One of the greatest Dutch painters of peasant genre scenes, Adriaen van Ostade worked in Haarlem all his life.  His work was much admired by his eighteenth-century biographer Arnold Houbraken, who wrote enthusiastically about his “domestic interiors with all their ramshackle furnishings and inns and taverns complete with their trappings, which he was capable or representing as cleverly and realistically as anyone ever did”, as well as “the figures in their costumes doing all sorts of activities, so naturally peasant-like and witty that it is astonishing how he was able to contrive it”[i]. 

In this well-preserved painting on panel, a rowdy party of peasants is carousing in a simple tavern.  Standing on an upturned barrel in their midst is a shadowy figure, playing the bagpipes: another figure is slumped in the shadows at his feet.  Further back in a brightly lit area on the right, a ragged-looking bunch of men and women loll about at low tables, drinking and smoking, while a couple stomps energetically in time to the music. In the left foreground, two children eat porridge from a large earthenware bowl, while a little scene of jealousy plays out close by: a man in a brown cap, his hand raised in anger, aims a slap on the backside of another fellow who is taking advantage of his clearly drunken wife.  A few still-life elements, including a printed sheet pinned to the wall, a string of onions and an earthenware bowl, complete the rustic scene. 

The theme of the low-life interior was developed by the gifted, but short-lived Flemish painter Adriaen Brouwer (1606-1638), who according to Houbraken, studied with Frans Hals (c. 1582/83-1666) in Haarlem at the same time as Adriaen van Ostade.  Although Houbraken’s statement may not be reliable, there is little doubt that Ostade knew Brouwer’s work well.  In his early paintings, Ostade emulated the style and subject matter of the Flemish master, who resided in Haarlem from around 1623/24 to 1631/32.  Like Brouwer, Ostade painted squalid taverns and barn interiors, populated by uncouth peasants engaged in boisterous and dissolute behaviour.  The figures in his early works are characterised by wild gestures, strong emotions and exaggerated features, and their coarse manners are complemented by a lively and sketchy technique.  At the same time, Ostade cultivated a forceful chiaroscuro and a predominantly brown and grey colour scheme, with accents in pale pastel tints. 

Peasants merrymaking in a tavern bears all the hallmarks of a work from Ostade’s first period of activity.  Painted around the time, or shortly after, he joined the Haarlem painters’ guild in 1634, it depicts one of the young Ostade’s favourite themes.  Typical of early Ostade are the strong contrasts of light and shade, and the evocative spotlighting that concentrates the light on the main figure groups.  Also typical is the earthy brown tonality, enlivened with cool shades of pale blue, green, pink and terracotta, recalling the delicate hues favoured by Brouwer.  Yet despite the obvious influence of Brouwer, Ostade’s own artistic personality is already very apparent.  His touch is more refined and precise than Brouwer’s and his characterisation of peasants is generally less individualised, relying more on body language than facial features to convey character and mood.  Although in such early works as this Ostade focuses upon the boorish behaviour of his subjects, his images of the common man are never as biting or harshly satirical as those of Brouwer.  Later, as his career progressed, Ostade developed a more sympathetic view of the lower classes.  From the mid-1640s onwards, he replaced the rough types he had portrayed early on with peasants who gradually assume a more civilised and domesticated appearance.

Peasants merrymaking in a Tavern can be compared with early works of similar subjects, including Interior with drinking figures and crying children, dated 1634, in the Sarah Campbell Blaffer Foundation[ii], and The Dancing Couple, dated c. 1635, in The Rijksmuseum, Amsterdam[iii].

