Tag Archives: 17th-century Netherlandish paintings

#FineArtFriday: a second look at Merry Company by Dirck Hals 1635

Vrolijke gezelschap

Merry company *oil on panel *30 x 51 cm *signed : D Hals 1635

Artist: Dirck Hals (1591–1656)

Title: Merry Company

Date: 1635

Medium: oil on panel

Dimensions: height: 30 cm (11.8 in); width: 51.1 cm (20.1 in)

Collection: Mauritshuis

What I love about this painting:

This group portrait tells us a story. Perhaps we are celebrating the engagement of the young couple on the far right—a fashionably, yet modestly, dressed young woman and a gallant young man holding hands and gazing at each other.

The hostess, in the center, looks up and greets her guests who have entered to the left of us. She gestures to the food on the table, inviting them to sit. Are they the future in-laws?

The host looks directly at us, the viewer. He greets us as his guests and he too gestures to the table—join us! Sit, eat, and we’ll have an evening to remember. A single crystal wine glass shows us that wine is being served but companionship and food are what the party is really about. We are here to meet and get to know each other.

An engagement is a reason to gather and celebrate—so let us join this merry company and spend an evening with friends, partying like it’s 1635.

About the setting of this painting:

Dirck Hals has given us the image of friends partying in someone’s home. This is clearly not set in a tavern, as the walls are clean, freshly plastered and painted, and the fireplace at the far left has an ornate mantel. It is for heating the room only, not for cooking. The mantel’s aesthetics are part of the room’s decor.

The scene is set in a dining room. We see six pewter tankards proudly displayed on the wall above a sideboard, along with large pewter platters, signs that this is an intimate family room. We know they are pewter because of the dark bluish color of the metal. These are serving vessels every home needed in the 17th century, but only the wealthier middle-class could afford pewter.

And if you could afford to have a separate room just for dining, you would have your drinking vessels and platters displayed above a sideboard in the manner we see here.

In the background to the right, a fine, large landscape painting also indicates a prosperous home.

Everyone is dressed in their best clothes. The modest yet stylish dress of the guests also point to a domestic scene rather than a tavern. Their garments are made from expensive fabrics, silks and satins, and they wear the immense ruffs of crisp white lace that only the upper classes could afford. These are prosperous people, traders in cloth perhaps—but no matter what they trade, they are gathered to celebrate something, and we have been invited to join them.

Taverns and the poorer classes had either wooden tankards and bowls or fired clay mugs and platters. If they had an object made of pewter, it would be put away for safekeeping. The innkeepers and owners of public houses wouldn’t keep tankards where they could be knocked down or stolen.

About the Artist, Via Wikipedia:

Dirck Hals (19 March 1591 – 17 May 1656), born at Haarlem, was a Dutch Golden Age painter of merry company scenes, festivals and ballroom scenes. He played a role in the development of these types of genre painting. He was somewhat influenced by his elder brother Frans Hals but painted few portraits.

The Haarlem writer Samuel Ampzing mentions both brothers in his Praise of Haarlem with a poem stating that both brothers were exceptional; Frans painting his portraits “awake”, and Dirck painting his figures “purely”. [1]

About pewter, via Wikipedia:

Lidless mugs and lidded tankards may be the most familiar pewter artifacts from the late 17th and 18th centuries, although the metal was also used for many other items including porringers (shallow bowls), plates, dishes, basins, spoons, measures, flagons, communion cups, teapots, sugar bowls, beer steins (tankards), and cream jugs. In the early 19th century, changes in fashion caused a decline in the use of pewter flatware. At the same time, production increased of both cast and spun pewter tea sets, whale-oil lamps, candlesticks, and so on. Later in the century, pewter alloys were often used as a base metal for silver-plated objects. [2]


Credits and Attributions:

IMAGE: Merry Company by Dirck Hals, Public domain, via Wikimedia Commons (accessed December 29, 2022).

