Frans Hals (Dutch, ca. 1580–1666). <em>Portrait of a Man</em>, ca. 1614–1615. Oil on canvas, 29 x 21 3/4 in. (73.7 x 55.2 cm). Brooklyn Museum, Gift of the executors of the Estate of Colonel Michael Friedsam, 32.821 (Photo: Brooklyn Museum, 32.821_SL1.jpg)

Frans Hals (Dutch, ca. 1580–1666). Portrait of a Man, ca. 1614–1615. Oil on canvas, 29 x 21 3/4 in. (73.7 x 55.2 cm). Brooklyn Museum, Gift of the executors of the Estate of Colonel Michael Friedsam, 32.821 (Photo: Brooklyn Museum, 32.821_SL1.jpg)

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Download our app and ask your own questions during your visit. Here are some that others have asked.

Why is his hand outside the frame?

It is a kind of trompe l'oeil effect (meaning "to fool the eye"). A fictitious painted frame is effective means to heighten the illusionistic effect of a picture—especially when part of the subject extends beyond the painted frame, seemingly into the viewer's space outside the canvas. This is the case in Hals' portrait: the young man extends his left hand through the simulated oval frame and into the viewer's space.Fictitious windows or frames have a long history in Western art. The device was first used by ancient Roman sculptors and was taken up by Renaissance portraitists in the 15th century. It was especially popular during the Baroque period (1600s) in Italy, where painters like Caravaggio tried to create the illusion that their paintings of religious subjects were part of the viewer's own space (called co-extensive space) in order to better engage and connect with the viewer. This was a direct response to the preceding elegant but artificial style of Mannerism, which privileged style over content and was not intended to connect with the viewer. Hals used this compositional device (the subject 'breaking out' of the frame) in his portraits for many years. He may have picked it up from his predecessor in Haarlem, Hendrik Goltzius, who had created a series of portrait prints whose sitters extend beyond illusionistic frames. One of the finest examples of this device in Dutch Golden Age painting, however, is Rembrandt's portrait of Agatha Bas in the British Royal Collection.

Why is his hand outside of the frame?

A fictitious painted frame is effective means to heighten the illusionistic effect of a picture—especially when part of the subject extends beyond the painted frame, seemingly into the viewer's space outside the canvas. This is the case in Hals' portrait: the young man extends his left hand through the simulated oval frame and into the viewer's space.

Trompe-l'oeil (meaning "to fool the eye") frames, windows, and parapets (low protective walls) have a long history in Western art. The device was first used by ancient Roman sculptors and was taken up by Renaissance portraitists in the 15th century. It is similar to the Baroque pictorial convention of co-extensive space used by Hals' Italian contemporary Caravaggio. In Caravaggio's religious paintings, foreshortened figures serve as the bridge between the religious space of the composition and the real world beyond the picture frame, thus inviting the viewer to participate in the message of the Church. This was a direct response to the preceding elegant but artificial style of Mannerism, which privileged style over content and was not intended to connect with the viewer. Instead of a foreshortened figure, Hals has extended his sitter's hand beyond the frame to invite us into the portrait.

Did Gerrit Dou always paint on such a small scale?

Although this tiny portrait, it measures only 6 x 5 inches!, is one of Dou’s smallest works, he specialized in small-format paintings, whose details and surfaces even more carefully observed and meticulously rendered as they are here. Dou became the leading figure among the Leiden "fijnschilders" (fine painters) who continued the earlier Netherlandish tradition of meticulous description and superb craftsmanship.

"Fine painters"?

In Dutch, that word literally translates to "fine painters," and refers to the Dutch Golden Age painters who were interested in depicting a natural reproduction of reality, often interior, domestic scenes.

Oh! Thank you!

Of course!

Are there any more Dutch Golden Age painters in the museum?

Frans Hals is considered among this group. You can find a work titled "Portrait of a Man" not too far on that wall from the Dou. It is a portrait of a man looking out at the viewer and he sits within a frame painted on the canvas.

In which his hand sticks out of the frame?

Yes!

Why is that?

Hals is using a form of trompe l'oeil painting (to fool the eye). First used by classical Roman painters, it was taken up by Renaissance painters in the 15th century. Usually, this effect was used when part of the subject of the painting extended beyond the frame as you see here. It catches the eye of the viewer and is a moment of illusion. Is it real or part of the painting? Trompe l’oeil often shows off the artist’s skill as this form of convincing illusionism is hard to achieve. It also brings several layers of meaning to the painting, drawing attention both to the subject of the painting (the man in black) and the the object of his affection (the miniature portrait he extends), perhaps that of his wife or fiancee. Frans Hals uses it as a device in many of his paintings, so be on the lookout for it when you see his works in other museums!

Oh, cool!

Yes, it's fun to pick up on! If you enjoy the Dutch Golden Age painters I would suggest a visit to The Met at some point. They have a few rooms dedicated to them and the works are absolutely amazing.

I will! Thanks!

Are there any other pieces that have the figure reaching out of the frame as is done here?

