Order a reproduction of A Confidential Chat, Adriaen van Ostade, 1672

Artwork Description

The subject of a few peasants drinking, smoking and chatting was a favourite of Adriaen van Ostade’s. Often men feature in these scenes, but sometimes they also include members of the opposite sex, as in the present painting of 1672. The artist had used the composition of two half-length figures, the woman shown in profile, the man frontally, almost 20 years earlier, in 1653.5 As in that work, this amorous couple are well beyond the first bloom of youth. They were probably based on drawings in Van Ostade’s studio stock. The man, for example, appears in a number of slightly earlier pictures of his; the pose and downward glance are especially close to the drinker in a painting of 1666 in Montpellier.6 In addition to the standard accoutrements in such scenes of flirting couples – the tankard, wine glass and pipe – a waffle has been included on the table. This unusual item also occurs in another painting with a courting pair by Van Ostade, probably from around the same time.7 It may be a play on words, for ‘waffle’ in Dutch is wafel and is similar to waffel (mouth or snout), waffelen (to chat or babble) and waffelaar (waffler). Probably because of the skewed perspective and summary execution of the background, one scholar felt that the Rijksmuseum work had been painted over by a later, less capable hand.8 Although the technical examination provided no evidence of tampering with that part of the composition, one has to conclude that the picture as a whole is a rather perfunctory performance and agree with the assessment Théophile Thoré made when he saw it hanging on a wall in the Van der Hoop collection: ‘A second Adriaen van Ostade, Interior with Two Figures, was hung very high up and looks unimportant’.9 Jonathan Bikker, 2022 See Key to abbreviations, Rijksmuseum painting catalogues and Acknowledgements

Related Artworks

Artist Biography

Adriaen van Ostade: A Life in Dutch Genre Painting

Early Life and Training

Born: 1610 in Haarlem, Netherlands.
Van Ostade came from a family of artists; his father, Jan van Ostade, was a tapestry weaver. This artistic environment likely fostered his early interest in visual arts.
Initial Training: He and his brother, Isaack Jansz van Ostade, were initially pupils of Frans Hals, a celebrated Dutch Golden Age painter known for his lively portraits and genre scenes.
However, their time with Hals was relatively brief. They soon diverged from Hals’s style, developing their own distinct approaches to painting.

Artistic Development and Style

Early Works (1630s): Van Ostade's early paintings often imitated Hals’s loose brushwork, but he gradually refined his technique.

He began to focus on genre scenes – depictions of everyday life, particularly those involving peasants and working-class individuals.

Distinctive Style: His style is characterized by meticulous detail, a subtle use of light and shadow (chiaroscuro), and an emphasis on realistic portrayals of his subjects.

He skillfully captured the textures of clothing, objects, and environments, creating a sense of authenticity in his work.

Subject Matter: Common themes included tavern scenes, village fairs, peasant interiors, and depictions of rural life.

Major Works and Achievements

Saying Grace (c. 1660): This painting, housed at the Cleveland Museum of Art, is considered one of his masterpieces. It exemplifies his ability to imbue even humble subjects with dignity and poetic beauty.

A Laughing Peasant (1634): A small but captivating work in the Kremer Collection, Amsterdam, showcasing his skill in capturing expressive faces and gestures.

Tavern Scenes: Van Ostade produced numerous tavern scenes, offering glimpses into the social lives of 17th-century Dutch people. These paintings often depict lively gatherings with drinking, smoking, and music.

Landscape Paintings: While primarily known for his genre works, he also created landscapes, often featuring rustic settings and figures engaged in everyday activities.

Influences and Legacy

Frans Hals’s Influence: His initial training under Frans Hals provided a foundation in Dutch painting techniques and genre subject matter.

Comparison with David Teniers the Younger: Art historians often compare Van Ostade's work to that of David Teniers the Younger, another prominent genre painter. However, their paintings reflect different regional characteristics – Van Ostade focused on Holland, while Teniers depicted Brabant.

Impact on Later Artists: Van Ostade’s emphasis on naturalism and everyday life paved the way for later artistic movements like Impressionism and Realism. His attention to light and shadow also influenced Baroque painting.

Historical Significance: He is considered a key figure in Dutch Golden Age painting, providing valuable insights into the lives and customs of 17th-century Dutch society.

Later Life and Death

Guild Membership: Van Ostade became a member of the Haarlem Guild of St. Luke in 1634, signifying his recognition as a professional artist.

Continued Success: He enjoyed continued success throughout his career, receiving commissions from wealthy patrons and establishing himself as a respected painter.

Death: Adriaen van Ostade died in Haarlem in 1685. His works continue to be admired for their realism, charm, and historical significance.