[1] Wikipedia contributors, “Dirck Hals,” Wikipedia, The Free Encyclopedia, Dirck Hals  (accessed December 29, 2022).

[2] Wikipedia contributors, “Pewter,” Wikipedia, The Free Encyclopedia, https://en.wikipedia.org/w/index.php?title=Pewter&oldid=1129247091 (accessed December 29, 2022).

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#FineArtFriday: The Merry Family, by Jan Steen (revisited)

Jan Steen was fond of painting peasants and ordinary people, and this picture is a good example of that.

What I love about this image is the chaos. Is this a New Year’s party? I hope so.

The clutter of pans and dishes heedlessly fallen to the floor, the boisterous enjoyment of wine and song, and the obvious lack of parental restraint is wonderfully depicted. The numerous children are smoking and drinking to excess, vices that weren’t acceptable diversions for youngsters in those days any more than they are now. The baby is exceedingly chubby, which was uncommon and represents the vice of gluttony–in one hand it holds bread and in the other it waves a spoon.

I suspect the children grew up with a similar love of wine and song as their parents.

The note on the wall contains the moral of the story. According to the Rijksmuseum website, “The note hanging from the mantelpiece gives away the moral of the story: ‘As the old sing, so shall the young twitter.’ What will become of the children if their parents set the wrong example?”

The Age of the Puritan had swept across Europe and while it was waning in the mid-seventeenth century, puritanism had influenced life in Holland as much as elsewhere. This painting is a wonderful visual exhortation reminding the good people to live a sober life. Steen himself was not a puritan, as he was born into a family of brewers and ran taverns and breweries off and on throughout his life. But he did need to sell his paintings as he was never a successful businessman, and his allegorical paintings were quite popular.

Quote from Wikipedia: Daily life was Jan Steen’s main pictorial theme. Many of the genre scenes he portrayed, as in The Feast of Saint Nicholas, are lively to the point of chaos and lustfulness, even so much that “a Jan Steen household,” meaning a messy scene, became a Dutch proverb (een huishouden van Jan Steen). Subtle hints in his paintings seem to suggest that Steen meant to warn the viewer rather than invite him to copy this behaviour. Many of Steen’s paintings bear references to old Dutch proverbs or literature. He often used members of his family as models, and painted quite a few self-portraits in which he showed no tendency of vanity.


Credits and Attributions:

The Merry Family, Jan Steen, 1668 PD|100 via Wikimedia Commons

Moral (English translation) quoted from Rijksmuseum website,  https://www.rijksmuseum.nl/en/collection/SK-C-229, accessed 17 May 2018.

Wikipedia contributors. “Jan Steen.” Wikipedia, The Free Encyclopedia. Wikipedia, The Free Encyclopedia, 3 Jan. 2018. Web. 17 May. 2018.

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#FineArtFriday: Merry Company by Dirck Hals 1635

Vrolijke gezelschap

Merry company *oil on panel *30 x 51 cm *signed : D Hals 1635

Artist: Dirck Hals (1591–1656)

Title: Merry Company

Date: 1635

Medium: oil on panel

Dimensions: height: 30 cm (11.8 in); width: 51.1 cm (20.1 in)

Collection: Mauritshuis

What I love about this painting:

Perhaps we are celebrating the engagement of the young couple on the far right—a fashionably, yet modestly, dressed young woman and a gallant young man holding hands and gazing at each other.

The hostess, in the center, looks up and greets her guests who have entered to the left of us. She gestures to the food on the table, inviting them to sit. Are they the future in-laws?

The host looks directly at us, the viewer. He greets us as his guests and he too gestures to the table—join us! Sit, eat, and we’ll have an evening to remember. A single crystal wine glass shows us that wine is being served but companionship and food are what the party is really about. We are here to meet and get to know each other.

An engagement is a reason to gather and celebrate—so let us join this merry company and spend an evening with friends, partying like it’s 1635.

