Paintings—The Podcast' is published by ⁠Semicolon-Press.

In the sixth episode of 'Frans Hals Paintings—The Podcast’, I discuss Frans Hals' double portrait of 'Catherina Hooft and Her Nurse', which is in the collection of the Gemäldegalerie, in Berlin; which is has been part of, since 1874. The painting was secured on behalf of the museum by Wilhelm von Bode (1845-1929), and the painting has long been attributed to Hals by scholars, universally. Slive numbered the work number 14, in his 1974 catalogue; Grimm catalogued it as number 5, in his 1989 catalogue. The painting features a woman and a child—a nurse and a baby—who is Catherine Hooft, who lived from 1618 to 1691; who was born into the wealthy and powerful regent classes of Amsterdam; and who was related to many of the power players of the day. She was the second wife of the once Mayor of Amsterdam, Cornelis de Graeff (1599-1664). Much of what is known about the painting today is due to the work of Dutch art historian, and archivist, Bas Dudok van Heel (1938-), who is responsible for reconstructing the painting's provenance. The painting is hardly ever on exhibition, outside of Berlin, and was last included in a Hals exhibition, in 1989. To learn more about the De Graeff family, visit the website of the archives of the city of Amsterdam. You can find John on X @johnbezold and at his website ⁠⁠⁠johnbezold.com⁠⁠⁠. 'Frans Hals Paintings—The Podcast' is published by Semicolon-Press.

In the fifth episode of 'Frans Hals Paintings—The Podcast’, I discuss Frans Hals' genre painting titled Laughing Fisherboy, which is in a private collection. The painting has long been attributed to Hals by scholars Cornelius Hofstede de Groot (1863-1930), Ernst Wilhelm Moes (1864-1912), Wilhelm Valentiner (1880-1958), and Seymour Slive (1920-2014). Slive numbered the work number 55, in his 1974 catalogue. The painting shows a lively portrait of a young man, caught in a moment of laughter, set against a backdrop of a dune landscape. The subject is more than likely standing, facing the viewer, and he is turned slightly to his right. His body is angled away, but his head is turned toward the viewer, engaging the viewer with direct eye contact. His mouth is open wide as if he is laughing heartily, and his eyes are crinkled with look of joy. The expression is vivid and dynamic, suggesting a spontaneous response to an amusing situation. The painting is located in a private collection and is hardly ever on view; it was last exhibited, in 1962. To learn more about 'fisher children' by Hals, read Susan Koslow's 1975 article entitled ‘Frans Hals’s Fisherboys: Exemplars of Idleness’. See also, chapter three, of Dennis P. Weller's 2022 book, Frans Hals in America: Collectors, Scholars, and Connoisseurs. You can find John on X @johnbezold and at his website ⁠⁠⁠johnbezold.com⁠⁠⁠. 'Frans Hals Paintings—The Podcast' is published by Semicolon-Press.

In the fourth episode of 'Frans Hals Paintings—The Podcast’, I discuss Frans Hals' portrait of Michiel de Wael, which is in the collection of the Taft Museum of Art in Cincinnati, Ohio, USA. The painting has long been attributed to Hals by scholars Cornelius Hofstede de Groot (1863-1930), Seymour Slive (1920-2014), and Claus Grimm (1930). Slive numbered the work number 85, in his 1974 catalogue. The painting depicts a man, who has throughout history, either been identified as Michiel de Wael, or not, depending on the art historian in question. He is portrayed at a three quarter length, and is turned slightly to his right; wearing a wide-brimmed black hat, framing his face and adding to the proud sense of his stature. His hair is not fully visible, but a mustache and goatee are neatly groomed, giving him a look that was fashionable among the Dutch gentry of the time. More recently, he has been identified by historians and curators as being the pendant to a panel painting of Cunera van Baersdorp, who hailed from a political family in Leiden. The Taft Museum of Art is a fixed collection, meaning that this painting is hardly ever on view, outside of Cincinnati. To learn more about the Taft Museum of Art, read an essay on the history of the Hals pendants, in the collection. Learn more about Thinking with Things, by Esther Pasztory. You can find John on X @johnbezold and at his website ⁠⁠⁠johnbezold.com⁠⁠⁠. 'Frans Hals Paintings—The Podcast' is published by Semicolon-Press.

