In the sixteenth century, art began to shift away from it previous form of High Renaissance and Italian art. With less emphasis on the ideal form elevating the mind, artists began to explore comedy scenes that had hidden symbols about morality and the virtuous life. These genre paintings depicted scenes of everyday experiences during that time, but were meant to warn views against the immorality occurring. Most genre paintings were rich naturalistic scenes warning against avarice, lust, trickery and deceit. After viewing these paintings, people were meant to understand the weight and potential of sin. Some were different, however, depicting frivolous scenes for comedy rather than teaching. In the seventeenth century, Jan Steen became known for his genre paintings, which were different from the rest. His paintings used the same naturalistic techniques, but for comedic purposes. Jan Steen’s symbolism made a mockery of sins and disguised crude jokes inside the scene. This exhibition seeks to explore the two different uses of genre art by using The Dissolute Household as the standard for comedic painting. Studying The Dissolute Household in the context of other painting reveals the tension between using art to bring viewers to a higher level of morality and using art as comedic entertainment.
The Dissolute Household, Jan Steen, 1663-64, Oil on canvas, 1982.60.31
Young Man and Woman in an Inn ("Yonker Ramp and His Sweetheart"), Frans Hals, 1623,
Oil on canvas, 1982.60.31
This painting depicts a man and someone who he just met at an inn. This genre painting depicts a frivolous scene that makes a mockery of the sin. The mans expression and outstretched hand show that spontaneous love is enjoyable and exciting. The dog in this picture represents spontaneous fidelity, rather than fidelity. Nothing about this scene reprimands the activity, but rather it makes a joke about spontaneity. This man’s behavior is similar to the man in The Dissolute Household as he holds the maid’s hand in front of his wife laughing at lust.
Two Children Teasing a Cat, Annibale Carracci, 1587-88, Oil on canvas, 1994.142
Annibale Carracci’s painting depicts the typical genre scene of warning against immorality. It symbolizes the popular proverb, “Don’t go poking around vipers.” The young girl is about to be scratched by the cat, and the boy is clearly aggravating the animal. There is obvious tension between the subjects of the scene that shows that the children are causing a problem. The obvious warning of this scene differs from Jan Steen’s where the main characters are oblivious to the sins they are committing.
A Musical Party, Gabriel Metsu, 1659, Oil on Canvas, 91.26.11
This painting depicts a scandalous scene of a woman with male visitors. The atlas on the back of the wall symbolizes enslavement to sensual delights. This is an entertaining, lively scene, like The Dissolute Household, is more entertaining to the viewer than it is warning. While the viewer would recognize the misbehavior of this scene, they would recognize the comedy and enjoy the paintings scene.
Broken Eggs, Jean- Baptiste Greuze, 1756, Oil on Canvas, 20.155.8
Jean-Baptiste Greuze is the typical genre painter. This scene is an extremely unhappy girl sitting on the floor with outrage adults behind her. The broken eggs symbolize the loss of her virginity, which cause anger in the household. The scene is a stark contrast to the comedic scene of Jan Steen. It is obvious that nothing about the girl’s immoral activity is entertaining. It serves as a symbol of the severity of a young woman losing her virginity.
Sulking, Edgar Degas, 1870, Oil on Canvas, 29.100.43
Edgar Degas’ scene is a later form of genre painting. While there is less evident symbolism than Jan Steen’s painting, it obviously has a different purpose. The woman in the painting is likely an intimate partner. The man is sulking and is distressed. Viewers can imply that the man has likely committed an act that he is ashamed of. The seriousness of the scene demonstrates how genre painting is used as warning and is not always enjoyable to view.
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