About the setting of this painting:

Dirck Hals has given us the image of friends partying in someone’s home. This is clearly not set in a tavern, as the walls are clean, freshly plastered and painted, and the fireplace at the far left has an ornate mantel. It is for heating the room only, not for cooking. The mantel’s aesthetics are part of the room’s decor.

The scene is set in a dining room. We see six pewter tankards proudly displayed on the wall above a sideboard, along with large pewter platters, signs that this is an intimate family room. We know they are pewter because of the dark bluish color of the metal. These are serving vessels every home needed in the 17th century, but only the wealthier middle-class could afford pewter.

And if you could afford to have a separate room just for dining, you would have your drinking vessels and platters displayed above a sideboard in the manner we see here.

In the background to the right, a fine, large landscape painting also indicates a prosperous home.

Everyone is dressed in their best clothes. The modest yet stylish dress of the guests also point to a domestic scene rather than a tavern. Their garments are made from expensive fabrics, silks and satins, and they wear the immense ruffs of crisp white lace that only the upper classes could afford. These are prosperous people, traders in cloth perhaps—but no matter what they trade, they are gathered to celebrate something, and we have been invited to join them.

Taverns and the poorer classes had either wooden tankards and bowls or fired clay mugs and platters. If they had an object made of pewter, it would be put away for safekeeping. The innkeepers and owners of public houses wouldn’t keep tankards where they could be knocked down or stolen.

About the Artist, Via Wikipedia:

Dirck Hals (19 March 1591 – 17 May 1656), born at Haarlem, was a Dutch Golden Age painter of merry company scenes, festivals and ballroom scenes. He played a role in the development of these types of genre painting. He was somewhat influenced by his elder brother Frans Hals but painted few portraits.

The Haarlem writer Samuel Ampzing mentions both brothers in his Praise of Haarlem with a poem stating that both brothers were exceptional; Frans painting his portraits “awake”, and Dirck painting his figures “purely”. [1]

About pewter, via Wikipedia:

Lidless mugs and lidded tankards may be the most familiar pewter artifacts from the late 17th and 18th centuries, although the metal was also used for many other items including porringers (shallow bowls), plates, dishes, basins, spoons, measures, flagons, communion cups, teapots, sugar bowls, beer steins (tankards), and cream jugs. In the early 19th century, changes in fashion caused a decline in the use of pewter flatware. At the same time, production increased of both cast and spun pewter tea sets, whale-oil lamps, candlesticks, and so on. Later in the century, pewter alloys were often used as a base metal for silver-plated objects. [2]


Credits and Attributions:

IMAGE: Merry Company by Dirck Hals, Public domain, via Wikimedia Commons (accessed December 29, 2022).

[1] Wikipedia contributors, “Dirck Hals,” Wikipedia, The Free Encyclopedia, Dirck Hals  (accessed December 29, 2022).

[2] Wikipedia contributors, “Pewter,” Wikipedia, The Free Encyclopedia, https://en.wikipedia.org/w/index.php?title=Pewter&oldid=1129247091 (accessed December 29, 2022).

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#FineArtFriday: The Tax-collector’s Office by Pieter Breughel the Younger ca. 1615

Pieter_BRUEGHEL_Ii_-_The_tax-collector's_office_-_Google_Art_ProjectArtist: Pieter Breughel the Younger (1564–1638)

Title: The tax-collector’s office, also known as the Village Lawyer

Date: circa 1615

Medium: oil on panel

Dimensions: height: 74.5 cm (29.3 in); width: 106.5 cm (41.9 in)

Collection: Art Gallery of South Australia 

What I love about this painting:

Pieter the Younger was never considered as fine a painter as his father, Pieter Bruegel the Elder, or his brother, Jan Brueghel. He was, however, considered a master printmaker and his workshop was highly regarded. But he was not respected as an artist. Critics of the day felt he copied his father’s style, rather than developing his own. While he did paint in a folk-art style reminiscent of his father’s, his is sharper, more refined, taking it to the next level.

