Offered by Galerie PhC
Beautiful interior scene by one of the masters of the genre.
Canvas 90 cm by 70 cm
Beautiful frame of 105 cm by 87 cm
Jan Miense MOLENAER (1609-1668)
Jan Miense Molenaer (circa 1610 in Haarlem, the Netherlands - buried September 19, 1668 in Haarlem) is a Dutch Baroque painter (United Provinces) of the Golden Century, best known for his genre scenes. He was the husband of the woman painter Judith Leyster.
Jan Miense Molenaer was born in Haarlem between 1609 and 16101. He was trained in painting at the studio of Frans Hals, along with Adriaen Brouwer and Adriaen Van Ostade.
On June 1, 1636, he married the painter Judith Leyster. The same year, the couple moved to Amsterdam where they had four children: Johannes (1637), Jacobus (1639), Helena (1643) and Eva (1646).
In 1648, they come to settle in Haarlem, where was born in 1650, their fifth and last child: Constantijn. Jan Miense Molenaer opens a workshop in which he employs a few apprentices. He is also active as an art dealer and in real estate - in Heemstede, the couple owned a farm worth 8,200 guilders.
In 1659, Jan and his wife both fell ill. Jan Miense Molenaer heals, but Judith Leyster was to die three months later. Before the death of Leyster, they had included the farm they had in their will.
Molenaer dies in Haarlem in 1668 and is buried on September 19th
The pictorial style of Jan Miense Molenaer and his wife Judith Leyster are often confused, so it is sometimes difficult to distinguish their works. In his early days, Molenaer painted in a style influenced by Frans Hals, but he later evolved to a closer way to that of an Adriaen Van Ostade (this is the case of our painting).
Molenaer produced mostly genre scenes, portraits, and some paintings of religious subjects. His genre paintings often represent musicians, as is the case for Musicians (Magyar Szépmüvészeti Múzeum, Budapest), the Duo (Seattle Art Museum), or A family of musicians (Frans Hals Museum, Haarlem), or scenes of taverns and play (The Warm Hand). Molenaer was also pleased to place Biblical scenes in settings of his time, for example the Saint Peter's Denial transposed as part of a Dutch tavern (Magyar Szépmüvészeti Múzeum, Budapest)