修辞学家在窗口斯蒂恩出生在莱顿，他的精心待办事项，天主教家庭酿酒商都[2]谁跑的小酒馆红亥尔波特两代。他是长子八个或更多的孩子。像他更加出名的当代伦勃朗，扬·斯特恩参加了拉丁学校，成为莱顿的学生。他从接受了他的绘画教育Nicolaes Knupfer（1603至1660年），在历史和形象化的场景德国画家乌得勒支。Knupfer的影响可以斯蒂恩的使用构图和色彩上找到。灵感的其他来源是迪恩面包车OSTADE和伊萨克面包车OSTADE，农村景象的画家，谁住在哈勒姆。是否斯蒂恩实际上OSTADE不得而知了研究。

1648年扬·斯特恩和加布里埃尔梅特苏成立了画家的圣路加公会莱顿。不久之后，他成为助理著名的风景画家扬凡Goyen，搬进了他的Bierkade电在内部海牙。在1649年10月3日他结婚了面包车Goyen的女儿[2]Margriet，与他将有八个孩子。斯蒂恩与他的父亲在法律工作，直到1654年，当他搬到代尔夫特，在那里，他跑了啤酒厂德俚语三年（“蛇”），但没有成功。[3]在后在代尔夫特爆炸于1654年的艺术市场表现低迷，但斯蒂恩画代尔夫特和他的女儿的镇长。[4]这似乎并不清楚，如果这幅画应该叫的肖像或一个流派工作。

斯蒂恩住在Warmond，北部莱顿，从1656到1660，并在哈莱姆从1660到1670，并在这两个时期，他尤其富有成效。在1670年，他的妻子于1669年去世，他的父亲在1670年后，斯蒂恩搬回到莱顿，他在那里住了他的余生。当艺术市场在1672年崩溃，堪称灾难年，斯蒂恩开了一家小酒馆。在1673年4月，他娶玛丽亚面包车埃格蒙特，谁给他的另一个孩子。1674年他成为了圣卢卡斯协会的总裁弗兰斯面包车Mieris成为他喝酒的同伴之一。他在莱顿去世于1679年，并在一个家庭坟墓被埋葬彼得教堂。
 

生活是扬·斯特恩的主要图案主题。很多的流派，他刻画，如场景圣尼古拉节，活泼混乱和lustfulness的地步，即使这么多，“一扬·斯特恩家庭”，意思是一片狼藉景象，成为荷兰的谚语（EEN huishouden面包车扬·斯特恩）。在他的画微妙的暗示似乎表明，斯蒂恩为了提醒观众，而不是邀请他来复制这种行为。许多斯蒂恩的绘画不忍心看到老的荷兰谚语或参考文献。他经常用他的会员家庭为模型，并画了不少自画像中，他没有表现出虚荣的倾向。

斯蒂恩并没有从其他主题害羞：他画的历史，神话和宗教场景，人物肖像，静物和自然景观。他的孩子的肖像而闻名。他也是众所周知的，他的光和注意掌握细节，尤其是在波斯地毯等纺织品。

斯蒂恩是一位多产，生产约800画，其中约350生存。他的工作由同时代重视得多，因此他被合理地支付了他的工作。他没有很多学生只理查德Brakenburgh记录[6] -但是他的作品证明了灵感许多画家的来源。

与Connection Rederijkers
1945年，Sturla Gudlaugsson在荷兰十七世纪的绘画和意象和荷兰学院为艺术史和主任的专家莫瑞泰斯在海牙，写在扬·斯特恩的工作喜剧演员和他同时代的，这表明，一个主要的在扬·斯特恩的工作的影响是修辞学家或公会Rederijkers和他们的戏剧事业。

人们常常认为，扬·斯特恩的画是荷兰17世纪生活的现实写照。然而，并不是他所做的一切是他一天到一天环境的纯粹的逼真再现。他的许多场景都包含田园诗般的田园风光和幻想和慷慨激昂的重视散发出浓烈剧院。

