Updated November 2026 · ranked by our popularity score (searches, visits and orders for each work) · 22 works by Hieronymus Janssens in our catalogue
In short
The Menuet (1650) is the Hieronymus Janssens painting that draws the most eyes; the original belongs to the Bavarian State Painting Collections, Munich. After it, the eye goes to Charles II dancing at a Ball at Court (1660) and Game of Main chaude"" (1650). Among the 22 works of Hieronymus Janssens in our catalog, these 21 are the most famous, each a unique original presented with its year, its museum and the reason it endures.
The Menuet is a work by Hieronymus Janssens, a Flemish genre painter. He was born in Antwerp, Belgium, in 1624. This specific painting dates to 1650, a year that marks a moment in the artist's long career in the Low Countries.
The scene unfolds within the grand, crowded atmosphere of a ball in The Hague, where the air seems to hum with the movement of a courtly gathering. In this lively moment, Hieronymus Janssens captures King Charles II of England as he engages in dance. He moves through the hall alongside his sister, Mary of Orange, their figures central to the swirling activity of the room. This elegant display of social…
The painting titled Game of Main chaude"" was executed by the Flemish artist Hieronymus Janssens. This work is dated 1650. The artist, who was born in Antwerp, Belgium, in 1624, remained in this city until his death in 1693.
Patty-cake is a 1656 oil painting by the Flemish genre painter Hieronymus Janssens. The work originates from the mid-seventeenth century, a period during which Janssens established himself as a specialist in depicting the social rituals of the aristocracy.
The artwork titled Portrait of a Family is a painting by the artist Hieronymus Janssens. This work is categorized as Genremåleri, or genre painting. The subject matter focuses on a group of figures within a structured setting, a common characteristic of the genre during the seventeenth century.
In the quiet, grand halls of an imaginary gallery, we find ourselves amidst the elegant company of A Picture Gallery with Fashionable Visitors. This work, painted by Hieronymus Janssens, transports the viewer into a meticulously constructed space where the boundaries between reality and art dissolve. The scene unfolds within a vast, opulent interior, a setting that invites us to linger among the figures gathered there. It is a moment frozen…
The Game of Pat-a-Cake is an oil painting by the Flemish genre painter Hieronymus Janssens. This work originates from the mid-seventeenth century. The subject matter focuses on social interaction and leisure among a group of figures. The scene is set within a landscape that includes trees and architectural elements such as columns.
Elegant Figures In A Palace Forecourt
12
The Ball -Hermitage Museum
13
Elegant Company Dining Beneath a Red Canopy
14
Cavaliers And Ladies On A Balcony Before Dancing Figures
15
An Elegant Company Before a Palace
16
The Parable Of The Prodigal Son
17
Elegant company on a terrace
18
The gallant reunion
19
Holiday Meal
20
An Elegant Company at Music Before a Banquet
21
Ladies Celebrating The Birth Of A Child
The four subjects that come back most often in these originals, each with its finest example.
The 8 museums that hold the most of the paintings on this page.
| Museum | City | Works by Hieronymus Janssens | Paintings from this list |
|---|---|---|---|
 Bavarian State Painting Collections |
Munich | 1 | The Menuet |
 Royal Collection |
London | 1 | Charles II dancing at a Ball at Court |
 Museum of Fine Arts Ghent (MSK) |
Ghent | 1 | Game of Main chaude"" |
 Royal Museums of Fine Arts of Belgium |
Brussels | 1 | Patty-cake |
 Hallwyl Museum |
Stockholm | 1 | Portrait of a Family |
 Uppark |
1 | A Picture Gallery with Fashionable Visitors | |
 Palais des Beaux-Arts de Lille |
Lille | 1 | A Ball on the Terrace of a Palace |
 Hermitage Museum |
Saint Petersburg | 1 | The Ball - |
Pick a decade to see the original that defines it.
The Menuet is a work by Hieronymus Janssens, a Flemish genre painter. He was born in Antwerp, Belgium, in 1624. This specific painting dates to 1650, a year that marks a moment in the artist's long career in the Low Countries.
The scene unfolds within the grand, crowded atmosphere of a ball in The Hague, where the air seems to hum with the movement of a courtly gathering. In this lively moment, Hieronymus Janssens captures King Charles II of England as he engages in dance. He moves through the hall alongside his sister, Mary of Orange, their figures central to the swirling activity of the room. This elegant display of social…
The Game of Pat-a-Cake is an oil painting by the Flemish genre painter Hieronymus Janssens. This work originates from the mid-seventeenth century. The subject matter focuses on social interaction and leisure among a group of figures. The scene is set within a landscape that includes trees and architectural elements such as columns.
The Menuet (1650), Bavarian State Painting Collections, Munich. Charles II dancing at a Ball at Court (1660) and Game of Main chaude"" (1650) come next.
26 years old: The Menuet dates from 1650, and Hieronymus Janssens was born in 1624.
The Menuet, Charles II dancing at a Ball at Court, Game of Main chaude"", Patty-cake, Portrait of a Family, A Picture Gallery with Fashionable Visitors, The Game of Pat-a-Cake, A Gentleman Paying Court, A Ball on the Terrace of a Palace and A Feast in an Interior. The ranking above gives each one's year and museum.