BIOGRAPHY

The fifth of ten children born to a weaver Jan Hendricx van Eyndhoven and Janneke Hendriksdr., Adriaen van Ostade was baptised in the Reformed Church in Haarlem on 19 December 1610.  His training is undocumented, but Houbraken states that he studied with Frans Hals (c. 1582/83-1666) around 1627.  Although the latter’s influence can scarcely be detected in Ostade’s work, that of Adriaen Brouwer (1606-1638), who was a pupil of Hals at the same time, is very evident.  Ostade is first referred to as a painter in 1632, and was a member of the Haarlem St Luke’s Guild by 1634.  In 1636, he joined the St. George Civic Guard, and on 26 July 1638, he married Machteltje Pietersdr. of Haarlem.  Two years later, he was sued by Salomon van Ruysdael (1600/03-1670) for non-payment of 14 guilders for tuition and board.  In March 1642, Adriaen and his wife drew up a will: seven and a half months later she died, childless, and was buried in St. Bavo’s on 27 September.  Ostade remarried on 26 May 1657.  His second wife, Anna Ingels, was from a wealthy Catholic family and the artist may have converted at the time of his marriage.  He and his new wife moved from the house he had purchased in 1650 on the Cromme Elleboochsteech to the Koningstraat.  By August 1663 they were living on the Veerstraat.  The couple had one child, Johanna Maria, whose date of birth is unknown, but Ostade became guardian for his sister Maeyken’s five children in 1655 and his brother Jan’s children in 1668.  The artist was named hoofdman of the painters’ guild in 1647 and 1661 and deken in 1662.  His wife Anna died in 1666 and was buried in St. Bavo’s on 24 November.  Municipal documents from 1669 and 1673 indicate that the artist inherited a substantial amount from Anna and her father.  By 1670, he was living in the wealthy Ridderstraat in Haarlem.  Six days after witnessing his daughter’s marriage on 21 April 1685 to a surgeon, Dirck van der Stoel, Ostade died: he was buried in St. Bavo’s on 2 May.  His daughter held public auctions of his works on 3-4 July 1685 and 27 April 1686. 

Adriaen van Ostade was primarily a painter of peasant genre scenes, though he also produced a few portraits, landscapes and biblical scenes.  In addition to paintings, this prolific artist produced about fifty etchings and numerous drawings and watercolours.  His pupils included his younger brother Isaack van Ostade (1621-1649) and Cornelis Dusart (1660-1704).  Houbraken stated that Cornelis Bega (1631/32-1664), Michiel van Musscher (1645-1705) and Jan Steen (1626-1679) were also his pupils[iv]. 

Baptised on 10 December 1610, Adriaen van Ostade was the third of eight children born to a weaver, Jan Hendricx van Eyndhoven, and Janneke Hendriksdr.  His training is not documented, but Houbraken states that he studied with Frans Hals around 1627.  Although the latter’s influence can scarcely be detected in Ostade’s work, that of Adriaen Brouwer, who was a pupil of Hals at the same time, is very evident.  Ostade is first referred to as a painter in 1632 and was a member of the Haarlem St Luke’s Guild by 1634.  In 1636, he joined the militia company, Oude Schuts, and on 26 July 1638, he married Machteltje Pietersdr. of Haarlem.  Two years later he was sued by Salomon van Ruysdael for non-payment of 14 guilders for tuition and board.  In March 1642, Adriaen and his wife drew up a will: seven and half months later she died, childless, and was buried in St. Bavo’s on 27 September.  Ostade remarried on 26 May 1657.  His second wife, Anna Ingels, was from a wealthy Catholic family and the artist may have converted at the time of his marriage.  He and his new wife moved from the house he had purchased in 1650 on the Cromme Elleboochsteech to the Koningstraat.  By August 1663 they were living on the Veerstraat.  The couple had one child, Johanna Maria, whose date of birth is unknown, but Ostade became guardian for his sister Maeyken’s five children in 1655 and his brother Jan’s children in 1668.  The artist was named hoofdman of the painters’ guild in 1647 and 1661 and deken in 1662.  His wife Anna died in 1666 and was buried in St. Bavo’s on 24 November.  Municipal documents from 1669 and 1673 indicate that the artist inherited a substantial amount from Anna and her father.  By 1670 he was living in the wealthy Ridderstraat in Haarlem.  Six days after witnessing his daughter’s marriage on 21 April 1685 to a surgeon, Dirck van der Stoel, Ostade died: he was buried in St. Bavo’s on 2 May.  His daughter held public auctions of his works on 3-4 July 1685 and 27 April 1686.   Although he produced a few history paintings and portraits, Adriaen van Ostade was primarily a painter and etcher of peasant genre scenes.  In addition to paintings, this prolific artist produced about fifty etchings and numerous drawings and watercolours.