Ян Хавикзоон Стен (Ян Стэн, нидерл. Jan Havickszoon Steen; ок. 1626, Лейден до 3 февраля 1679, Лейден) голландский живописец. Ян Стен - самый весёлый голландский художник. Его темы - жанровая живопись. У него нет парадных сцен, его герои - живые люди с их достоинствами и…

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Anteriormente à existência de serviços estaduais de saúde as visitas médicas eram feitas por médicos independentes ou contratados a nível regional. Perante casos difíceis procediam a juntas médicas com a finalidade de ouvir a opinião de outros colegas. Prior to the existence of state health medical services visits were made by independent doctors or engaged on a regional level. Faced with difficult cases proceeded to medical boards in order to hear the views of other colleagues Jan Havickszoon Steen (1626-1679)-'the doctor and his patient'-oil on canvas Amsterdam-Rijksmuseum Jan Havickszoon Steen (1626-1679)-'doctor's visit'-oil on panel-(1658-1662) London-Wellington Museum Jan Havickszoon Steen (1626-1679)-'the doctor's visit'-oil on panel St Petersburg-Hermitage Thomas Rowlandson (1756-1827)-'the doctors consultation'-canvas-(1815-1820) Hartford (Connecticut)-Yale Centre for British Art Samuel Luke Fieldes (1843-1927)-'the doctor'-oil on canvas-1891