I don't believe any of the other portraits from our European collection show the subject reaching out of the frame as is done here, but the artist was known for it and it was not a an uncommon practice at the time.

It was a direct response to the preceding artificial style of Mannerism, which privileged style over content. Instead of a foreshortened figure, Hals has extended his sitter's hand beyond the frame to invite us into the portrait. This also served as demonstration of artist’s skill at depicting depth.

Good to know, thanks again!

Do you know if there are any of these small portraits available to view, or the history behind the portable portraits as a whole?

On the history of the practice, as the label highlights, before the advent of photography in the 19th-century, portrait miniatures were a portable and intimate way to access the memory and appearance of loved ones. There are a few examples from the US in the 18th-19th century in Visible Storage on the 5th floor.

Good to know, thanks again!

Which Renaissance is this?

This painting would be categorized as part of the Northern Renaissance because it comes from the Netherlands as opposed to Italy. "Renaissance" simply refers to a period in Europe when there was a revived interest in Classical art, different styles developed in different regions.

Thanks.

Portrait of a Man

Frans Hals

European Art

On View: Luce Visible Storage and Study Center, 5th Floor

In this painting by Frans Hals, an unidentified, well-to-do man holds a miniature portrait of a woman, perhaps his wife or fiancée. The hand holding the miniature appears to extend through the simulated oval frame and into the viewer’s own space, an effect known as trompe l’oeil (fool the eye). The loose and bold brushwork for which Hals is known—especially evident in the man’s lace collar and hair—greatly influenced a number of nineteenth-century artists including Giovanni Boldini, whose painting is on view nearby.

ARTIST Frans Hals, Dutch, ca. 1580–1666

MEDIUM Oil on canvas

Place Made: Netherlands

DATES ca. 1614–1615

DIMENSIONS 29 x 21 3/4 in. (73.7 x 55.2 cm) Frame: 39 x 32 x 4 1/2 in. (99.1 x 81.3 x 11.4 cm) (show scale)

COLLECTIONS European Art

ACCESSION NUMBER 32.821

CREDIT LINE Gift of the executors of the Estate of Colonel Michael Friedsam

EXHIBITIONS

MUSEUM LOCATION This item is on view in Luce Visible Storage and Study Center, 5th Floor

CAPTION Frans Hals (Dutch, ca. 1580–1666). Portrait of a Man, ca. 1614–1615. Oil on canvas, 29 x 21 3/4 in. (73.7 x 55.2 cm). Brooklyn Museum, Gift of the executors of the Estate of Colonel Michael Friedsam, 32.821 (Photo: Brooklyn Museum, 32.821_SL1.jpg)

IMAGE overall, 32.821_SL1.jpg. Brooklyn Museum photograph

"CUR" at the beginning of an image file name means that the image was created by a curatorial staff member. These study images may be digital point-and-shoot photographs, when we don\'t yet have high-quality studio photography, or they may be scans of older negatives, slides, or photographic prints, providing historical documentation of the object.

RIGHTS STATEMENT No known copyright restrictions

This work may be in the public domain in the United States. Works created by United States and non-United States nationals published prior to 1923 are in the public domain, subject to the terms of any applicable treaty or agreement. You may download and use Brooklyn Museum images of this work. Please include caption information from this page and credit the Brooklyn Museum. If you need a high resolution file, please fill out our online application form (charges apply). The Museum does not warrant that the use of this work will not infringe on the rights of third parties, such as artists or artists' heirs holding the rights to the work. It is your responsibility to determine and satisfy copyright or other use restrictions before copying, transmitting, or making other use of protected items beyond that allowed by "fair use," as such term is understood under the United States Copyright Act. The Brooklyn Museum makes no representations or warranties with respect to the application or terms of any international agreement governing copyright protection in the United States for works created by foreign nationals. For further information about copyright, we recommend resources at the United States Library of Congress, Cornell University, Copyright and Cultural Institutions: Guidelines for U.S. Libraries, Archives, and Museums, and Copyright Watch. For more information about the Museum's rights project, including how rights types are assigned, please see our blog posts on copyright. If you have any information regarding this work and rights to it, please contact copyright@brooklynmuseum.org.

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Download our app and ask your own questions during your visit. Here are some that others have asked.

Why is his hand outside the frame?

Why is his hand outside of the frame?

Did Gerrit Dou always paint on such a small scale?

"Fine painters"?

Oh! Thank you!

Of course!

Are there any more Dutch Golden Age painters in the museum?

In which his hand sticks out of the frame?

Yes!

Why is that?

Oh, cool!

Yes, it's fun to pick up on! If you enjoy the Dutch Golden Age painters I would suggest a visit to The Met at some point. They have a few rooms dedicated to them and the works are absolutely amazing.

I will! Thanks!

Are there any other pieces that have the figure reaching out of the frame as is done here?

Good to know, thanks again!

Do you know if there are any of these small portraits available to view, or the history behind the portable portraits as a whole?

Good to know, thanks again!

Which Renaissance is this?

Thanks.