![]() ![]() However, where with Jordaens the gathering around the table still seems somewhat civilised, in Steen's case the depiction is a much more licentious one. ![]() He also borrowed various themes from him: the mother with the child on her lap, the bagpipe player, and the singing grandmother with the pince-nez on her nose. When Jan Steen painted the same proverb at the end of the 1660s, he took over the idea of the 3 generations from his Flemish predecessor. ![]() Jan Steens ‘As the Old Sing, So Pipe the Young’ These adults are not able to provide a the good example, yet they are still diligently being imitated by their children on their flutes. The mother's feathered hat gives her a somewhat loose character, as feathers were associated with vanity in the 17th century. For instance, the bagpipe was an instrument of the worst sort, which would typically trigger negative associations. However, the keener observer will discover a double message. For the sake of clarity, Jordaens added the proverb to the depiction as an inscription: Soo d’ouden songen, soo pepen de jongen. Behind the table, the father is playing the bagpipe with rounded cheeks. A young boy is playing the recorder, and the child sitting on the mother’s lap is blowing in the small flute on his rattle. Three generations of a family are making music under the grandfather's guidance. Jacob Jordaens’ The Old Folks sing, the Young Folks chirpĪt first sight, it seems as if Jacob Jordaens has depicted the proverb very literally in his painting. ![]()
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