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Jan Steen. 1626-1679. Leyde. Comme les vieux chantent, les enfants piaillent. As the Old Sing, children squealing. vers 1662. Montpellier. Musée Fabre. Vieux proverbe flamand : Les jeunes imitent les anciens, de préférence dans le mal plutôt que dans le bien. Old Flemish proverb: Young people imitate the elders, preferably in evil than in good. UNE PETITE HISTOIRE DE LA PEINTURE EUROPEENNE L'Art de tous les temps et à toutes les époque s'est décidé en haut des hiérarchies sociales et a été le reflet des volontés des élites politiques et idéologiques du temps. 1° La peinture européenne, du 5è siècle au 15è siècle, est totalement inspirée par les thèmes religieux dictés par le catholicisme et l'orthodoxie. Les racines de l'Europe sont donc bien, non pas chrétiennes, mais catholiques et orthodoxes. C'est un fait qui déplait à beaucoup d' Idéologues et de politiques contemporains, surtout en France. Certes ces racines disparaissent, c'est un fait aussi, et les Influents Innommables du mondialisme font tout pour que les peuples européens perdent jusqu'au souvenir de leurs racines. 2° Au 15è siècle en Europe, plus particulièrement en Italie, apparaissent des thèmes nouveaux tirés de l'Antiquité Grecque et Romaine. Autres racines, plus anciennes, en voie de disparition à notre époque. Les Influents mécènes ne sont plus seulement d'Eglise, ils viennent de l'Aristocratie guerrière, foncière et de la ploutocratie marchande. C'est l'Art Humaniste dans lequel la religion, catholique et orthodoxe et l'Antiquité (Mythologie et Histoire) coexistent en bonne intelligence. Le portrait devient un genre en lui même, indépendant. 3°Au 17è siècle dans les Pays Bas du Nord, protestants, s'est produit une petite révolution idéologique, la Réforme, qui modifie du tout au tout, à plus ou moins longue échéance, l'art de la peinture en Europe : Disparition presque totale de l'art religieux, et de l'art inspiré par les valeurs de l'Antiquité greco-romaine, au profit d'un art profane, uniquement occupé par la société du présent. On a parlé d'Art Naturaliste. Epanouissement de la peinture de paysage, qui est traité seul, pour lui même, sans prétexte religieux ou mythologique. Apparition de la peinture de moeurs, descriptive de la société quotidienne. Non seulement dans les milieux aristocratiques, mais aussi dans les milieux bourgeois et paysans. Développement du portrait qui ne concerne plus seulement l'aristocratie, mais aussi les classes moyennes. Apparition de la "Nature morte" en tant que thème totalement indépendant. Peinture des objets, des animaux, des fleurs. Une peinture qui peut prendre un ton moraliste avec les "Vanités". Pendant tout le 17è et encore au 18è cette peinture naturaliste du présent reste principalement limitée aux Pays Bas. Les autres pays d'Europe continuent dans la voie ouverte par l'Art Humaniste et les thèmes principaux de la peinture demeurent la religion et l'Antiquité. Rares sont en France, en Allemagne, en Italie en Espagne, en Grande Bretagne les peintres influents totalement spécialisés dans le paysage ou la peinture de moeurs. Il en existe, mais ils restent une minorité. La peinture de paysage demeure principalement liée aux grands sujet religieux, mythologiques ou historiques. La nature morte est de même bien moins développée qu'aux Pays Bas. Le Portrait reste l'apanage des classes aristocratiques ou des grands bourgeois. 4° La fin du 18è, le 19è et le début du 20è siècle voient la peinture européenne se diversifier de manière presque explosive. C'est une époque extraordinairement plurielle pour l'art européen. Une époque de liberté et de grande diversité idéologique. Non seulement les thèmes les plus divers sont traités partout en Europe, mais les techniques de la peinture se diversifient et se renouvellent. En fin de période apparaît une nouveauté intéressante : l'Art Abstrait. 5° Vers 1950 s'impose, dans les musées occidentaux, ce que l'on appelle l'Art Contemporain, témoin de la nouvelle idéologie mondialiste de la Table Rase et d'un art sans aucunes racines culturelles. A voir les oeuvres d'art exposées dans les Musées d'Art Contemporain le but des élites mondialistes est très clair : aculturer les hommes, uniformiser les peuples du monde pour mieux les dominer. A LITTLE STORY OF EUROPEAN PAINTING Art of all times and in all ages, has decided at the top of the social hierarchy, and was a reflection of the will of political and ideological elite of the time. 1. The European painting from the 5th century to the 15th century, is totally inspired by religious themes dictated by Catholicism and Orthodoxy. Europe's roots are threrefore welle, not Christian, but Catholics and Orthodox. It is a fact that displeases many Ideologues and political contemporaries, especially in France. Certainly these roots disappear, it is also a fact, and the Influents, Innommables (Unspeakables), of the Globalism do everything to make that the European peoples lose the memory of their roots. 2. In the 15th century in Europe, especially in Italy, appear new themes drawn from Antiquity Greek and Roman. Other roots, most ancient, as endangered in our time. The Influents patrons are not only for the Church, they come from the warrior aristocracy, land tenure, and the Merchant plutocracy. This is the Humanist Art, in which the Catholic and Orthodox religion and Antiquity (Mythology and History) coexist in harmony. The portrait became a genre in itself, independent 3. In the 17th century, in the Netherlands Northern, Protestant, occured a ideological revolution, the Reformation, which amends completely, more or less long term, the art of painting in Europe: Almost total disappearance of religious art, and art inspired by the values of the Greco-Roman Antiquity, in favour of a secular art, only occupied by the society of the present. There was talk of a Naturalist Art Developpement of landscape painting, which is treated alone, for himself, without religious or mythological pretext. Appearance of the painting of manners, descriptive of everyday society. Not only in aristocratic circles, but also in bourgeois and peasants circles. Development of the portrait, which no longer concerns only the aristocracy, but also the middle classes. Appearance of "Still Life", as a completely independent theme. Painting objects, animals, flowers. A painting can take a moralistic tone with "the Vanities." During the 17th and again in the 18th, this naturalistic painting is mainly restricted to the Netherlands. Other European countries continue in the path opened by the Humanist Art and the main themes of the painting remains the religion and antiquity. Few are in France, Germany, Italy, Spain, Great Britain, influential painters totally specialized in landscape or painting of manners. They exist, but they remain a minority. Landscape painting remains primarily linked to the religious, mythological or historical subject. The still life is even less developed than in the Netherlands. The Portrait is the prerogative of the aristocratic classes or the great bourgeoisie. 4. At the end of the 18th century, during the 19th and early 20th century European paintings diversifies, almost explosively. It is an extraordinarily pluralistic era for European art. An era of freedom and great ideological diversity. Not only the most diverse themes are treated everywhere Europe, but the techniques of painting are diversifying and renewing. At the end of period appears an interesting novelty: Abstract Art. 5. Around 1950 is needed in the Western museums, the so-called Contemporary Art, witness the new globalist ideology of Table Rase and an art without any cultural roots. To see the works of art exhibited in the Museum of Contemporary Art, the goal of the globalist elite is very clear: eliminate the differences in culture between men, standardizing the peoples of the world, in order to better dominate.

Bestel Jan Steen, 'Soo voer gesongen, soo na gepepen' als print. Kies zelf de maat en het materiaal. Snel geleverd, hoge kwaliteit.

