An increasing acknowledgement of the artistic connections between the Dutch Republic and the South Netherlands is shaping much current scholarship. This excellent volume by Tummers (Frans Hals Museum) et al. articulates the parallel aesthetic interests among Dutch and Flemish painters, in visible brushwork and subjects. The critical reception of the Venetian Renaissance painter Titian established the theoretical basis for such appreciation of visible painterly strokes. However, the underlying theme of pronounced viscosity in paint links Hals, Rembrandt, and Rubens. Rubbens visited Haarlem in 1612 with the intent to hire engravers from that city. Hals spent some months in Antwerp in 1616. Rembrandt was familiar with the works by Rubens that he viewed in Holland, and would have been familiar with Hals's portraits in Amsterdam collections... Recommended. Upper-division undergraduates through professionals/practitioners.--A. Golahny "CHOICE"
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