Jan Steen Jan SteenWALKING ROUTE

DISCOVER THE VILLAGE OF Jan Steen Jan Steen

Take a walk through the historic centre of the village of Warmond and discover how it is featured in the work of Jan Steen. Did you know that this Dutch master painted several of his world-famous works in his Warmond years?

You will learn more about the symbolism used and daily life in the Golden Age. On the route you will also find various cafés and restaurants.

Follow the corona rules!

Jan Steen’s house

1,5 m

START

WHEELCHAIR

ACCESSIBILITY

CHARGING POINTS

De Krogt car park , behind Het Trefpunt theatre, accessible via Laan van Oostergeest, 2361 GA Warmond.

Public transport:By train you can travel via Leiden Centraal Station or Sassenheim station. Bus 50 goes to Warmond from both stations. Get off at Warmundastraat or De Baan . See 9292.nl/en.

By car: On the A44 take the Warmond exit. In Warmond turn right at the meadow with the stork’s nest in it onto Laan van Oostergeest. Turn left Immediately to park for free. You can also park on Gemeentehaven . This is where the walk ends.

The walk is easily accessible for wheelchair and walking-frame users.

Electric bikes: at Het Wapen van Warmond restaurant or the tourist information office (‘VVV’) on Gemeentehaven. .Electric car: at the tourist information office.

ON OUR WAY

Jan Steen was born in Leiden in 1626. He grew up in a wealthy family. His parents had a brewery, which meant that they belonged to the well-to-do bourgeoisie. He received a good education at the Latin school which Rembrandt also went to and after that he went to university. However, that did not last long. Jan wanted to paint. He went to Utrecht to learn the trade from the German master painter Nicolaus Knüpfer. He was admitted to the Utrecht St Lucas painters’ guild and earned the title of master painter.

Jan went to The Hague to work with the Leiden painter Jan van Goyen, and moved into his house. On 3 October 1649, Jan married Jan van Goyen’s daughter. He was 23 years old.

After 5 years, Jan moved to Delft with his love Grietje (Margriet van Goyen) and their children. There they used a loan to buy the De Slanghe inn. This gave them a steady source of income alongside painting. Shortly after they had bought it, there was a huge explosion in one of the gunpowder rooms in the centre. As a result, people avoided the centre of Delft and the business was badly affected. After two years they sold the inn and they moved, in debt, to Warmond.

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The Ruin in Warmond, Jan van Goyen

MONSEIGNEUR AENGENENTLAANThe The OOld ld TTowerower

Walk along Laan van Oostergeest to the starting point of the walk. At the white house on the corner on the left you will find a reproduction of ‘Ruin of the Church in Warmond’ (1646) by Jan van Goyen. Feel free to walk around the old tower and the cemetery.

Jan van Goyen, Jan Steen’s father-in-law, came to Warmond as early as in 1646, and painted there the ruin that it had become in the 80 Years’ War (1573). This painting is in Museum Bredius in The Hague.

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The old Matthias Church was destroyed in 1573 during the Siege of Leiden. As a precaution, the people of Leiden destroyed all the large buildings in the area, to prevent the Spaniards from taking cover in them.

In 1658, Jan and Grietje came to Warmond. Jan was 32 years old at the time. Warmond was a popular village – an outing for people from the city. There were a lot of country houses and also a lot of cafés and restaurants, as there are today. Warmond may have been a good place for Jan to sell his paintings. While it may have been the subject of his father-in-law’s painting, Jan would have known the ruin, but he and Grietje did not go to church here.

Walk back along Laan van Oostergeest, turn right and cut through opposite the church to Postdam. At the end, on the corner, you will see ‘Rhetoricians’ (1662-1665) by Jan Steen.

Rhetoric

ians, Jan Steen

The Rome inn already existed in Jan Steen’s time. The building in which the inn was located is located a little further along De Baan. Of course, it all looked very different then. There was already a court of justice on De Baan.

Several meetings of the Warmond Chamber of Rhetoric may have been held here as well. Warmond had its own chamber of rhetoric, called ‘the Red Daisy’.

