更新于 November 2026 · 基于我们的流行度评分排名（每件作品的搜索量、访问量及订单量） · 499 件 扬·斯滕 作品收录于我们的目录中
简而言之
The Dissolute Household (1663) 是 扬·斯滕 最受瞩目的画作；原作收藏于 纽约 的 大都会艺术博物馆。 随后，目光会移向 The feast of Saint Nicholas (1670) 和 Merry Company on a Terrace (1670)。 在 扬·斯滕 的 499 件作品中，这 100 件最为闻名；每一件都是独一无二的原作，并附有创作年份、馆藏机构及其经久不衰的原因。
A Symphony of Chaos: Unveiling Jan Steen’s Masterpiece The Dissolute Household is not merely a painting; it is a theatrical performance frozen in time, a vibrant window into the boisterous and often unruly heart of the Dutch Golden Age. Created around 1663 by the incomparable Jan Havickszoon Steen, this work serves as a masterful exploration of human frailty, humor, and the delightful disorder of domestic life. As one gazes upon…
Step into this room and you are immediately caught in the middle of a Dutch household in mid-December. The air feels heavy with the scent of citrus and spiced bread. We are witnessing the Feast of Saint Nicholas, a tradition where the boundaries between reward and punishment are laid bare. In the foreground, a young girl holds a tin bucket overflowing with treats, her expression one of quiet triumph. Contrast…
In the heart of the seventeenth century, amidst the burgeoning prosperity of the Dutch Golden Age, Jan Havickszoon Steen captured a moment that transcends time. "Merry Company on a Terrace" is not merely a painting; it is a vibrant, breathing window into a world of conviviality and controlled chaos. As one gazes upon this monumental canvas, completed around 1670, the viewer is immediately swept into a bustling courtyard where the…
To gaze upon Jan Steen’s “The Dancing Couple” is to be instantly swept up in the boisterous, uninhibited spirit of a seventeenth-century Dutch kermis. Painted in 1663, this masterpiece serves as much more than a mere visual record of a village fair; it is an immersive sensory experience that captures the very heartbeat of the Dutch Golden Age. Steen, a master of the human comedy, avoids the stiff formality often…
A boisterous domestic interior unfolds in a dense, multi-layered composition, capturing a moment of chaotic conviviality. The scene centers on a family gathering where the boundaries between celebration and disorder are blurred. At the heart of the room, a laughing man—often identified as a self-portrait of the artist—gestures toward the folly of the assembly, while an elderly woman in the foreground examines a sheet of music. This document contains the…
The air in the room feels thick with the sudden, boisterous energy of the Merry family. Painted by Jan Steen in 1668, this scene captures a moment of unrestrained domestic life that seems to pulse with life even now. It is a genre painting, a window into the everyday realities of the Dutch Golden Age, where the boundaries between celebration and chaos blur. One can almost hear the sudden burst…