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. This classical painting with title Fantasy Interior with Jan Steen and the Family of Gerrit Schouten In 1659-1660 . Medium used was oil on canvas. 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 to 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. Steen was born in Leiden, a town in Southern Holland, where his well-to-do, Catholic family were brewers[2] who ran the tavern The Red Halbert for two generations. Steen's father even leased him a brewery of his own in Delft from the years 1654 until 1657. He was the eldest of eight or more children. Like his even more famous contemporary Rembrandt van Rijn, Jan Steen attended the Latin school and became a student in Leiden. It is often suggested that Jan Steen's paintings are a realistic portrayal of Dutch 17th-century life. However, not everything he did was a purely realistic representation of his day-to-day environment. Many of his scenes contain idyllic and bucolic fantasies and a declamatory emphasis redolent of theater.

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In the fifteenth century, artists took increasing inspiration from the culture of antiquity and from the natural world, and began to depict objects such as fruits, sweets, and wine vessels, as well as flora and fauna, in both devotional and secular images.

𝐀𝐛𝐨𝐮𝐭 𝐓𝐡𝐞 𝐀𝐫𝐭𝐢𝐬𝐭: Jan Steen (1626-1679) was a Dutch painter who is known for his humorous and often bawdy depictions of everyday life in 17th-century Holland. He was particularly known for his genre scenes, which often featured scenes of domestic life and celebrations. Steen was born in Leiden, the Netherlands, and studied under the painter Nicolaes Knupfer. He was a prolific painter and produced a wide range of works, including portraits, landscapes, and historical scenes, but he is best known for his genre paintings. Steen's genre scenes often featured boisterous and chaotic scenes of people drinking, eating, and engaging in other activities. His paintings were characterized by their attention to detail, lively compositions, and vivid colors. He was also known for his use of symbolism, often including hidden messages or moral lessons in his works. 𝗧𝗶𝘁𝗹𝗲: The Dancing Couple This beautiful vintage Painting is a 𝗱𝗼𝘄𝗻𝗹𝗼𝗮𝗱𝗮𝗯𝗹𝗲 𝗱𝗶𝗴𝗶𝘁𝗮𝗹 𝗽𝗿𝗶𝗻𝘁 to brighten up your walls. This image is offered in a 3:2 ratio which is consistent with the image. This is the most popular aspect ratio for printing. Print sizes with a 3:2 aspect ratio are popular with art prints, posters and canvas. When you print the image, it will remain in proportion. The result will be the same as the picture. You will receive a link for an instant download for the following standard sizes: 4x6", 6x9", 8x12", 12x18", 16x24", 20x30" and 24x36". They are jpg files and have been set at 300 DPI to ensure maximum quality. Contact us through the Etsy message board if you need a 𝗙𝗥𝗘𝗘 custom size or any advice. We are always happy to help our customers. Our digitally enhanced downloadable digital artwork retains all the authenticity of the original, with blemishes remaining visible. 𝗧𝗵𝗶𝘀 𝗹𝗶𝘀𝘁𝗶𝗻𝗴 𝗶𝘀 𝗳𝗼𝗿 𝗮 𝗱𝗶𝗴𝗶𝘁𝗮𝗹 𝗱𝗼𝘄𝗻𝗹𝗼𝗮𝗱. 𝗡𝗼 𝗽𝗵𝘆𝘀𝗶𝗰𝗮𝗹 𝗽𝗿𝗼𝗱𝘂𝗰𝘁 𝘄𝗶𝗹𝗹 𝗯𝗲 𝘀𝗵𝗶𝗽𝗽𝗲𝗱 𝗮𝗻𝗱 𝘁𝗵𝗲 𝗳𝗿𝗮𝗺𝗲 𝗶𝘀 𝗻𝗼𝘁 𝗶𝗻𝗰𝗹𝘂𝗱𝗲𝗱. To access your digital files : Sign in to Etsy.com and go to Your account. Go to Purchases and reviews. Next to the order, select Download Files. This goes to the Downloads page for all the files attached to your order. You can also go back to the item’s listing page, where you should see an “Instant Download" message on the images for the item. When printing this type of image, we suggest matte paper or if your budget can stretch, go for fine art textured paper. Many companies provide a service if you can’t print the size at home. There are many different ways you can print your purchase. You can visit a local printer store such as Office Depot or Target. You can also go online at Shutterfly.com, Mpix.com or Vistaprint.com. 𝙋𝙧𝙞𝙣𝙩𝙨 𝙏𝙤 𝙏𝙝𝙚 𝙋𝙚𝙤𝙥𝙡𝙚 𝙖𝙧𝙩𝙬𝙤𝙧𝙠 𝙞𝙨 𝙛𝙤𝙧 𝙥𝙚𝙧𝙨𝙤𝙣𝙖𝙡 𝙪𝙨𝙚 𝙤𝙣𝙡𝙮. 𝘾𝙤𝙢𝙢𝙚𝙧𝙘𝙞𝙖𝙡 𝙪𝙨𝙚 𝙖𝙣𝙙 𝙧𝙚𝙨𝙖𝙡𝙚 𝙞𝙨 𝙣𝙤𝙩 𝙥𝙚𝙧𝙢𝙞𝙩𝙩𝙚𝙙. ©𝙋𝙧𝙞𝙣𝙩𝙨 𝙏𝙤 𝙏𝙝𝙚 𝙋𝙚𝙤𝙥𝙡𝙚