In the third episode of 'Frans Hals Paintings—The Podcast’, I discuss Frans Hals and Claes van Heussen's 1630 'Fruit and Vegetable Seller', which is in a private collection in England, and is hardly ever on display. The painting has long been attributed to Hals by scholars Cornelius Hofstede de Groot (1863-1930), Seymour Slive (1920-2014), and Claus Grimm (1930). Slive numbered the work number 70, in his 1974 catalogue. The painting depicts a market scene focused on a central female figure, who stands at a three-quarters angle to the viewer, her head turned to face the viewer, with a faint, coy suggestion of a smile. It is the only painting by Hals to have a date, that is not a commissioned portrait; instead, straddling the line between a still life, market-scene, and a genre painting. It is long thought that it was not painted to be a 'portrait', in the traditional sense; and so the sitter's identity is unknown. Near the end of the episode, parallels are drawn between large scale paintings depicting fruits, vegetables, pork, and meats—like those produced in Antwerp during the 1500s and early 1600s, by artists such as Joachim Beuckelaer (1533-1574) and Frans Snyders (1579-1657)—and that of Hals and Van Heussen. To learn more about Flemish 'market-scenes', have a read of Elizabeth Alice Honig's Painting and the Market in Early Modern Antwerp (Yale University Press, 1998). You can find John on X @johnbezold and at his website ⁠⁠⁠johnbezold.com⁠⁠⁠. 'Frans Hals Paintings—The Podcast' is published by Semicolon-Press.

In the second episode of 'Frans Hals Paintings—The Podcast, I discuss Hals' c. 1647-1650 'A Family Group in a Landscape', which hangs at the National Gallery in London. The painting has long been attributed to Hals by scholars Cornelius Hofstede de Groot (1863-1930), and Seymour Slive(1920-2014), though never by Claus Grimm (1930). Slive numbered the work number 176, in his 1974 catalogue. The painting shows a family of nine, and a nurse, for a total of ten figures; making it the most populated painting by Hals, excluding his famed militia pieces, most of which are housed in the Frans Hals Museum. Slive introduced a debate around the painting concerning the landscape in the background at left, of which Neil MacLaren (1909-1988) first proposed was painted by another painter, in a publication he authored in 1960. In this episode, this debate is unraveled in detail, concerning its origins, its evolvement over the years since 1960, and describes the interaction of the figures on the canvas. To conclude, future research directions are outlined, concerning what could be studied in this work—both attribution debate and concerning the identification of its sitters—of this most fabulously sumptuous, while also problematic, family painting, 'by' Frans Hals. You can learn more about the painting over on the website of the National Gallery. You can find John on X @johnbezold and at his website ⁠⁠⁠johnbezold.com⁠⁠⁠. 'Frans Hals Paintings—The Podcast' is published by Semicolon-Press.

In the first episode of ‘Frans Hals Paintings—The Podcast’, I step inside the Rijksmuseum in Amsterdam to confront my favorite painting by the artist, which hangs in the ‘Gallery of Honor’, which also houses Rembrandt’s ‘The Nightwatch’ and Vermeer’s ‘The Milkmaid’. The painting discussed in this episode is entitled ‘Portrait of a Couple, Probably Isaac Abrahamsz Massa and Beatrix van der Laen’, dating from c. 1622. The painting has long been attributed to Hals, and is catalogued by many of the artist's connoisseurs over the years—including by Seymour Slive (1920-2014), in his publication from 1974, within which it is number 17. It is the only painting by the artist to show a couple, which is also why it has long been thought to be a marriage portrait. It is one of only four other family portraits by the artist to have survived the test of time, and it came into the collection of the Rijksmuseum, in 1852. Join me as I explain what makes this painting by Frans Hals so unique amongst the paintings in his oeuvre; what makes its composition so seductive and entrancing; and therefore, exciting to spend time viewing in person, in Amsterdam. You can learn more about the painting over at the website of the Rijksmuseum. You can find John on X @johnbezold and at his website ⁠⁠⁠johnbezold.com⁠⁠⁠. 'Frans Hals Paintings—The Podcast' is published by Semicolon-Press.

'Frans Hals Paintings–The Podcast', is a new show hosted by John Bezold focusing on the c. 222 Hals paintings as physical objects, who each portrays, and their appreciation over time. The podcast discusses one painting per episode, in no set order. Some episodes even confront these artworks in their (mostly Dutch) galleries and museums, to contextualize and share the joy, of viewing Frans Hals' paintings in person. You can find John on X @johnbezold and at his website ⁠⁠⁠johnbezold.com⁠⁠⁠. 'Frans Hals Paintings—The Podcast' is published by Semicolon-Press. Cover Art: Mainstudio, Amsterdam. Instrumental Music: Andrey, Ukraine.