The people in the above picture are looking lean and ragged. The Little Ice Age gripped Europe, and times were hard. I love the color, the action, the commotion of the people. So many stories are shown in this one painting.

About this painting via Wikipedia:

Pieter Brueghel the Younger created original works largely in the idiom of his father which are energetic, bold and bright and adapted to the 17th-century style.  One of the artist’s most successful original designs was the painting of The Village Lawyer (sometimes also called the Tax Collector’s Office, the Payment of the Tithe, the Lawyer of Bad Cases and the Notary’s Office). The different titles of the work indicate that it may have been interpreted in these different ways in the 17th century. The title The Village Lawyer is probably the best suited since the person behind the desk is wearing a lawyer’s bonnet, the collection of taxes usually did not occur in such setting and the paperwork and bags on the desk look like those for requests and decrees. The picture also shows peasants lining up with presents such as chickens and eggs to please the lawyer, which was a common occurrence, whereas tithe payments were made in grain. The painting shows his interest in and close observation of village life. Pieter Brueghel the Younger’s workshop made many copies of the composition in different formats. There exist 19 signed and dated versions of this work (from between 1615–22) out of some 25 originals and 35 questionable versions. [1]


Credits and Attributions:

Image: Wikimedia Commons contributors, “File:Pieter BRUEGHEL Ii – The tax-collector’s office – Google Art Project.jpg,” Wikimedia Commons, the free media repository, https://commons.wikimedia.org/w/index.php?title=File:Pieter_BRUEGHEL_Ii_-_The_tax-collector%27s_office_-_Google_Art_Project.jpg&oldid=708678946 (accessed December 9, 2022).

[1] Wikipedia contributors, “Pieter Brueghel the Younger,” Wikipedia, The Free Encyclopedia, https://en.wikipedia.org/w/index.php?title=Pieter_Brueghel_the_Younger&oldid=1112359702 (accessed December 9, 2022).

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#FineArtFriday: The Parable of the Rich Fool by Rembrandt ca. 1627 (revisited)

  • By Rembrandt (1606–1669)
  • Title: The Parable of the Rich Fool
  • Genre: religious art
  • Date: 1627 Monogram and date bottom left: RH. 1627.
  • Medium: oil on oak panel
  • Dimensions: Height: 31.9 cm (12.5 ″); Width: 42.5 cm (16.7 ″)

Rembrandt’s early career focused on religious paintings, which were well received by influential patrons. Today’s featured painting, The Parable of the Rich Fool, is one of his early works, from the time when he shared a studio with Jan Lievens.

About this parable, via Wikipedia:

The rich farmer in this parable is portrayed negatively, as an example of greed.  By replacing his existing barn, he avoids using agricultural land for storage purposes, thus maximizing his income, as well as allowing him to wait for a price increase before selling. St. Augustine comments that the farmer was “planning to fill his soul with excessive and unnecessary feasting and was proudly disregarding all those empty bellies of the poor. He did not realize that the bellies of the poor were much safer storerooms than his barns.”


Credits and Attributions:

Wikipedia contributors, “Parable of the Rich Fool,” Wikipedia, The Free Encyclopedia, https://en.wikipedia.org/w/index.php?title=Parable_of_the_Rich_Fool&oldid=912095443

(accessed September 27, 2019).

Wikimedia Commons contributors, “File:Rembrandt – The Parable of the Rich Fool.jpg,” Wikimedia Commons, the free media repository, https://commons.wikimedia.org/w/index.php?title=File:Rembrandt_-_The_Parable_of_the_Rich_Fool.jpg&oldid=354111849

(accessed September 27, 2019).

