Century Magazine/Volume 49/Issue 1/Old Dutch Masters. Bartholomeus van der Helst
Van der Helst was one of the most distinguished of the Dutch portrait-painters of his time. He was born at Haarlem about 1613, and removed while young to Amsterdam, where he married in 1636, and where he died in 1670. His teacher is supposed to have been Nicolas Elias, an eminent master in the art of portraiture; it is also thought that he was instructed by Franz Hals. More than this is not known of his life. He flourished at a time when Rembrandt ceased to be understood. He captivated by a surprising realism of treatment and a living individuality of character in his heads, to which was added a naturalistic coloring, undisturbed by any conscientious scruples of chiaroscuro. To understand him in relation to Rembrandt one should see him at the Ryks Museum, Amsterdam, where, in the Rembrandt Sala, are two of his largest and finest works hung on either side of the "Night-Watch." These are corporation pictures, representing assemblages of military officers, all life-size. One of these great canvases, called the "Schuttersmaaltyd," represents a banquet given by a company of the civic guard of Amsterdam, in commemoration of the peace of Westphalia in 1648, at which the Spanish ambassador is present. It was of this painting that Sir Joshua Reynolds said, "This is perhaps the first picture of portraits in the world." Startling and impressive as this work is at first sight, from its realism and the sense of vitality in the heads, it yet fails to charm because of its want of atmosphere and chiaroscuro. The main object in these splendid groups by Helst is strong and truthful delineation of every part, both in form and color: we note the fine drawing of the hands, so characteristic of each sitter; the powerful and clear coloring, and the excellent execution of the details. But the general effect is monotonous and cold, and there is no attempt to unite the various parts into a whole, and thus to create a picture. It was said that Rembrandt's treatment of his heads in the "Night-Watch" gave occasion of demur in some of his sitters, because he had not depicted them with the same distinctness as those placed in the foreground. Van der Helst gave no occasion for such complaint, but gave every man his money’s worth.
Of the single portraits by Van der Helst, that of the painter Paul Potter is among the most interesting. It is to be seen in The Hague Museum, and measures 38¾ inches high by 31½ inches wide. It was painted in the last days of his sitter, and shows him still at his easel with palette and brushes in hand, though in the last stage of consumption. The peculiar sallowness of the complexion is heightened by the rich velvet of the dress. From the palette we can see how few were the colors that the Dutchman needed to produce these marvelous effects.
