Jan Steen was born at Leyden in 1626, and died in 1679. He was great as a _genre_ painter. He is said to have been, after Rembrandt, the most humorous of Dutch painters, full of animal spirits and fun. At his best, composition, colouring, and execution were all in excellent keeping. At his worst, he was vulgar and repulsive in his heads, and careless and faulty in his work. He was very rarely either kindly or reverent in his subjects, though, in spite of what is known to have been his riotous life, he is comparatively free from the grossness which is often the shame of Flemish and Dutch art. Jan Steen succeeded his father as a brewer and tavern-keeper at Delft. He renounced the brewery, in which he did not succeed, and joined the Painters' Guild, Haarlem; but his position as a tavern-keeper is reflected in his pictures, of which eating and drinking, card-playing, etc., are frequently the _motifs_. His family relations were not conducive to higher principles and tastes. He is said to have been so lost to common feeling as to have painted his first wife when she was in a state of intoxication.[52] His second wife may have been a worthier woman, but she was drawn from the lowest class, and had been accustomed to sell sheeps' heads and trotters in the butchers' market. Without doubt Jan Steen had extraordinary genius coexisting with his coarse, careless nature and jovial habits, and he must have worked with great facility, since, in spite of his idleness and comparatively early death, he left as many as two hundred pictures, rendered him extremely popular. Besides his favourite subjects, such as 'The Family Jollification,' 'The Feast of the Bean King,' 'Game of Skittles,' he has pictures in a slightly higher atmosphere, such as 'A Pastor Visiting a Young Girl,' 'The Parrot,' 'Schoolmaster with Unmanageable Boys,' 'The Pursuit of Alchemy.' Among the latter a good example is 'The Music Master' in the National Gallery.
Gerard Dow was born in 1613 and died in 1680. He was a _genre_ painter of great merit. He belonged to Leyden, and was a pupil of Rembrandt. He began with portraiture, often painting his own face, and went on to scenes from low and middle-class life, but rarely attempted to represent high society. Compared to Jan Steen, however, he is refined. He had a curious fondness for painting hermits. The lighting of his pictures is frequently by lantern or candle. They are mostly small, and without animated action, but are full of picturesqueness. He was a good colourist, 'with a rare truth to nature and a marvellous distinctness of eye and precision of hand.' Minute as his execution was, his touch was 'free and soft.' His best pictures are 'like nature's self seen through the camera obscura.' An instance often given of his exquisite finish is that of a broom in the corner of one of his pictures. Some contemporary had remarked how careful and elaborate was the labour bestowed on it, when the painter answered that he was still to give it several hours' work. He must have been exceedingly industrious as well as painstaking, since he left two hundred pictures as his contribution to Dutch art. Among his finer pictures are 'An Old Woman reading the Bible to her Husband,' in the Louvre; 'The Poulterer's Shop,' in the National Gallery. His _chef d'oeuvre_, 'The Woman Sick of the Dropsy,' is in the Louvre. His candlelight is the finest rendered by any master. There is a good example of it in 'The Evening School,' in the Amsterdam Gallery.