The painting pleases by its simplicity. The pyramidal composition is reminiscent of representations of the Holy Family painted during the High Renaissance. Even though firmly anchored as a composition, the way the two principal figures sway outwards creates an internal dynamism that enlivens the scene, just as the treatment of the light entering the room from the window on the left and the unified colours help to characterise the figures. Indeed, both these stylistic features may have been derived from van Ostade’s knowledge of Rembrandt. The father with a pot of baby food seems to turn away in disgust as he prepares to feed the child. Signed and dated lower right: 'Av. Ostade/1651' (Av in monogram)