Our catalog holds 22 works by Hieronymus Janssens, dated from 1650 to 1675.
Mostly in Bavarian State Painting Collections (Munich), Royal Collection (London) and Museum of Fine Arts Ghent (MSK) (Ghent). The museum table above lists them all.
In 1650s: 4 of the 21 works on this page were made then, The Menuet among them.
On this page, the earliest is The Menuet (1650) and the latest The Game of Pat-a-Cake (1675).
People (7), Architecture (5) and Figures (4), across the 21 works on this page.
Oil On Canvas, for 4 of the 21 works on this page.
Baroque, judging by the originals on this page.
Born in Antwerp in 1624 and passing away there in 1693, Hieronymus Janssens – often referred to as “Den Danser” or “the dancer” – stands as a pivotal figure in the development of Flemish genre painting during the mid-seventeenth century. His legacy isn’t one of grand historical narratives or religious fervor, but rather a captivating portrayal of aristocratic leisure and social life within meticulously rendered interiors and expansive outdoor settings. Janssens wasn't merely documenting scenes; he was crafting carefully constructed conversations, inviting viewers into a world of refined entertainment, musical performance, and subtle moral commentary.
Janssens’ artistic journey began under the tutelage of Christoffel Jacobsz van der Laemen in 1636-1637. This early training laid the groundwork for his future specialization in dance scenes – a genre he would master with remarkable skill and influence. He formally registered as a master in the Guild of Saint Luke in Antwerp in 1643-1644, marking his entry into the professional art world. His marriage to Catharina van Dooren in 1650 solidified his domestic life while simultaneously fueling his artistic output. Throughout his career, Janssens was a prolific artist, taking on four pupils – including Jacob Lafosse (III) – demonstrating a commitment to passing down his techniques and vision. His works are frequently signed and dated between 1646 and 1661, providing valuable insight into the timeline of his creative endeavors.
Janssens' paintings primarily fall under the umbrella of what became known as “conversation pieces.” This burgeoning genre, particularly prominent in Antwerp during this period, moved away from the dominant themes of religious and mythological subjects. Instead, it focused on depicting scenes of everyday aristocratic life – gatherings filled with music, dance, conversation, and often, a touch of revelry. These paintings weren’t intended as mere decorative objects; they were designed to be viewed and discussed, fostering social interaction amongst their patrons.
His compositions are characterized by an acute attention to detail, meticulously rendered costumes, elaborate interiors, and the subtle nuances of human expression. Janssens skillfully captured the atmosphere of these gatherings, conveying a sense of both elegance and underlying tension. He frequently depicted dance scenes set within grand houses or on expansive terraces – locations that served as backdrops for intricate social interactions. The nickname “Den Danser” arose from his specialization in these dynamic depictions of movement and grace.
Beyond the lively gatherings, Janssens also excelled at architectural paintings, often creating imaginary palaces, churches, temples, and art galleries. These works demonstrate a sophisticated understanding of perspective and design, drawing inspiration from both existing buildings – notably the house of Rubens in Antwerp – and prints by Hans Vredeman de Vries, a prominent Northern Renaissance artist known for his innovative use of linear perspective. Janssens skillfully combined elements of classical architecture with imaginative embellishments, creating visually stunning and often theatrical spaces.
His architectural paintings frequently incorporated chiaroscuro—the dramatic contrast between light and shadow—to heighten the sense of drama and depth. He collaborated on several projects with other artists like Dirck van Delen, Wilhelm Schubert van Ehrenberg, and Jacobus Ferdinandus Saey, showcasing a collaborative approach to artistic creation.
Janssens' work is inextricably linked to the legacy of Peter Paul Rubens, one of the most influential painters of the Baroque era. Janssens admired Rubens’ ability to capture movement and emotion, particularly evident in his famous “Garden of Love” (Prado Museum). Rubens demonstrated how a garden could be used as a setting for amorous dalliance and courtship – an idea that Janssens adopted and developed in his own paintings. Many of Janssens' elegant company scenes, such as depictions of the Prodigal Son dining with a music-making party, subtly carry moralistic messages, reflecting the societal concerns of the time.
For example, some of these scenes depict excessive drinking and apparent dissolute behavior, suggesting a critique of aristocratic excess. However, Janssens’ art wasn't simply didactic; it also celebrated the pleasures of refined society, capturing the beauty and sophistication of the Dutch elite. His work served as a visual commentary on social norms and values, offering both entertainment and subtle moral instruction.
Among Janssens’ most notable works are “Ball on the Terrace of a Palace” (Palais des Beaux-Arts de Lille, 1658) and “A Picture Gallery with Fashionable Visitors” (Uppark House and Garden, West Sussex), both dated to the 1660s. These paintings exemplify his mastery of composition, detail, and atmospheric perspective. Janssens’ influence extended beyond his own lifetime, inspiring later Flemish genre painters such as Jan Josef Horemans the Younger, whose “Presenting the Newborn” borrowed heavily from Janssens' "Ball on the Terrace." His contributions to the development of the ‘conversation piece’ genre cemented his place as a significant figure in 17th-century art.
