At Home with Jan Steen: 400 Years of Life in the Brewery

In 2026, it will be exactly 400 years since Jan Steen was born in Leiden. Step into the personal life of one of the most important Dutch painters of the seventeenth century. In this exhibition, you will discover how his children, wives, friends, and pub not only shaped his surroundings but also served as his greatest source of inspiration. Through masterpieces from the Rijksmuseum, Mauritshuis, and the museum's own collection, among others, you will embark on a journey of discovery through Steen's world full of humor, chaos, and hidden messages. With 'At Home with Jan Steen – 400 Years of Life in the Brewery,' Museum De Lakenhal focuses on Steen's personal environment and the role of his birthplace, Leiden. On view until August 23, 2026. What do you know about Jan Steen? We will criss-cross through his fascinating life.

Exhibition 'Jan Steen, Painter and Storyteller' (1996 – 1997)

The large-scale retrospective 'Jan Steen, Painter and Storyteller' took place at the Rijksmuseum Amsterdam from September 21, 1996, to January 12, 1997. The partner for this exhibition was the National Gallery of Art, Washington. The exhibition featured 49 paintings and attracted a large audience, with over 310.000 visitors. The exhibition highlighted Steen's talent as a storyteller, with works full of humor, morality, and chaos. During the exhibition, music played a role in the experience, with the ensemble Camerata Trajectina selecting songs to accompany paintings with musical themes. The exhibition was also notable because it was the last exhibition for which the temporary ticket booth on the forecourt of the Rijksmuseum was used. Have you seen this exhibition? If you can still buy the catalogue secondhand (just like me), purchase it immediately. It contains a lot of information about Jan Steen's life and his paintings (#49), totaling 272 pages. You may well see many of these artworks at Museum De Lakenhal in Leiden.

'Soo voer gesongen, soo na gepepen' is a painting by the Dutch artist Jan Steen, oil on canvas, measuring 133,7 × 162,5 centimeters, created circa 1668–1670. It is a typical example of what would later be called a “Jan Steen household”. The work is in the collection of the Mauritshuis in The Hague.

Steen often depicted proverbs in his paintings, though it is unclear whether he prioritized the moral or the humor. In this work, he depicts the proverb “Soo voer gesongen, soo na gepepen,” which essentially means: bad example leads to bad behavior. It can be read on the text the grandmother holds before her. The full text reads: “Let / Soo voer gesongen soo / na gepepen that has long been proven / ick sing u vo[or] /so[o] volg ons na[er] / van een tot hond[derd] jaar”.

Steen depicts the same company once again in ' The Merry Family' from 1668, which illustrates the related proverb: “Soo D'Oude Songen, Soo Pypen De Jonge” (As the old ones sang, so the young ones pipe). The figures in the painting are just a few years older there. The theme is also repeated in two other of Steen’s works from the same period. One of them is also in the possession of the Mauritshuis. Another version, strongly resembling the one discussed here but without a self-portrait, is in the possession of the Musée Fabre in Montpellier.

For the painting discussed here, Steen used his own family as models, spanning three generations. He paints it with a great deal of self-mockery. The roaring pipe smoker in the back right is a self-portrait. The woman in the front left, with the décolleté, is his wife, Grietje van Goyen. Their own offspring can be recognized in the children. The work is exemplary of what would later be called ' a Jan Steen household '. A busy, somewhat disorderly affair. Evidently, the baptism of the youngest child is being celebrated, judging by the grandfather's christening cap. Traditionally, the father should wear this, but it fits the prevailing atmosphere of an upside-down world. Everyone present seems to be in a playful mood. Steen is teaching one of his sons to smoke a pipe, while the girl watches attentively what is happening, probably expecting him to cough. The voluptuous woman has herself poured yet another drink. Her indecent posture is symbolically reflected in the bagpipes, which at the time were considered the instrument of fools and the lustful. This 'blowpipe' also refers to the children's 'pipe-smoking', just like the tobacco pipe and the parrot. In this work, Steen also demonstrates himself to be an extraordinarily skilled painter who was very adept at suggesting various materials, such as the earthenware jug on the floor to the left, the lilac skirt, and the sparkling wine.

On the cover of the 1996 catalogue, you can see the painting from which the design for the 1979 Jan Steen stamp is derived. In 1979, it had been 300 years since Jan Steen had died. Can you see which part of the painting was used for the stamp?

A monochrome detail image, in a grey-brown colour, of a self-portrait by Jan Steen represents the painting. The painter shows himself laughing in the background of a family scene. In this way, Ootje Oxenaar strikingly depicts the cheerfulness and lively vision of the painter Steen regarding his own time.

