Girl with a Straw Hat - Judith Leyster
Archival giclée
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Description
A portrait by Dutch Golden Age painter Judith Leyster, capturing a young subject in a straw hat with fluid brushwork and warm, naturalistic lighting.
Judith Leyster, a contemporary of Frans Hals, produced this portrait during the Dutch Golden Age. The work captures a young subject wearing a wide-brimmed straw hat, which casts a soft shadow across the upper portion of the face. Leyster employs a limited palette, focusing on warm ochres, browns, and the crisp white of the collar to define the form. The brushwork is fluid and confident, a hallmark of the Haarlem school of painting.
The composition is intimate, focusing on the expression of the subject. The lighting is directional, creating a sense of volume and presence. Leyster was one of the few women admitted to the Haarlem Guild of Saint Luke, and her work often features genre scenes or portraits that demonstrate a high level of technical proficiency. The subject's gaze is directed slightly away from the viewer, adding a sense of spontaneity to the portrait. The texture of the straw hat is rendered with economical strokes, suggesting the material without excessive detail. This approach allows the viewer to focus on the character of the sitter rather than the minutiae of the costume.
This print captures the tonal range of the original oil painting. The dark, neutral background ensures the figure remains the primary focus. The work is representative of the period's interest in character studies, often referred to as 'tronies', where the artist explores expression and lighting rather than formal portraiture. Leyster's ability to convey personality through light and shadow is evident here. The piece is a fine example of seventeenth-century Dutch portraiture, reflecting the technical standards of the era.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Girl with a Straw Hat - Judith Leyster
Artist Biography
Judith Leyster
She was one of the first women admitted to the Haarlem Guild of St Luke, in 1633, at twenty-four. She ran her own workshop and trained students. When one of her apprentices left to join Frans Hals's workshop without Guild permission, she sued Hals. The case was settled: the student's mother paid four guilders in damages. Leyster had asked for eight.
Her best paintings were made in the seven years between 1629 and 1636. The Jolly Toper, Self-Portrait, The Proposition: they are warm, confident, technically assured, painted in a style close to Hals's but with a subtlety of expression that is entirely her own. The Proposition, showing a woman by lamplight being offered money by a man leaning over her shoulder, is one of the most psychologically complex genre paintings of the Dutch Golden Age.
In 1636 she married the painter Jan Miense Molenaer. After the marriage, painting gave way to children and household management. She probably contributed to her husband's workshop, but she stopped signing work in her own name. The solo career lasted seven years.
After her death in 1660 her work was systematically attributed to Hals. The misattribution lasted until 1893, when a painting that had been admired for over a century as a Hals was recognised as hers.
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