Portrait of Gerrit Gerritsz Schouten - Jan Steen
Archival giclée
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Description
A sophisticated Dutch Golden Age genre scene by Jan Steen, depicting a domestic interior filled with allegorical detail and social interaction.
This composition by Jan Steen, a master of the Dutch Golden Age, presents a complex domestic interior. While titled as a portrait of Gerrit Gerritsz Schouten, the work functions as a sophisticated genre scene, blending individual likenesses with allegorical elements. Steen arranges his figures within a room that suggests both wealth and moral contemplation. The central group is engaged in music and conversation, yet the presence of a skull atop the mantelpiece and the inscription 'Memento Mori' introduce a sobering reminder of mortality amidst the material comfort.
The painting demonstrates Steen's ability to balance narrative detail with technical precision. To the left, a servant prepares a table, while a young boy interacts with a basin in the foreground. The central figure, seated with an open book, anchors the composition, surrounded by figures whose gestures and gazes create a web of social interaction. The harpsichord, decorated with putti, serves as a visual anchor for the right side of the frame, where a woman plays for the gathered company.
Steen employs a controlled palette, allowing the textures of the silk garments and the polished wood of the furniture to emerge through subtle light. The inclusion of two dogs on the floor adds a sense of immediacy to the scene, grounding the more formal elements of the portraiture. The painting is characteristic of Steen's work, which often invites the viewer to look beyond the surface of daily life to consider the underlying themes of human behaviour and the passage of time. The spatial depth is managed through the careful placement of furniture and the open doorway leading to an adjacent room, creating a sense of continuity within the Dutch household.
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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.
Care and materials
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
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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
Portrait of Gerrit Gerritsz Schouten - 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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