Jan Havickszoon Steen, Leiden um 1626 - 1679 Der Arztbesuch / The Doctor's Visit (ca. 1665 - 1668) Mauritshuis, Den Haag / The Hague A sick girl lies in bed, propped up by pillows. The doctor visiting her is having his glass filled by the maid. The girl is probably suffering from a ‘wandering womb’, an illness that mainly affected young virgins. Although the condition was taken very seriously by doctors in those days, Steen sees the comical side of it. The dogs on the staircase show the remedy for the ailment – the girl must find a husband as soon as possible. Source: Mauritshuis

La chandeleur par les peintres - Jan Steen (1626-1679) la marchande de crêpes Jan Steen (1626-1679) la marchande de crêpes

Para hoy también os traigo una doble sugerencia. Por un lado, os invito a disfrutar con la música para laúd, en magnífica interpretación de Xavier Díaz-Latorre. Se trata de la Fantasía en Do menor, del compositor y laudista alemán Silvius Leopold Weiss (1687-1750). Fue uno de los compositores más prolíficos para laúd, y un instrumentista excepcional. Debido a su posición social, se codeó con los mejores músicos de la época, entre ellos, J. S. Bach, con quien mantuvo una gran amistad y con el que interpretaba a dúo (qué no daría yo por estar ahí en uno de "esos momentos"). Y mientras suena la música, abro en Picasa una galería temática (Arte e Instrumentos). En esta ocasión, una pequeña selección con el laúd como protagonista. Santa Cecilia y el ángel, (Carlo Saraceni, ca. 1610) Autorretrato como músico (Jan Havicksz Steen, 1660-63) The Family Concert (Jan Havicksz Steen, 1666) Ritratto del liutista Girolamo Valeriani (Ludovico Lana, ca. 1630) Réunion de musiciens (François Puget, 1688) CATEGORÍAS: Arte, Pintura, Música