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#FineArtFriday: Tavern of the Crescent Moon by Jan Miense Molenaer (revisited)

Artist: Jan Miense Molenaer (1609/1610–1668)

Title: Tavern of the Crescent Moon

Genre: genre art

Date: mid-17th century

Medium: oil on canvas

Dimensions: 87.8 × 102 cm (34.5 × 40.1 in)

Collection: Budapest Museum of Fine Arts

The sign hanging in front of the Tavern of the Crescent Moon shows it was a wayside inn catering to the traveling public and some locals.  Molenaer’s inn seems to have been a friendly place where the food was most important. A piper is playing, and people are singing. Others are hanging out the windows and watching from a balcony, enjoying the music.

The patrons are a mixed group but look like happy middle-class people, who seem fairly prosperous. What I love about this painting is the fact that the patrons are sitting outdoors. The inside of most taverns and wayside inns were dark, smoky places. Patrons must have moved outdoors as soon as the weather allowed. The day this painting was composed, weather was fine, although one well-dressed man (perhaps a merchant?) has his foot resting on a foot-warmer, which was a luxury item in that time period.

Whole families are there, out for an evening of music and enjoyment. They are breaking and sharing fresh-baked bread. Other than the man whose best friend is the dog, no one has overindulged in drink—over all, the happy group looks as if they came to the tavern solely for the company and the music.

About the Artist: From the National Gallery Website:

Jan Miense Molenaer was born in Haarlem and lived there or in nearby Heemstede. In 1634 he was listed as member of the Guild of St. Luke in Haarlem. In 1636 he married the painter Judith Leyster. Both Molenaer and Leyster may have been pupils of Frans Hals and were certainly influenced by both his style and subject matter. Dirck Hals’ influence was also very important for him, for it inspired Molenaer to paint merry company scenes.

Jan Miense Molenaer was a more prolific artist than his wife, Judith Leyster, who worked on similar subjects. Motherhood and running a household most likely cut into Judith’s time for artistic endeavors.  Molenaer  and Leyster had five children, only two of whom survived to adulthood.


Sources and Attributions:

Quote from biography of Jan Miense Molenaer, The National Gallery Website, https://www.nationalgallery.org.uk/artists/jan-miense-molenaer The National Gallery, Trafalgar Square, London, WC2N 5DN (accessed November 9, 2018)

Wikimedia Commons contributors, “File:Jan Miense Molenaer 003.jpg,” Wikimedia Commons, the free media repository, https://commons.wikimedia.org/w/index.php?title=File:Jan_Miense_Molenaer_003.jpg&oldid=302686494 (accessed November 9, 2018).

Wikipedia contributors, “Judith Leyster,” Wikipedia, The Free Encyclopedia, https://en.wikipedia.org/w/index.php?title=Judith_Leyster&oldid=820769951 (accessed November 9, 2018).

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#FineArtFriday: Winter Scene by Jan Steen 1650

Inv.nr: 10032

Artist: Jan Steen (1625/1626–1679)

Title: Winter Scene

Date: circa 1650

Medium: oil on canvas

Dimensions: Height: 660 mm (25.98 in); Width: 960 mm (37.79 in)

About this painting, Via Wikimedia Commons:

[1] Winter Scene is one of the earliest known paintings by Steen. With its diagonal composition and silhouetted figures on the ice one can clearly see his early inspirations from paintings such as Isaac van Ostade’s Winter from 1645. Here, as often seen in other works by Steen and his contemporaries, the activities are being watched by a well-dressed couple who occupies a central position in the composition. [1]

About the Artist, via Wikipedia:

[2] Jan Havickszoon Steen (c. 1626 – buried 3 February 1679) was a Dutch Golden Age painter, one of the leading genre painters of the 17th century. His works are known for their psychological insight, sense of humour and abundance of colour.

Daily life was Jan Steen’s main pictorial theme. Many of the genre scenes he portrayed, as in The Feast of Saint Nicholas, are lively to the point of chaos and lustfulness, even so much that “a Jan Steen household,” meaning a messy scene, became a Dutch proverb (een huishouden van Jan Steen). Subtle hints in his paintings seem to suggest that Steen meant to warn the viewer rather than invite him to copy this behaviour. Many of Steen’s paintings bear references to old Dutch proverbs or literature. He often used members of his family as models, and painted quite a few self-portraits in which he showed no tendency of vanity.

