Who painted Laid table with Jan Steen pitcher and ham?

Laid table with Jan Steen pitcher and ham was painted by Pieter Claesz in 1639.

Where can I see Laid table with Jan Steen pitcher and ham?

Laid table with Jan Steen pitcher and ham is held by Bavarian State Painting Collections.

What movement is Laid table with Jan Steen pitcher and ham?

Laid table with Jan Steen pitcher and ham is associated with Dutch Golden Age.

Artwork

Laid table with Jan Steen pitcher and ham

Pieter Claesz , 1639

Laid table with Jan Steen pitcher and ham is an unspecified painting by the Dutch Golden Age artist Pieter Claesz. It dates from 1639 and is held in the collection of the Bavarian State Painting Collections.

About this work

Overview

Pieter Claesz’s 1639 oil painting Laid Table with Jan Steen Pitcher and Ham presents a domestic tabletop arranged with everyday objects. A white cloth drapes the surface, supporting a sizeable cured ham, a ceramic pitcher, a plate, a glass, and a knife. The composition is quiet and orderly, inviting close observation of the items as they rest in a modest interior setting.

Subject & Meaning

The work focuses on a simple banquet scene, emphasizing the material culture of 17th‑century Dutch households. By placing the ham at the center, Claesz draws attention to abundance and the ritual of shared meals, while the modest surrounding objects suggest a balance between prosperity and restraint, a common moral undertone in Dutch still lifes.

Technique & Style

Executed with meticulous brushwork, the painting captures the textures of cured meat, glazed ceramic, and polished metal. Subtle chiaroscuro models the forms, creating depth through the interplay of light on the cloth and objects. The restrained palette and careful rendering of surface qualities reflect Claesz’s mature still‑life approach, prioritising realism over decorative flourish.

History & Provenance

Created in 1639, the canvas entered the collection of the Alte Pinakothek in Munich, where it remains on display. Its attribution to Claesz aligns with his known oeuvre of banquet and vanitas scenes, and the work has been documented in the museum’s catalogues since the 19th century, confirming its long‑standing presence in the institution’s holdings.