Jean Steen. 1626-1679. Leiden. Amnon et Thamar. 1660. Cologne Wallraf Richartz Museum. Ancien Testament : Amnon, fils du roi David viole sa demi-soeur Tamar. Le frère de Tamar Absalon venge cette dernière en tuant Amnon.Jan Steen est un des rares peintres des Pays Bas du Nord à peindre quelques tableaux sur des sujets religieux. Old Testament: Amnon, son of King David rapes his half-sister Tamar. Tamar's brother Absalom avenges the latter killing Amnon. Jan Steen is one of the few painters of the Northern Netherlands to paint a few paintings on religious subjects. LA PEINTURE AUX PAYS BAS 1° Il faut distinguer les Pays Bas du Sud et les Pays Bas du Nord, et d'autre part l'époque selon que la religion pratiquée est catholique ou protestante. Les Pays Bas du Sud correspondent à la Belgique actuelle et au nord de la France. Ils ont fait partie de l'empire romain, et ils sont catholiques. Ethniquement et linguistiquement ils sont soit d'origine Celte et parlent français, soit d'origine Germanique et parlent flamand. Les Pays Bas du Sud, Flandre et Wallonie, sont une des régions d'Europe qui se développe, économiquement, politiquement, techniquement, le plus rapidement vers l'an 1000. A peu près à égalité avec l'Italie du Nord. C'est donc un des lieux privilégiés de la renaissance de l'Europe après la période sombre qui a débuté lors de l'effondrement de l'Empire romain. Les Pays Bas du Nord correspondent au Pays Bas actuels (Nederland). Ils n'ont pas fait partie de l'empire romain. Ethniquement et linguistiquement ils sont germaniques. Ils sont catholiques jusqu'à la Réforme protestante. Economiquement leur développement est plus tardif que celui des Pays Bas du Sud. Ils se constituent en état indépendant du Sud avec la Réforme. Séparation de fait : 1579 (Union d'Utrecht). Reconnaissance définitive de cette indépendance par tous les pays européens: 1648. 2° Les Pays Bas du Sud sont, au 15è siècle et au début du 16è siècle, le lieu d'activité des Peintres dits "Primitifs Flamands". Peintres Gothiques, ayant leurs ateliers principalement à Bruges, Gent, Tournai, Bruxelles, Anvers. Les sujets de leur tableaux sont exclusivement catholiques. Sous l'influence de l'Italie commencent à apparaître en fin de période les thèmes de la mythologie et de l'histoire de l' Antiquité Gréco-Romaine. Ils vont de Jan Van Eyck à Pieter Bruegel l'Ancien, jusqu'à la séparation de fait du Sud et du Nord. C'est une acception large, certes, mais pratique. Après la séparation de fait (1579) ces thèmes de peinture, religion catholique, mythologie, histoire antique, restent très dominants, même si le paysage et la nature morte ont aussi une petite place. Les Pays Bas du Nord. Ils sont plus tardivement développés économiquement et politiquement. Leur peinture gothique, catholique, a en outre été presque entièrement détruite par les protestants. La Réforme va avoir une conséquence considérable sur la peinture de ces régions et ensuite de l'Europe : la religion et la mythologie ou l'histoire gréco-romaine ne sont plus les thèmes habituels de la peinture. Ces thèmes disparaissent même presque totalement. Les Pays Bas du Nord mettent en place, à la toute fin du 16è et au début du 17è siècle, un nouvel art de la peinture dont les thèmes sont tout à fait principalement: Le paysage, et notamment les marines La nature morte La peinture des moeurs de la société bourgeoise et paysanne, et le portrait des classes bourgeoises. Ces thèmes se répandront dans le reste de l'Europe mais seulement au cours du 19è siècle. Les peintres pré-impressionnistes français notamment s'inspireront beaucoup des peintres néerlandais du 17è siècle. PAINTING IN THE NETHERLANDS (LOW COUNTRIES) 1. We must distinguish the Southern Netherlands (Southern Low Countries) and the Netherlands from the North (Northern Low Countries), and also according to the time that the religion practiced is Catholic or Protestant. The Netherlands South (Southern Low Countries) correspond to the present Belgium and the north of France. They have been part of the Roman Empire and they are Catholics. Ethnically and linguistically they are either of Celtic origin and speak French or of Germanic origin and speak Flemish. South Netherlands (Southern Low Countries) , Flanders and Wallonia, are one of the regions of Europe that develops, economically, politically, technically, quickly, from the year 1000. Almost on par with the Italy of North . It is therefore a privileged places of the rebirth of Europe after the dark period that began with the collapse of the Roman Empire. The Northern Low Countries correspond the current Netherlands (Nederland). They have not been part of the Roman empire. Ethnically and linguistically they are Germanic. They are Catholics until the Protestant Reformation. Economically development is later than tha of the Southern Low Countries. They become an independent state of South part with the Reformation. Separation of fact: 1579 (Union of Utrecht). Definitive recognition of independence by all European countries: 1648. 2. The Southern Low Countries (Netherlands South) are, in the 15th century and early 16th century, the place of business of the Painters, called "Flemish Primitives". Gothic painters, with their workshops mainly in Bruges, Ghent, Tournai, Brussels, Antwerp. The subjects of their paintings are exclusively Catholic. Under the influence of Italy begin to appear at end of period, the themes of mythology and the history of the Greco-Roman Antiquity. They go from Jan van Eyck at Pieter Bruegel the Elder, to the de facto separation of the North and South. This is a broad sense, certainly, but practical. After the separation of fact (1579) the painting themes, Catholic religion, mythology, ancient history remain very dominant, although the landscape and still life also have a small place. The Northern Low Countries (Netherlands North). They are later developed economically and politically. Their Gothic painting, Catholic, was also almost completely destroyed by the Protestants. The Reform will have a significant impact on the painting in these areas and then to Europe: Religion and Mythology or Greco-Roman history are no longer the usual themes of painting. These themes same disappear almost completely. The Northern Low Countries (Netherlands North) put in place, at the end of the 16th and early 17th century, a new art of painting whose themes are quite mainly: The landscape, and in particular the marine The Still life The painting of the mores of the bourgeois and peasant society, and the portrait of the middle classes. These themes will become more widespread in the rest of Europe, but only during the 19th century. The French pre-Impressionist painters in particular be inspired many of the Dutch painters of the 17th century.