Frans Hals (Antwerp, 1580 - Haarlem, 26 August 1666) - Willem van Heythuysen posing with a sword (1625 or 1635) - Oil on canvas dimensions 204.5 cm × 134.5 cm - Alte Pinakothek, Munich Willem van Heythuysen si era arricchito ad Haarlem come commerciante di filati. Secondo il suo stile di vita calvinista, usò la sua fortuna con saggezza: Utilizzò il ricavato del suo patrimonio per fondare due ospizi, uno dei quali esiste ancora oggi. Hals lo fa apparire qui sicuro di sé, con un atteggiamento un po' altezzoso, eppure le rose rapidamente appassite che giacciono a terra indicano i limiti di tutto ciò che è terreno. Willem van Heythuysen had become wealthy as a yarn merchant in Haarlem. In accordance with his Calvinist way of life, he used his fortune wisely: He used the proceeds of his estate to found two almshouses, one of which still exists today. Hals makes him appear here with self-confidence and a slightly condescending air. Yet the quickly wilting roses lying on the ground point to the limitations of everything earthly.
Portrait of Robert Dudley, 1st Earl of Leicester, oil on panel. Attributed to Steven van Herwijck. 1560s. Western European fashion experienced quite a change from 1550-1600. The Renaissance brought in a wave of art and culture that swept over Europe and is visible in the fashion of both men and women. Our clearest and most...
Portrait of Johana Pernstein, Duchess of Villahermosa (1556-1631), attributed to Roland de Mois, c. 1580
Historical costuming
Alonso Sanchez Coello. 1531-1588. Anne d'Autriche, Reine d'Espagne (1549-1580) Vienne. Kunsthistorisches Museum. Elle est la fille de Maximilien II (1527-1579), Empereur germanique (1564-1576). En 1570 elle épouse son oncle Philippe II d'Espagne. Ils auront pour fils et successeur Philippe III. Alonso Sanchez Coello. From 1531 to 1588. Anne of Austria, Queen of Spain (1549-1580) Vienna. Kunsthistorisches Museum. She is the daughter of Maximilian II (1527-1579), German Emperor (1564-1576). In 1570 she married her uncle Philip II of Spain. They have a son and successor, Philip III.
Infanta Catherine Michelle of Spain by Roland de Mois, c. 1580
Historical costuming
Title: Autor: Chronology: Painting localisation: Image source:
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As my urge to sew slowly seep back into my body, I find myself looking at another type of fashions then before – namely maternety dresses through history. Even though I probably never will ge…
Renaissance fashion in 1580, 16th century of Germany and France. Münchener Bilderbogen 1848 to 1898. On the history of costumes.
Did the codpiece – highlight of male fashion in the Renaissance – gradually succumb to the ‘peascod’ belly? As a Cambridge conference investigates the subject, follow the pouch’s rise and fall through European portraiture•
La moda maschile nella seconda metà del '500 nelle varie aree d'Europa, l'uso e il significato della gorgiera, gli accessori, etc.
Oil on canvas; 206.4 x 122.3 cm. William Larkin was an English painter active from 1609 until his death in 1619, known for his iconic portraits of members of the court of James I of England which capture in brilliant detail the opulent layering of textiles, embroidery, lace, and jewelery characteristic of fashion in the Jacobean era, as well as representing numerous fine examples of oriental carpets in Renaissance painting. About 40 portraits by Larkin have been identified, of courtiers and gentry, but he seems never to have painted members of the royal family. A series of nine full-length portraits by Larkin formerly owned by the Earls of Suffolk and now known as the Suffolk Collection is housed in Kenwood House, London. Larkin's work marks the last stage in a tradition of English portraiture traceable from the later work of Hans Holbein the Younger through Nicholas Hilliard in which the sitter is painted in flat, lightly modeled fashion, surrounded by meticulously rendered wardrobe and props, with each detail of lace, embroidery, and gilding carefully delineated. Writing in 1960, Sir David Piper said of the paintings now in the Suffolk collection and their ilk "Artistically, they are a dead end, but they have a strange and fascinating splendor." The deaths of Hilliard, Larkin, and fellow-portraitist Robert Peake the Elder in 1619 mark the end of this insular tradition in British art.