THE RHETORICIANS

The Red Daisy

Jan Steen painted several paintings of various chambers of rhetoric. On one of the paintings the motto of the Warmond chamber can be seen: Warmed By Love, so this painting is of the Warmond chamber. Only a 19th century copy of this painting has been preserved.

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Chambers of rhetoric were associations of literature lovers. As amateurs, they wrote and performed. About once a month everyone wrote a poem that was recited or performed as an act. Competitions were held throughout the country.

Artists were often members of a chamber of rhetoric, sometimes as stage builders.

We do not know whether Jan Steen himself also participated in the chamber of rhetoric meetings. Considering his paintings on this subject, you would think he did. In this painting we see four figures who all have their own role.

The Rhetoricians, Jan Steen

The ‘declamator’, the orator of the room; he is hanging out of the window.

The ‘factor’, the serious poet, is looking over his shoulder. The man with the beer mug is the critic, also known as the ‘momus’, and finally there is the jester, with feathers in his hat. His role is to make people laugh, but also to show how foolish man sometimes is.

The figures are all depicted rather naively. The rhetoricians were known to drink a lot. And in Jan Steen’s time, the role of the rhetoricians was increasingly taken over by professional theatre groups.

The figures are positioned in a window and the jester looks at us with his finger raised. As a result, you are drawn into the painting, as if we are really standing there watching.

Turn right onto Dorpsstraat. At the first road on the left, Melmansdam, you will find ‘Fairground in Warmond’ (1660).

Fairground in Warmond, Jan Steen

Melmansdam

The painting Fairground in Warmond is on display on Melmansdam with a view of De Baan. The fairground is held at this location every year in July, during ‘Kaag’ week, when a sailing competition is held. It is disputed whether this painting really depicts Warmond. The church looks different to what it looked like at that time, and there was not a gate to a castle as depicted in the painting. However, you can see water that could be the Leede.

It looks as if there is a large crowd in the painting, but individual figures can be identified. An inn can be seen in the background. One figure is hanging out of the window, holding the head of his friend head while he vomits.

On the left, a group of people dancing is depicted under a decorated crown. This was a custom during village festivals, some of which were for Christian holidays. The figures are looking upwards.

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Is it the maypole or maypole crown? They are accompanied by musicians, one of whom is standing on the table.

A fisherman, recognizable by his blue cap, is sitting at the small table with his son. He is letting him drink and seems to be encouraging him. Steen often made references to adults setting a bad example. At the bottom left is a couple having a kind of picnic on the ground. The mother is holding a child to her breast.

On the left is a man offering prawns, which are intended for the dish the woman is holding. The boy is eating cherries. Near the tree in the middle we can see an older man wearing old-fashioned clothes holding the hand of a young girl. The dogs in the foreground seem to be a reference to the man and the girl.

The woman in the foreground near the river is relieving herself while a man watches. On the right a man on horseback is talking to a well-dressed family. Perhaps the woman was riding past in a carriage and is asking the man what is going on. Is her husband in the carriage on the far right? Her little dog is asking for attention. A peasant boy is showing a cage with a bird in it to the rich boy, perhaps it is a songbird for sale?

Continue along Dorpstraat. At the doctor’s surgery at Dorpstraat 51 you will find ‘Doctor’s Visit’ (1660).

Doctor’s Visit, Jan Steen

DORPSSTRAAT

Jan Steen depicted a doctor’s visit at least nineteen times in his paintings. Doctor’s visits were a popular theme among artists in Leiden in particular. Perhaps because of Leiden University and the many doctors who came to Leiden for that reason. Jan Steen depicts the comical and endearing side of the situation beautifully.

At the doctor'sAt the doctor's

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The scene in the painting tells the story of a young woman overcome by a broken heart. The doctor is wearing old-fashioned clothing and is holding the young woman’s wrist.

The woman is wearing a fur-trimmed housecoat and a white cap.

She is melancholically holding her head in her hand. There is another woman in the room. This woman is looking scornfully at the doctor.

It was seen as a type of melancholy, and the diagnosis was made by feeling the pulse and looking at the clarity of the urine.

The bottle which you can see in the basket on the left is for the urine. In the foreground is a pot of laces. A lace was burned in the coals either to make the diagnosis or to bring round the woman.