In the heart of the seventeenth century, amidst the burgeoning prosperity of the Netherlands, Jan Steen captured a world that was as chaotic as it was charming. His masterpiece, Village School, painted around 1670, serves as a vibrant portal into the daily rhythms of rural life during the Dutch Golden Age. Unlike the grand, often stiff historical allegories favored by some of his contemporaries, Steen possessed a singular gift for…
The air in the room feels heavy with the scent of spilled wine and the frantic energy of a household left to its own devices. At the center of this swirling commotion, a man sits with a sly smirk, his fingers entwined with those of a maid as she pours a generous serving of wine for his wife. The woman, seemingly oblivious to the flirtation unfolding beside her, remains focused…
In the quiet, shadowed corners of seventeenth-century Dutch life, Jan Steen captured moments that whispered of much more than what met the eye. His masterpiece, The Lovesick Maiden, painted around 1660, is far more than a mere domestic scene; it is a profound psychological drama staged within the intimate confines of a bourgeois interior. At first glance, the viewer is drawn to the central figure—a young woman slumped in a…
In the heart of the Dutch Golden Age, few artists could capture the delightful disorder of human existence as masterfully as Jan Havickszoon Steen. His 1674 masterpiece, “Revelry at an Inn,” invites the viewer into a boisterous, sensory-rich world that feels remarkably alive even centuries after its creation. This is not a painting of quiet contemplation or distant myth; rather, it is a vivid snapshot of a bustling tavern, where…
In Luxury, Look Out1663 · 维也纳艺术史博物馆
12
Self-Portrait as a Lutenist1652 · 提森·博爾涅米薩博物館
13
A Merry Party (detail)1660 · 布达佩斯美术博物馆
14
Samson and Delilah1668
15
The Feast of St. Nicholas1665 · 国家博物馆
16
農耕嘉年華1670 · 弗朗斯·哈尔斯博物馆
17
A Goldsmith Melting Down a Woman's Jewellery in the Presence of a Notary, The Alchemist1668 · 施泰德美术馆
18
The Oyster-eater1658 · 玛乌里诗博物馆
19
A Merry Party (detail)1660 · 布达佩斯美术博物馆
20
The Scholar and Death1660 · National Gallery Prague
21
The Smoker1660 · 克羅勒爾·穆勒博物館
22
The Interior of an Inn1670 · 国家美术馆
23
Interior with a Woman Feeding a Parrot, Known as ‘The Parrot Cage’1665 · 国家博物馆
24
Christ in the House of Mary and Martha1650 · Kelvingrove Art Gallery and Museum
25
The Miser1650 · 斯泰恩斯博物馆艺术馆
26
The Tempting Offer1650 · 不来梅艺术馆
27
A Pedlar selling Spectacles outside a Cottage1652 · 国家美术馆
28
Esther before Ahasuerus1660 · 冬宫博物馆
29
A Children's Festival1660 · Musei di Strada Nuova
30
The bowlers, Jan Havicksz. Steen (copy after), 1658 - 17001700
31
An Interior with a Man offering an Oyster to a Woman1663 · 国家美术馆
32
Peasants merry-making outside an Inn1647 · 国家美术馆
33
Man with a fiddle in bad company, Jan Havicksz. Steen (copy after), 1670 - 17001700 · 国家博物馆