扬·斯特恩的影院连接是通过他的连接容易核查Rederijkers。有两种证据此连接。首先，扬·斯特恩斯蒂恩的叔叔属于修辞学家在莱顿，在那里斯蒂恩出生和生活他生活中的很大一部分。其次，扬·斯特恩描绘许多场面从生活Rederijkers，一个例子是画在窗口修辞学家的1662年至1666年，现在是在费城艺术博物馆。的人物的人性，幽默和乐观认为，扬·斯特恩知道这些人很好，并希望积极描绘他们。
 

Rhetorician was born in the window of Steen in Leiden, his elaborate to-do lists, Catholic family wineries are [2] who ran the tavern in Ohio red two generation airport. He was the eldest son of eight or more children. Like his more famous contemporary Rembrandt, Jan Stern attended the Latin School and became a student in Leiden. He learned from his painting education Nicolaes Knupfer (1603 to 1660), in the context of the historical and figurative scenes of German painter Utrecht. Knupfer effects can be found using Steen's composition and color. Other sources of inspiration are Dean van OSTADE and van OSTADE, a rural landscape painter who lives in Haarlem. Whether Steen actually OSTADE is unknown.
In 1648 Jan Stern and Gabriel metsu founded the painter's Guild of St. Luke in Leiden. Soon after, he became an assistant to the famous landscape painter Jan van Goyen, who moved his Bierkade electric in the interior of Hague. In October 3, 1649 he married van Goyen's daughter [2]Margriet, with whom he would have eight children. Steen and his father in law, until 1654, when he moved to Delft, where he ran the brewery de slang three years ("snake"), but without success. [3] after the explosion in Delft in 1654 the art market in the doldrums, but the mayor of Delft and his daughter Steen painting. [4] this does not seem to be clear if the painting should be called a portrait or a genre work.
Steen lives in Warmond, northern Leiden, from 1656 to 1660, and from 1660 to 1670 in Harlem, and in the two period, he is especially fruitful. In 1670, his wife died in 1669, and his father moved back to Leiden in 1670, where he lived for the rest of his life. When the art market collapsed in 1672, the year of disaster, Steen opened a tavern. In April 1673, he married Maria van Egmont, another child who gave him. In 1674 he became president of St. Lucas's Association, van Mieris, one of his companions. He died in Leiden in 1679, and was buried in a family tomb of Peter church.
Life is the main theme of Jan Stern. Many schools, such as the scene he portrays, St. Nicola's day, lively chaos and lustfulness point, even so much, "Jan Stern family", meaning is a messy scene, become Holland proverb (EEN huishouden van Jan Stern). Subtle hints in his paintings seem to indicate that Steen in order to remind the audience rather than invite him to copy this behavior. Many of the paintings of Steen can't bear to see the old Holland proverb or references. He often used his family as a model, and drew a lot of self portraits, he did not show the tendency of vanity.
Steen did not shy from other topics: he painted historical, mythological and religious scenes, portraits, still lifes and natural landscape. He is famous for his children. He is also well known for his light and attention to detail, especially in Persian carpets and other textiles.
Steen is a prolific producer of about 800 paintings, of which about 350 survive. He paid much attention to his work, so he was paid for his work. He didn't have a lot of students only Richard Brakenburgh record [6] - but his work proved a source of inspiration for many painters.与connection rederijkers
With Rederijkers Connection
In 1945, Sturla Gudlaugsson in Holland in seventeenth Century and the Holland College expert Murray Theis paintings and images for the history of art and director in Hague, wrote on the work of Jan Stern comedian and his contemporaries, suggesting that a major in Jan Stern's work is the influence of rhetoricians or guild Rederijkers and their drama career.
People often think that Jan Stern's painting is a realistic portrayal of life in Holland in seventeenth Century. It is not, however, what he is doing that is a purely realistic representation of his day to day environment. Many of his scenes contain idyllic pastoral scenery and fantasy and impassioned attention redolent theatre.
Jan Stern's cinema connection is easy to verify through his connection Rederijkers. There are two types of evidence for this connection. First of all, Jan Sternstine's uncle is rhetorician in Leiden, where Steen was born and lives a large part of his life. Secondly, Jan Stern painted many scenes from the life of Rederijkers, an example of the painting in the window of the rhetoric of the 1662 to the year of 1666, and is now at the Philadelphia Museum of art. The characters of human nature, humor and optimism believe that Jan Stern knew these people well and wanted to portray them positively.