Steen did not shy from other themes: he painted historical, mythological and religious scenes, portraits, still lifes and natural scenes. His portraits of children are famous. He is also well known for his mastery of light and attention to detail, most notably in Persian rugs and other textiles.

Steen was prolific, producing about 800 paintings, of which roughly 350 survive. His work was valued much by contemporaries and as a result he was reasonably well paid for his work. He did not have many students—only Richard Brakenburgh is recorded—but his work proved a source of inspiration for many painters. [2]


Credits and Attributions:

Wikimedia Commons contributors, “File:Måleri, landskapsbild, vinterlandskap. Jan Steen – Skoklosters slott – 88965.tif,” Wikimedia Commons, the free media repository, https://commons.wikimedia.org/w/index.php?title=File:M%C3%A5leri,_landskapsbild,_vinterlandskap._Jan_Steen_-_Skoklosters_slott_-_88965.tif&oldid=428348165 (accessed July 22, 2021). Photographer:  Jens Mohr.

Wikipedia contributors, “Jan Steen,” Wikipedia, The Free Encyclopedia, https://en.wikipedia.org/w/index.php?title=Jan_Steen&oldid=1022958604 (accessed July 22, 2021).

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#FineArtFriday: Rembrandt as Shepherd with Staff and Flute, by Govert Flink 1636

About the artist: Born at Kleve, capital of the Duchy of Cleves, which was occupied at the time by the United Provinces, Govert Flinck was apprenticed by his father to a silk merchant, but in 1627 he was sent to Leeuwarden, where he boarded in the house of Lambert Jacobszoon. Jaobszoon was a Mennonite (one of the historic peace churches known for their commitment to pacifism). While Jacobszoon is better known as a preacher, he was a talented painter and an excellent teacher.

While studying there, Flinck met some of Jacobszoon’s neighbors, relatives of Saskia van Uylenburgh, who had married Rembrandt in 1634. That same year he began studying with Rembrandt.

Flinck is acknowledged as one of Rembrandt’s best pupils.

I really enjoy this romantic painting of Rembrandt dressed as a shepherd, holding a flute, and thinking about…what? Rembrandt’s contemplative expression seems peaceful.  The details are wonderful – from the finely worked trim on his garments down to the jewel dangling from his right ear, a gem that softly glows. The grains of the wood in both the flute and staff are subtle and real. The light falls perfectly – Flinck captured the personality of the master as a handsome young man during the happiest time of his life, and it seems as if Rembrandt himself enjoyed posing for it.

For more than a decade, Flinck’s work echoed that of Rembrandt, clearly influenced by the master’s style in the work which he executed between 1636 and 1648. As time passed, he began to desire to be a history painter, a genre in painting that  is defined by its subject matter rather than artistic style, and turned to the work of Peter Paul Rubens. In later years, Flinck had great commercial success, receiving many commissions for official and diplomatic paintings.


Credits and Attributions:

Wikimedia Commons contributors, “File:Rembrandt als herder met staf en fluit Rijksmuseum SK-A-3451.jpeg,” Wikimedia Commons, the free media repository, https://commons.wikimedia.org/w/index.php?title=File:Rembrandt_als_herder_met_staf_en_fluit_Rijksmuseum_SK-A-3451.jpeg&oldid=225225289 (accessed August 16, 2018).

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#FineArtFriday: The Parable of the Rich Fool by Rembrandt ca. 1627

  • By Rembrandt  (1606–1669)
  • Title: The Parable of the Rich Fool
  • Genre: religious art
  • Date: 1627  Monogram and date bottom left: RH. 1627.
  • Medium: oil on oak panel
  • Dimensions: Height: 31.9 cm (12.5 ″); Width: 42.5 cm (16.7 ″)

 

Rembrandt’s early career focused on religious paintings, which were well received by influential patrons. Today’s featured painting, The Parable of the Rich Fool, is one of his early works, from the time when he shared a studio with Jan Lievens.