To ensure there was no misunderstanding about the reason of the doctor’s visit, Steen painted a cupid above the door.

The bed has been turned down and a bed warmer is ready. In the doorway a couple of dogs are mating.

Happy party, Jan Steen

SQUARE BY THE PUMPScheepsmakersdamScheepsmakersdam

At the square by the pump you will find ‘Happy Party on a Terrace’ (1663) by Scheepmakersdam.

Of course, in Jan Steen’s time these were completely the wrong directions. The pump dates back to 1871 and there was not even a square here. But there were cafés: Café De Zwaan among others. Jan Steen would certainly have known these cafés. After all, it was in the cafés that he often got his inspiration, and there is always a birdcage hanging somewhere in the background. We often also see a monkey. We actually still do not know the meaning of everything in Jan Steen’s paintings.

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Was he moralising, or not at all, only recording what he saw? Much research has been done into the symbolism in 17th century paintings.

What is interesting is that the same symbol can have different meanings. For example, a dog can refer to marital fidelity, but can also warn of lewd behaviour. At the time, the meaning was clear to everyone. Jan Steen very often used symbolism to send a message or tell a story. He also very often depicted his love Grietje van Goyen.

This is one of the scenes that Jan painted that could easily be in Warmond, with the church tower in the background. We can see people sitting in front of an inn under ivy. A couple is dancing and in the foreground there is a mother and a child with a beautiful toy in her hand. Music is being played, and people are laughing and eating. At first sight, it looks like an innocent scene. But if we take a closer look, it could also have other meanings.

The lady dancing is looking straight at us. She seems rather timid and is letting herself be pulled along a bit by the man who has a crooked smile. Behind her is a peasant figure with a basket containing a chicken on his head. That is the symbol for unchasteness or lust. On the left we can see a man touching a woman’s cheek. This could be Jan Steen and his wife Grietje.

The barrel in the foreground could refer to the wisdom that stupid people live lustfully while sensible people behave calmly and skilfully. The broken eggs, the fallen vase and the bubble blower symbolise transience.

Oyster Eater, Jan Steen

MEERRUSTContinue walking along Dorpsstraat. Just before the Albert Heijn supermarket turn left to Restaurant de Moerbei. There you will find ‘The Oyster Eater’ (1658-1660).

Jan Steen was a member of the Lucas Guild in Leiden, just like the Warmond painters Jan Wandelaar and Arie de Vooys. Jan Wandelaar lived here on Meerrust, or rather on the country estate here.

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We do not know exactly where Arie de Vooys lived in Warmond, but we do know that he and Jan Steen lived in Warmond at the same time. Arie de Vooys had studied with the same master painter in Utrecht. Arie de Vooys belonged to Jan’s circle of friends.

In Dutch, ‘a Jan Steen household’ is an expression. It refers to the exuberant scenes in his paintings. You see things lying all over the floor, but you also see people who have drunk too much, and references to love scenes. Jan Steen included in his works many references to the excesses of mankind, and did so in an amusing way.

You can see this clearly in the painting ‘The Oyster Eater’. The girl in the picture is putting some salt on an oyster. The oyster was seen as a symbol of sexual seduction, just as it is today in fact. The girl is looking at us coquettishly, she seems to be flirting with us. The people in the background are standing in the kitchen, and are having a tête-à-tête of some kind.

The girl is wearing a velvet house coat, trimmed with fur. Everything is very realistically depicted.

You can see the light in her curls and the moisture in the oysters. The whole scene is depicted so realistically that it feels like you could step inside. The items on the table are still very common today: a white roll, a glass of wine, some salt. Now imagine this scene in the old house opposite us.

Bust of Jan Steen

The Leiden sculptor Jeroen Spijker made this sculpture in 2008.

At first it stood a bit further up, but later it was moved. That is actually a pity, because that is probably where the house that Jan Steen lived in actually stood.

Jan Steen very often depicted himself in his works. He was a real ‘selfie’ king.

THE IM

AGE OF JAN STEEN

Dorpsstraat becomes Jan Steenlaan. You will find the bust of Jan Steen on the corner by Gemeentehaven.

