Frans Hals (1582–1666), Portrait of Jean de la Chambre at the Age of 33, 1638. Oil on panel, 20.6 × 16.8 cm. The National Gallery, London
Frans Hals (1582–1666), Portrait of Jean de la Chambre at the Age of 33, 1638. Oil on panel, 20.6 × 16.8 cm. The National Gallery, London
Painted at a time when Haarlem was one of the most dynamic and cosmopolitan artistic centres of the Dutch Republic, this portrait of Jean de la Chambre (1605/6–1668) reflects the city’s distinctive interplay of intellectual ambition, artistic collaboration, and religious diversity. It captures not only the likeness of a celebrated calligrapher and master of the French School in Haarlem but also the spirit of a community where painters, printmakers, and scholars worked in close dialogue.
This portrait depicts Jean de la Chambre (1605/6–1668), a renowned calligrapher and master of the French School in Haarlem. It served as the model for a print created in the same year by Jonas Suyderhoef (c. 1613–1686), which was used to promote de la Chambre’s book.
De la Chambre, a highly ambitious and respected French Protestant living in Dutch Haarlem, held a prominent position within the Haarlem artistic circle. Many years later, another Haarlem printmaker, Pieter Holsteyn the Younger, would create another portrait of him in old age, combining depictions of de la Chambre in Jan de Bray’s The Governors of the Guild of St. Luke, Haarlem created in 1675 with the first portrait of the young de la Chambre by Hals and its print by Suyderhoef.
Many of Hals’s portraits reject formality in favour of engaging and emotional portrayals. At times, they even exhibit a sense of personal connection, celebrating the bonds of friendship and mutual respect among artistic individuals. These portraits go beyond mere tributes, drawing upon the famous Haarlem art speciality of capturing facial expressions, emotions, and psychological nuances—a popular theme in genre portraits known as ‘tronie’ portraits. In this particular portrait, the distinguished calligrapher confidently holds his professional tool, with his friendly countenance marked by a warm smile. His choice of attire, though somewhat outdated for the period, aligns with the style commonly worn by many Protestant groups, suggesting that fashion holds little importance to him as his focus lies on more significant aspects of life.
