Merry Company
Artist/Maker
Jan Steen
(Dutch, 1626–1679)
Date1667–69
MediumOil on panel
DimensionsOverall: 17 5/8 × 14 5/8 in. (44.8 × 37.2 cm)
Frame: 23 3/4 × 20 13/16 × 2 in. (60.3 × 52.9 × 5.1 cm)
Frame: 23 3/4 × 20 13/16 × 2 in. (60.3 × 52.9 × 5.1 cm)
Credit LineR. T. Miller Jr., Mrs. F. F. Prentiss, and Charles F. Olney Funds
Object number1957.14
Status
On viewThis lively work depicts people in what is presumably a tavern. Although the exact nature of the scene is slightly vague, one scholar has identified the merrymakers as an amateur literary society. These groups, first established in the Netherlands in the 16th century, presented dramatic readings, performances, and literary competitions.
The bearded older man leans intimately over the woman’s shoulder to read from her song sheet. Dressed in a costume fashionable in the previous century, he has a sprig of flowers tucked into his hatband, perhaps to spruce up his dress and render himself more youthful. The woman’s foot, however, suggests the real object of her interest, the young violinist. A fourth figure, laughing and hoisting his glass, is identified by his flat red cap as the "fool," who traditionally functioned as observer or commentator on actions within a scene. The man silhouetted in the doorway at the rear is a portrait of the artist. Steen frequently inserted his own likeness into his paintings, thereby personally inviting the viewer’s complicity in the scene.
Exhibition History
The bearded older man leans intimately over the woman’s shoulder to read from her song sheet. Dressed in a costume fashionable in the previous century, he has a sprig of flowers tucked into his hatband, perhaps to spruce up his dress and render himself more youthful. The woman’s foot, however, suggests the real object of her interest, the young violinist. A fourth figure, laughing and hoisting his glass, is identified by his flat red cap as the "fool," who traditionally functioned as observer or commentator on actions within a scene. The man silhouetted in the doorway at the rear is a portrait of the artist. Steen frequently inserted his own likeness into his paintings, thereby personally inviting the viewer’s complicity in the scene.
An American University Collection: Works of Art from the Allen Memorial Art Museum, Oberlin, Ohio
- Kenwood House, London (May 3, 1962 - October 30, 1962 )
Twelve Works from Twelve Great Private Colleges and Universities
- Marquette University, Milwaukee, WI (February 20, 1964 - February 27, 1964 )
Musica Humana: A Dialogue between Music and the Visual Arts
- Allen Memorial Art Museum, Oberlin, OH (March 26, 1996 - June 30, 1996 )
Symbol and Meaning in Seventeenth-Century Dutch Art
- Allen Memorial Art Museum, Oberlin, OH (September 13, 1988 - November 27, 1988 )
Seven Hundred Years of Western Art
- Allen Memorial Art Museum, Oberlin, OH (August 26, 2001 - June 2, 2002 )
From Baroque to Neoclassicism: European Paintings, 1625-1825
- Allen Memorial Art Museum, Oberlin, OH (September 10, 2002 - June 9, 2003 )
Collections
- European
- On View
This record was created from historic documentation and may not have been reviewed by a curator. Noticed a mistake? Have some extra information about this object?
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mid-17th century
1676–99
after 1631