 

About this parable, via Wikipedia:

The rich farmer in this parable is portrayed negatively, as an example of greed.  By replacing his existing barn, he avoids using agricultural land for storage purposes, thus maximizing his income, as well as allowing him to wait for a price increase before selling. St. Augustine comments that the farmer was “planning to fill his soul with excessive and unnecessary feasting and was proudly disregarding all those empty bellies of the poor. He did not realize that the bellies of the poor were much safer storerooms than his barns.”


Credits and Attributions:

Wikipedia contributors, “Parable of the Rich Fool,” Wikipedia, The Free Encyclopedia, https://en.wikipedia.org/w/index.php?title=Parable_of_the_Rich_Fool&oldid=912095443

(accessed September 27, 2019).

Wikimedia Commons contributors, “File:Rembrandt – The Parable of the Rich Fool.jpg,” Wikimedia Commons, the free media repository, https://commons.wikimedia.org/w/index.php?title=File:Rembrandt_-_The_Parable_of_the_Rich_Fool.jpg&oldid=354111849

(accessed September 27, 2019).

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#FineArtFriday: Tavern of the Crescent Moon by Jan Miense Molenaer

The  sign hanging in front of  the Tavern of the Crescent Moon shows it was a wayside inn catering to the traveling public and some locals.  Molenaer’s inn seems to have been a friendly place where the food was most important. A piper is playing, and people are singing. Others are hanging out the windows and watching from a balcony, enjoying the music.

The patrons are a mixed group but look like happy middle-class people, who seem fairly prosperous. What I love about this painting is the fact that the patrons are sitting outdoors. The inside of most taverns and wayside inns were dark, smoky places. Patrons must have moved outdoors as soon as the weather allowed. The day this painting was composed, weather was fine, although one well-dressed man (perhaps a merchant?) has his foot resting on a foot-warmer, which was a luxury item in that time period.

Whole families are there, out for an evening of music and enjoyment. They are breaking and sharing fresh-baked bread. Other than the man whose best friend is the dog, no one has overindulged in drink—over all, the happy group looks as if they came to the tavern solely for the company and the music.

About the Artist: From the National Gallery Website:

Jan Miense Molenaer was born in Haarlem and lived there or in nearby Heemstede. In 1634 he was listed as member of the Guild of St. Luke in Haarlem. In 1636 he married the painter Judith Leyster. Both Molenaer and Leyster may have been pupils of Frans Hals and were certainly influenced by both his style and subject matter. Dirck Hals’ influence was also very important for him, for it inspired Molenaer to paint merry company scenes.

Jan Miense Molenaer was a more prolific artist than his wife, Judith Leyster, who worked on similar subjects. Motherhood and running a household most likely cut into Judith’s time for artistic endeavors.  Molenaer  and Leyster had five children, only two of whom survived to adulthood.


Sources and Attributions:

Quote from biography of Jan Miense Molenaer, The National Gallery Website, https://www.nationalgallery.org.uk/artists/jan-miense-molenaer The National Gallery, Trafalgar Square, London, WC2N 5DN (accessed November 9, 2018)

Wikimedia Commons contributors, “File:Jan Miense Molenaer 003.jpg,” Wikimedia Commons, the free media repository, https://commons.wikimedia.org/w/index.php?title=File:Jan_Miense_Molenaer_003.jpg&oldid=302686494 (accessed November 9, 2018).

Wikipedia contributors, “Judith Leyster,” Wikipedia, The Free Encyclopedia, https://en.wikipedia.org/w/index.php?title=Judith_Leyster&oldid=820769951 (accessed November 9, 2018).

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