34
The Christening Feast1660 · 芬兰国家美术馆
35
Singer with a Guitar1660 · 斯泰恩斯博物馆艺术馆
36
The wedding party1660 · 维多利亚州国立美术馆
37
Baker Oostwaert and his wife1658
38
Cat family布达佩斯美术博物馆
39
Ascagnes and Lucelle (The Music Lesson)1667 · 国家美术馆
40
The Fortune Teller1650 · 费城艺术博物馆
41
Twelfth Night1660 · 洛杉矶县立艺术博物馆
42
Young Girl Giving Alms to an Old Man1658 · 国家博物馆
43
A Man Blowing Smoke at Drunken Woman1665 · 国家美术馆
44
Jacob Confronting Laban1676 · 诺顿·西蒙博物馆
45
Smoker1650 · 冬宫博物馆
46
The Suitor1664 · Museum de Lakenhal
47
The village wedding1653 · 博伊曼斯·范·本宁根博物馆
48
Moses Striking Water from the Rock1651 · 施泰德美术馆
49
The Sense of Hearing1661 · Upton House
50
The Sense of Taste1661 · Upton House
51
The Sense of Smell1661 · Upton House
52
Bathsheba1668 · 诺顿·西蒙博物馆
53
The Village Alchemist1664 · 威廉斯收藏馆
54
Merrymaking in a Tavern1674 · 威廉斯收藏馆
55
Itinerant Musicians1659 · Ascott House
56
As the Old Sing, So Pipe the Young1673 · 费城艺术博物馆
57
Cutting for the stone1909 · 博伊曼斯·范·本宁根博物馆
58
Bathsheba after the Bath1670 · J·保罗·盖蒂博物馆
59
An Old Couple Making Caudle1668 · 玛乌里诗博物馆
60
The Leiden Baner Arend Oosterwaert and His Wife Catharina Keyzerswaert1658 · 国家博物馆
61
Interior with Peasants Eating and Drinking1650 · 弗朗斯·哈尔斯博物馆
62
Couple reading the Bible1658 · Museum de Lakenhal
63
Cavalier Playing a Lute to a Lady (‘Lucelle and Ascagnes’)1660 · 苏格兰国家美术馆
64
Two Men and a Young Woman making Music on a Terrace1670 · 国家美术馆
65
Couple at an Inn Table1660 · 斯泰恩斯博物馆艺术馆
66
Rape of the Sabine Women1666 · 约翰和玛贝尔·林灵博物馆
67
The Unruly Guest1665 · 施泰德美术馆
68
Interior1660 · 维多利亚州国立美术馆
69
Banquet of Anthony and Cleopatra1673 · The Leiden Collection
70
Tric-Trac Players1667 · 冬宫博物馆
71
Twelfth-Night Feast1666 · 比利时皇家美术博物馆
72
The Doctor and His Patient
73
The Doctor's Visit1661 · 维多利亚和阿尔伯特博物馆
74
The May Dance1647
75
Wooded Landscape with a Watermill1647
76
Landscape with Figures before a House1644
77
Under the Influence outside Voorschoten1640 · Museum Bredius
78
Portrait of Admiral Cornelis Evertsen the Elder1651
79
The Chicken Farmer1651
80
A village fair with a quack1650
81
A peasant couple carousing in an inn1660
82
A Merry Company at Table1660 · 莱比锡美术馆
83
Tavern Scene by Candlelight1660
84
Grace before Meat1660
85
St. Nicolas Day1660
86
Easy come, easy go (The Artist eating Oysters)1660
87
The Traveller Resting1660 · 法布尔博物馆
88
After the Meal1660
89
Merry company in front of a inn1660 · Rijksmuseum Twenthe
90
Portrait of a Family on a Terrace1660
91
Girl with a Wreath1660
92
Fight in a Tavern1660
93
The Mennonite Sister1660
94
Rejected Female Suitor1660
95
Rejected Male Suitor1660
96
The Letter1660
97
A Merry Company with Music and Dancing1660 · 斯特拉斯堡美术馆
98
Generosity of Scipio1660 · Cummer Museum of Art and Gardens
99
Theseus and Achelous1660 · 凤凰艺术博物馆
100
The Hurdy-Gurdy Player1660 · Allentown Art Museum
这些原作中反复出现的四个主题，各有一个最杰出的范例。
收藏了本页中大部分画作的 8 家博物馆。