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JAN STEEN’S HOUSEJan SteenlaanJan Steenlaan

Diagonally opposite the bust of Jan Steen is ‘the house of Jan Steen’ from the 17th century.

A century ago, the Warmond amateur historian William Machen came to the conclusion that Jan Steen may have lived in Warmond. That was because of the painting The Poultry Yard.We will come back to that later.

The house of Jan Steen

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Machen believed that Jan Steen lived in this house from 1656 to 1660. It was the only house that still existed from the 17th century and so it must have been Jan Steen’s house. Now we know who did live here. They were Remonstrants, with whom Jan Steen undoubtedly had contact.

From the tax registers we can see that the tax collector always walked the same route to collect the taxes. In this way it was established that Jan Steen’s house must have been on the other side of the road.

The house still has a kind of well, like the house next to the Old School on the square near the pump. It is not a water well, but a forerunner of the refrigerator. You could keep salted meat in it for the winter.

TOURIST INFORMATIONContinue to Warmond tourist information building (‘VVV’). At the back of this former gasholder house, you will find ‘The Poultry Yard’ (1660).

N.B. The painting is behind the tourist information building. We are standing with our backs to where the castle of Lockhorst or Oud Teylingen was built in 1275. The Lords of Lockhorst and Wassenaer lived here. Although his wife can be seen in several paintings, Jan Steen was certainly not a portrait painter.

Poultry Yard, Jan Steen

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In this case he was nonetheless commissioned to paint a portrait. The Baron of Wassenaer commissioned him to paint his daughter Jacoba Maria van Wassenaer. We can see a girl in a poultry yard, giving a lamb a drink of milk. She is surrounded by a motley collection of birds. Two gnarled servants look on in amusement – their presence makes the girl look even sweeter and more endearing.

The painting gives a beautiful view of the castle in the background. In this way Jan Steen frames the girl beautifully. And a connection is created between the people in the foreground and the castle.

The girl is beautifully dressed in soft tones. She is looking at us in a protective pose. She is giving milk to a lamb, the other sheep are standing closer to the castle. The servant next to her is looking at her lovingly, probably a valued member of the household. He is holding a jug in his hand with the milk for the lamb and a basket of eggs. The man on the left is a dwarf who is poorly dressed.

We can see birds such as a peacock, chickens, doves, ducks and a pheasant. The pheasant looks more like a dove. On the stairs next to the girl is her straw hat with red and blue ribbons, possibly the colours of her house. At her feet are two dogs, with collars in the same colours. The painting as a whole emanates innocence: white doves, the lamb and a new sprout blossoming on the dead branch. Innocence and the prospect of new life are united.

After the Warmond period, Jan Steen moved to Haarlem. Haarlem was important because of the many artists who lived there and inspired each other. In 1670, he returned to Leiden. The First Anglo-Dutch War had a great impact on the economic climate, certainly for artists. As a result, many painters had a hard time and many went bankrupt (including Rembrandt). Jan’s father was wealthy, but he too had more difficulty financially.

Jan died in 1679 and was buried in St Peter’s Church in the family grave. The grave was sold some years later. A commemorative plaque was put up on the pillar next to where the grave had been.

CONCLUSION

More information about Warmond can be found in the tourist information officeor at www.warmondaandekaag.nl.

Would you like to stop for something to eat or drink? If you walk back along Dorpsstraat, you could, for example, visit Grand-Café De Oude School or Restaurant Het Wapen van Warmond .

Grand-café De Oude School, Dorpsstraat 38-40, 2361 BE Warmond, www.grandcafedeoudeschool.nl. Here you will find a large number of replicas of Jan Steen on the wall.(Tues-Sun 10.30am to 11pm, Mon closed)

Restaurant Het Wapen van Warmond, Dorpsstraat 90, 2361 BK Warmond, www.hetwapenvanwarmond.nl (Wed-Fri 4pm to 11pm, Sat-Sun 12 noon to 11pm, Mon-Tues closed)

© Warmond aan de Kaag, 2019Compiled by Astrid Hennekam and Anja SchrageTranslation: Heather Bouman