Steen was a consummate narrative artist who painted several mythological and biblical subjects, but is seen at his best in genre scenes. These are not always straightforward and often illustrate aspects of human folly or vanity, usually by reference to well-known Dutch proverbs of the time or emblem books. Such scenes, often laced with humour, are frequently crowded with figures woven together in intricate compositions that are usually moralising in intent. Although Steen painted the whole gamut of human emotions, he also depicted landscape backgrounds and included a wide range of domestic utensils or furnishings in his pictures, as well as achieving a meticulous finish in the handling of fabrics. He closely identified himself with his work by including numerous self-portraits. Although George IV acquired seven of the paintings by Steen in the Royal Collection, A scene in a peasant kitchen belonged to Consul Joseph Smith, whose collection was bought by George III in 1762. It is difficult to interpret, although it is evident that the seated woman and the standing man holding a clay pipe in the centre might be visitors being offered hospitality. The wicker bird-cage hanging from the ceiling represents conjugal felicity and so Steen may not have intended this picture to have a critical dimension. The scene in the foreground of the small boy offering the child some bread watched by the ever-vigilant dog is a vivid image. The painting probably dates from the artist’s time in Haarlem when the influence of Adriaen van Ostade re-enters his work - as comparison with The interior of a peasant’s cottage (Royal Collection) demonstrates. Signed on the back of the door: J Steen (JS in monogram) Catalogue entry adapted from Enchanting the Eye: Dutch paintings of the Golden Age, London, 2004