Something of the vitality of Jan Steen's world is evoked by:

1. contrasts in the size of partial images
2. by the dynamic diagonal placement of the country name
3. application of warm colors green, yellow and red

The geometric checkered triangle in the lower left refers to the tiled floors of Dutch interiors, on which numerous of Steen's scenes take place.

Source: From the blog (2011) of Bate Hylkema.

 

The Feast of Saint Nicholas (1665-1668)

The Feast of Saint Nicholas is a painting by the Dutch artist Jan Steen. Steen painted the 82 x 70,5 cm work, executed in oil on canvas, between 1665 and 1668. It is housed in the Rijksmuseum Amsterdam. The work is painted in Jan Steen's characteristic style, in which scenes from daily life are depicted in a lively and often seemingly chaotic manner. The painting shows a family celebrating the traditional Sinterklaas festival on the eve of December 6. Central to the scene is the youngest daughter of the family, who has evidently behaved well over the past year and is being rewarded with a doll and other gifts. Her older brother stands crying beside her, as a rod is sticking out of his shoe. He is being laughed at by another brother. In the background stands the grandmother, who may still have some comfort for the crying boy in the form of a hidden gift. The mother shows interest in her young daughter's gifts: a St. John's doll and a small bucket of sweets. The father of the family watches the entire scene with a smile.

Sinterklaas and the Pieten visit the Gallery of Honour at the Rijksmuseum and see the painting above. If you would like an explanation of the main characters in the painting, watch the video at this link and visit the Rijksmuseum yourself: https://schooltv.nl/video/het-sint-nicolaasfeest-van-jan-steen-wie-zoet-is-krijgt-lekkers-wie-stout-is-de-roe/

 

 

The Dance Lesson (1660 – 1679)

Children Teaching a Cat to Dance, also known as The Dance Lesson, is a painting by Jan Steen in the Rijksmuseum in Amsterdam. It depicts a group of children in an interior gathered around a table. A girl is playing a shawm. The little boy on the left is blowing out smoke. Meanwhile, another boy (possibly a self-portrait) is trying to make a cat dance. A dog is barking at the cat. Otherwise, it is a mess. A beautiful white tablecloth has been carelessly pushed aside. A frying pan stands on the floor against a chair. An expensive silver bowl sits on the chair. Yet another boy offers the boy on the left an earthenware pipe. Mischief is being played here. These children are teaching a cat to dance to the music of a small shawm. Between the 15th and 17th centuries, this wind instrument was widely used; it is the precursor to the oboe. The shawm was primarily used for dance music and ceremonial music, and was renowned for its loud sound.

The scene is one of many genre pieces by Jan Steen in which he sets a negative example, that is to say, he shows how things should not be done. The children are literally up to mischief and imitating bad adult behavior. The man peering through the window above his head appears to be speaking to the children in a reprimanding tone. The girl on the right wears loose clothing and red stockings, which refers to lust, just as the lute refers to female sexuality. Art historian Eddy Schavemaker points out similarities between this clothing and that of Johannes Vermeer's *The Milkmaid*. The wine jug, like the pipe, represents earthly lusts, and the frying pan possibly the emptiness of life. In short, as in so many of Steen's canvases, people are setting a bad example for their children.

 

 

In luxury look to (1663)

The painting depicts a disorderly household indulging in licentious or inappropriate behavior. The luxury in the title refers to the Latin root of the word, luxuria or lust. The boisterous revelers are depicted in an inverted triangle, with the clearly dissolute young woman in the center smiling flirtatiously at the viewer. Jan Steen’s picture is a realistic yet humorous distortion of a Dutch family home living in chaos, and may warn viewers of the folly and consequences of such a lifestyle.

The painting is a humorous and satirical depiction of a wealthy Dutch family indulging in excess and luxury, conveying a moral message regarding the dangers of excess and the virtues of moderation. Through rich symbolism and detailed composition, the painting captures the contradictions and complexity of 17th-century Dutch society. The canvas is a humorous illustration of a Dutch proverb: 'In Weelde Siet Toe', which roughly translates to: 'Beware of the consequences in good times'. In this case, the housewife has fallen asleep, allowing the other family members to fully take advantage of the situation. Her husband in the foreground is having an affair with the provocative young woman, who is clamping a glass of wine between his legs. He laughs off the admonitions of a nun or beguine. A younger child is taking something out of a cupboard, and her younger brother is trying out a pipe. The youngest child is playing with a pearl necklace, the eldest son is playing the violin, the dog is lying on the table eating its meal, and a pig has walked into the room.