| 博物馆 | 城市 | 扬·斯滕 的作品 | 此列表中的画作 |
|---|---|---|---|
 国家美术馆 |
伦敦 | 10 | The Interior of an Inn, A Pedlar selling Spectacles outside a Cottage, An Interior with a Man offering an Oyster to a Woman |
 国家博物馆 |
阿姆斯特丹 | 33 | The Feast of St. Nicholas, Interior with a Woman Feeding a Parrot, Known as ‘The Parrot Cage’, Man with a fiddle in bad company, Jan Havicksz. Steen (copy after), 1670 - 1700 |
 玛乌里诗博物馆 |
海牙 | 15 | 'As the Old Sing, so Pipe the Young', The Oyster-eater, An Old Couple Making Caudle |
 冬宫博物馆 |
圣彼得堡 | 9 | Esther before Ahasuerus, Smoker, Tric-Trac Players |
 大都会艺术博物馆 |
纽约 | 7 | The Dissolute Household, Merry Company on a Terrace, The Lovesick Maiden |
 博伊曼斯·范·本宁根博物馆 |
鹿特丹 | 7 | The feast of Saint Nicholas, The village wedding, Cutting for the stone |
 布达佩斯美术博物馆 |
布达佩斯 | 5 | A Merry Party (detail), A Merry Party (detail), Cat family |
 斯泰恩斯博物馆艺术馆 |
哥本哈根 | 5 | The Miser, Singer with a Guitar, Couple at an Inn Table |
选择一个年代，探索定义该时代的原创杰作。
The scene unfolds beneath a heavy, leafy canopy that forms a natural ceiling over a group of figures gathered outside an inn. On the left, a large, dark tree trunk anchors the composition. The light appears to originate from an unseen source, perhaps the late afternoon sun, casting soft shadows across the ground and highlighting the textures of the subjects. A man wears a coarse waistcoat, while a woman is…
Jan Steen sits within the frame, a man caught in a moment of melodic repose. He holds a lute, the wood of the instrument catching the light, while a smile rests upon his lips. This is a self-portrait of a man who understood the rhythm of a crowded room. The oil on panel carries a weight that suggests the physical presence of the sitter. He is not a distant figure…
A Symphony of Chaos: Unveiling Jan Steen’s Masterpiece The Dissolute Household is not merely a painting; it is a theatrical performance frozen in time, a vibrant window into the boisterous and often unruly heart of the Dutch Golden Age. Created around 1663 by the incomparable Jan Havickszoon Steen, this work serves as a masterful exploration of human frailty, humor, and the delightful disorder of domestic life. As one gazes upon…
Step into this room and you are immediately caught in the middle of a Dutch household in mid-December. The air feels heavy with the scent of citrus and spiced bread. We are witnessing the Feast of Saint Nicholas, a tradition where the boundaries between reward and punishment are laid bare. In the foreground, a young girl holds a tin bucket overflowing with treats, her expression one of quiet triumph. Contrast…
The Dissolute Household (1663)，大都会艺术博物馆, 纽约。紧随其后的是 The feast of Saint Nicholas (1670) 和 Merry Company on a Terrace (1670)。
37岁：The Dissolute Household创作于1663年，扬·斯滕出生于1626年。
