Idlers - Jan Steen
Archival giclée
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Description
A classic Dutch Golden Age genre painting by Jan Steen, depicting a quiet, domestic scene of two figures in a state of indolence.
Jan Steen, a master of the Dutch Golden Age, frequently turned his attention to the domestic habits and moral failings of his contemporaries. In this work, he depicts a scene of indolence within a dimly lit interior. A woman rests her head upon the table, seemingly overcome by sleep or perhaps the effects of drink, while a man sits beside her, holding a pipe with a knowing, somewhat mischievous expression. The composition is typical of Steen, who often used such vignettes to comment on the lack of discipline in household life.
The setting is sparse, containing only the essential items of a modest room: a table covered in a dark cloth, a foot warmer, and a few scattered pipes. The lighting is focused, drawing the eye to the figures while leaving the corners of the room in shadow. This technique creates a sense of intimacy, allowing the viewer to observe the quiet, unglamorous reality of the subjects. Steen was known for his ability to balance technical precision with a narrative quality that feels both observational and staged.
Steen often included subtle details to guide the viewer, such as the discarded slipper on the floor and the foot warmer beneath the woman, which suggest a state of disarray. His work avoids the idealised portrayals common in other genres of the period, opting instead for a grounded, human perspective. The palette is dominated by earthy tones, reflecting the modest environment of the figures. This print captures the texture of the original canvas, preserving the soft transitions of light and the specific characterisation of the two individuals. It is a piece that invites quiet contemplation of the everyday, stripped of artifice.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
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Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Idlers - Jan Steen
Artist Biography
Jan Steen
He was born in Leiden around 1626 into a well-to-do Catholic family of brewers who ran the tavern The Red Halbert. In 1648 he and Gabriel Metsu co-founded the painters' Guild of Saint Luke in Leiden. He studied under Jan van Goyen, the landscape painter, and married Van Goyen's daughter Margriet in 1649. His father leased him a brewery in Delft from 1654 to 1657; when the art market collapsed in the Year of Disaster (1672), he opened a tavern in Leiden.
His painting drew heavily on the Rhetoricians, the amateur theatrical guilds whose public performances combined moralising with bawdy comedy. Steen treated his own family as a cast: he used relatives as models and painted himself repeatedly with no trace of vanity, often as the fool or the drunk. The Feast of Saint Nicholas and Girl Eating Oysters are among his most recognisable images, each balancing precise observation of Dutch domestic life with a theatrical sense of timing.
Despite enormous productivity he struggled financially throughout his career. His second wife was left with heavy debts and a large family after his death in Leiden in 1679, at fifty-two. Collectors valued him from early on, but the prices came after his lifetime.
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