The painting depicts a luxurious interior filled with expensive furniture and decorations, including a marble fireplace, a chandelier, and ornate tapestries. However, the house is hopelessly messy. Six adults, two children, a newborn, a pig, a duck, a monkey, and a dog are all visible. A young woman turns to us while holding a glass of red wine in her left hand and places it on the man's crotch. Her deep décolleté is more reminiscent of a barmaid or a prostitute. A woman and an older gentleman reading to him from the book he is holding distract the man next to them. The older man watches as a little girl takes an object from a cupboard while playing the violin. There is an older man with a duck on his shoulder. The monkey stands on a shelf and holds a string attached to a clock on the right side. Despite the commotion, the woman remains asleep without hearing the bowl fall to the floor. A small child with a pipe beside him blows smoke at her to wake her up and tells her that the dog standing on the table is eating their meat pie or waking the woman up. The pig rubbed its snout across the floor and sniffed the flower the older man had dropped. Scattered objects lie on the floor: a gentleman's hat, his pipe, cars, a notebook, a bowl, a cup, a water jug, and pretzels. The artist has painted a basket hanging from the ceiling, with crutches and a sword dangling dangerously from it.

 

Jan Steen (1626 – 1679)

Jan Havickszoon Steen (Leiden, 1626 – Leiden, buried February 3, 1679) was a Dutch painter of the 17th century, the era of Northern Netherlandish Baroque painting. His work is world-famous for his humorous and ironic view of life. He is best known for his entertaining paintings of messy and wild households, tavern scenes, and quacks attempting to cure heartbreak with medicines. However, his repertoire also includes serious historical pieces, other genre scenes, and a few portraits. The Dutch expressions 'a household of Jan Steen' and 'to liven things up' are derived from his work.

[One_half]

[/ One_half] [one_half_last]

 

 

 

 

 

 

[/ One_half_last]

Like his even more famous contemporary Rembrandt van Rijn, Steen attended the Latin school in Leiden. In 1646, he enrolled at the University of Leiden, but this probably had more to do with the privileges, such as exemption from militia service and from excise duties on wine and beer, than with serious career plans. He was registered as a student of letters but did not complete his studies. The only mention of his age dates from November 1646, when he states that he is twenty years old. Since his parents married in November 1625, it is plausible that he was born the following year.

 

St. Peter's Church Leiden

As a native of Leiden, Jan Steen also lived near the Pieterskerk during the final years of his life, where he ran an inn, was elected head of the St. Luke's Guild of Artists, and, of course, continued to paint. After his death in 1679, he was interred in the family tomb near the choir of the Pieterskerk, where a new memorial stone was also placed on the pillar next to the grave in 1926 during an earlier jubilee year.

In the anniversary year, a presentation will be on display at the tombstone of Jan Steen and his family in the choir ambulatory. It remains one of the most important places in the Netherlands where Jan Steen is remembered.

 

Jan Steen in Warmond

The presentation of this special painting marks the festive kick-off of the anniversary year. And that is not all: simultaneously, the Jan Steen Experience opens at the VVV office in Warmond. In this new audiovisual experience, modern technology allows you to literally step into the life and work of Jan Steen. You will discover who he was, how he lived, and what makes his paintings so special. It is no coincidence that all this is taking place in Warmond. Jan Steen lived and worked here, and here his story is now coming to life once again. With this unique combination of art historical heritage and contemporary experience, Warmond demonstrates why it can rightfully be called a Jan Steen Village. Whether you are an art lover, curious about the history of your own village, or simply looking for a special outing: this is an event you won't want to miss. In early April, Warmond – and with it, Teylingen – will experience a piece of history up close.

 

<strong> More info: </strong>

At Home with Jan Steen: 400 Years of Life in the Brewery, Museum De Lakenhal, Leiden, 2 April to 23 August 2026:

https://www.lakenhal.nl/nl/verhaal/thuis-bij-jan-steen-400-jaar-leven-in-de-brouwerij

Jan Steen 400: https://www.visitleiden.nl/nl/cultuur/jan-steen-400

Jan Steen and Warmond: https://destrekenvanjansteen.nl/

Jan Steen and St. Peter's Church: https://pieterskerk.com/het-jubileumjaar-van-jan-steen/

Jan Steen and Mauritshuis:

https://www.mauritshuis.nl/ontdek-collectie/onze-meesters/jan-steen

Previous museum blogs: https://www.postzegelblog.nl/tag/made-in-holland/

For those who want to read more fun anecdotes about Jan Steen and other Dutch artists from the Golden Age (book, second-hand):