The Dissolute Household, The feast of Saint Nicholas, Merry Company on a Terrace, The Dancing Couple, 'As the Old Sing, so Pipe the Young', Merry family, Village school, Dissolute Household, The Lovesick Maiden 及 Revelry at an Inn。上方排名显示了每件作品的创作年份及馆藏机构。
我们的目录收录了 499 件 扬·斯滕 的作品，创作年代从 1640 年至 1676 年。
多见于 国家美术馆 (伦敦), 国家博物馆 (阿姆斯特丹) 及 玛乌里诗博物馆 (海牙)。上方的博物馆列表列出了所有相关机构。
在 1660s 期间：本页 100 件作品中有 59 件创作于该时期，其中包含 The Dissolute Household 件作品。
在本页面中，最早的作品创作于 Under the Influence outside Voorschoten (1640)，最晚的创作于 Jacob Confronting Laban (1676)。
Man (41), Woman (38) 及 People (34)，共计 100 件作品。
Oil On Canvas，共计 56 件（本页共有 100 件作品）。
根据本页面的原作，Baroque 及 Dutch golden age
The Interior of an Inn, A Pedlar selling Spectacles outside a Cottage 及 An Interior with a Man offering an Oyster to a Woman：国家美术馆, 伦敦收藏了本页中 6 件作品。
扬·斯滕于1626年左右出生在莱顿，他成长于一个深谙社交运作规律的家庭。作为至少八个孩子中的长子，他的成长环境深受父亲哈维克·斯滕（Havick Steen）商业活动的塑造。父亲不仅是一位谷物商人，还经营着一家名为“红哈尔伯特”的酒馆，同时也是一名酿酒师。这种植根于莱顿天主教社区的家庭氛围，为他提供了一个直观的视角，去观察那些喧闹、甚至有些混乱的社交互动——而这些生活碎片，最终成为了定义他艺术成就的核心元素。对他而言，他不仅仅是这种生活的旁观者，他本身就是这种生活的产物。
从他的正式教育经历与职业注册记录中，我们可以窥见一位在荷兰共和国严密的知识体系与行会制度中不断进阶的艺术家形象。1646年，扬·斯滕在莱顿大学进行了注册；到了1648年，他通过在莱顿圣路加行会（Leiden Guild of Saint Luke）的注册，正式获得了大师级画家的身份。这一从学徒到受认可专业人士的转变，标志着他职业生涯的开端——他的艺术之路并非仅仅建立在对生活的随性观察之上，而是建立在扎实的专业技术合法性基础之上的。
关于他早期艺术训练的具体细节，目前仍属于历史推论而非确凿的文献记载。虽然没有留下正式的学徒协议，但他艺术造诣的发展轨迹暗示他曾深受几位重要艺术大师的影响。他很可能从 扬·范·戈伊恩、尼古拉斯·克尼普弗以及 阿德里安·范·奥斯塔德 的创作中汲取了技术养分。正是这些深远的影响，为他日后形成的独特风格奠定了基石，使他最终能够超越同时代画家所青睐的宏大寓言，转而专注于挖掘人类行为中微妙的心理层次。
扬·斯滕的艺术生涯充满了动荡与迁徙，他的足迹在荷兰共和国的各大城市中心不断游走。他从未在单一的地点停下脚步，而是随着职业生涯的演进不断变换居所。1649年，他在海牙迎娶了玛格丽塔·范·豪恩（Margaretha van Goyen），这段婚姻将他与当时极具影响力的艺术圈紧密联系在一起。在他生命的这段时期，一种游牧式的职业生活成为了常态，他在不同的城市间穿梭，试图在建立个人声望的同时，应对艺术市场瞬息万变的需求。
他在几个关键地区的活动轨迹有着清晰的记录。在1656年至1660年间，他在沃蒙德（Warmond）活跃。随后，他前往哈勒姆（Haarlem），并在那里度过了长达十年的时光，居住期从1661年一直延续到1670年。这在哈勒姆的十年是他艺术创作的高产期，也是他巩固在荷兰艺术界地位的关键阶段。最终，他回到了自己的出生地，在莱顿（Leiden）定居，直至生命走到了尽头。
这种地理上的流动性并非仅仅出于个人喜好，它深刻反映了17世纪职业画家的生存实相。从哈勒姆那充满专业气息的艺术氛围，到莱顿深厚的传统底蕴，扬·斯滕展现出了极强的环境适应能力，这使他能够在频繁搬迁的动荡中，始终保持稳定的创作产出。他的生命轨迹，本质上是一场在酿酒业背景与城市职业行会结构之间的不断跨越与转型。
扬·斯滕的视觉语言建立在敏锐的幽默感与深刻的心理洞察之上，这种洞察力能够轻易穿透画面表象，直抵灵魂深处。他不仅仅是在描绘人物，更是在捕捉那些驱动人类行为的、往往是混乱而真实的本能冲动。在他17世纪40年代的早期创作中，构图往往带有某种怪诞色彩，通过夸张且扭曲的人物形象来推动叙事。这种原始且甚至带有冲击力的刻画方式，为他后期作品中那些更加细腻、微妙的社会观察奠定了坚实的基础。
在色彩运用上，这位艺术家的笔触充满力量且极其丰富。他通过宽广的色调变化，巧妙地区分出家庭生活的质感与拥挤房间中那种混乱的生命力。随着艺术生涯的推进，他的技法经历了显著的蜕变：青年时期那种厚重、有时甚至显得粗犷的人物刻画，逐渐让位于一种更加精致的审美趋向。在他后期的作品中，人物形象变得更加精炼且具有鲜明的个体特征，告别了早期那种拥挤而怪诞的构图，转向一种更具从容姿态与细腻色调的艺术风格。
这种演变反映了从青年时期直白讽刺到成熟期高明社会评论的转型。通过精炼笔触并专注于个体表达的独特性，扬·斯滕完成了从“刻画典型人物”到“描绘真实个体”的跨越。最终，他留下了一系列令人惊叹的作品，在人类行为的荒诞性与克制且精准的艺术技巧之间，达成了完美的平衡。
扬·斯滕的作品之所以具有如此深远的意义，是因为他将叙事根植于17世纪生活中那份杂乱而真实的质感之中。在《医生的诊疗》中，他超越了单纯的人物肖像，创造出一个具有心理深度和道德寓意的场景。这种在平凡家常中挖掘厚重感的才华，在约创作于1658年的《食蚝者》中体现得淋漓尽致，画面精准地捕捉了荷兰社会互动中一个生动而具体的瞬间。这些作品并不依赖宏大的寓言，而是通过人物与其周围环境之间微妙的张力来传递力量。
这位艺术家经常利用“混乱”来凸显人性的弱点。《放纵的家庭》（1663年）与《欢乐的家庭》（1668年）更像是对失序状态的视觉研究，通过喧闹的场景引发观众对过度享乐后果的反思。即便是在构图更为严谨的作品中，例如1663年的《跳舞的情侣》，其焦点依然停留在主体人物那些特定且转瞬即逝的姿态上。他创作于17世纪60年代中期的作品，包括约1665年的《圣尼古拉斯的节日》，展现了其对色彩与光影卓越的驾驭能力，使得这些社会观察在岁月的洗礼下依然熠熠生辉。
