Steen, Jan Havicksz. – Kinderen leren een poes dansen, bekend als ’De dansles, 1660-1679 Rijksmuseum: part 2

The scene unfolds within a modestly sized interior, likely a domestic space given the presence of utilitarian furniture and simple décor. Here we see a group of children engaged in what appears to be a playful lesson – one child attempts to instruct a cat in the art of dancing. The central figure is a young girl seated on a stool, playing a flute. Her posture suggests both concentration and a degree of self-importance; she holds her head high as she produces the music that presumably accompanies the feline’s awkward movements.
Around her are three other children, their expressions ranging from amused delight to mischievous glee. One boy, dressed in a feathered hat, seems particularly invested in the proceedings, actively manipulating the cats paws. Another child observes with an air of detached curiosity, while a younger one appears more interested in the food placed before him on the table. The presence of a dog at the foot of the table adds another layer to the dynamic – it looks up expectantly, perhaps hoping for scraps or simply drawn into the general merriment.
The lighting is carefully orchestrated; a single source illuminates the children and the cat, casting deep shadows that contribute to the overall atmosphere of intimacy and slightly melancholic realism. The background is deliberately subdued, with a dark wall upon which hangs a portrait – an older man with a stern expression, whose presence adds a note of formality and perhaps a subtle commentary on the fleeting nature of childhood innocence.
The painting’s subtexts are complex. On one level, it depicts a commonplace scene of children at play, capturing a moment of carefree joy. However, there is also an underlying sense of irony; the futility of attempting to impose order or instruction upon a creature as inherently independent as a cat is evident. The older mans portrait in the background could be interpreted as representing societal expectations and the inevitable transition from childhood to adulthood – a reminder that such moments of unadulterated play are transient. Furthermore, the inclusion of everyday objects – the stool, the flute, the dog, the pewter tableware – grounds the scene in a specific social context, suggesting a commentary on domestic life and the values of the time. The overall effect is one of poignant observation, capturing both the charm and the melancholy inherent in childhood experiences.