{"version":"1.0","type":"rich","provider_name":"La Tribune de l’Art","provider_url":"https:\/\/www.latribunedelart.com","title":"Frans Hals in Amsterdam","author_name":"Alexandre Lafore","width":"800","height":"600","url":"https:\/\/www.latribunedelart.com\/frans-hals-11618","html":"\u003Ch4 class='title'\u003E\u003Ca href='https:\/\/www.latribunedelart.com\/frans-hals-11618'\u003EFrans Hals in Amsterdam\u003C\/a\u003E\u003C\/h4\u003E\u003Cblockquote class='spip'\u003E\u003Cp\u003EThose accustomed to the Dutch museum\u2019s exhibitions will not be disappointed : this is first and foremost the absolute joy of painting, the dazzling freedom of the brushstrokes, the admirable virtuosity of the complexions and draperies, in short the (re)discovery of a - very - great artist. Such clich\u00e9s come back to life, as do the effigies of all those 17th-century figures whose names - when they are known at all - are hardly famous, unlike the aristocratic portraits in which Vel\u00e1zquez, for example, excelled. The portrait of Frans Hals is a little less famous today than it was in his day, or in the nineteenth century, when the 4th Marquess of Hertford snatched up The Laughing Cavalier\u003C\/p\u003E\u003C\/blockquote\u003E\n"}