Ostade, Adriaen van (ä`drēän vän ô`städə), 1610–85, Dutch genre painter, b. Haarlem. Trained in the studio of Frans Hals Frans Hals, c.1618–c.1669, a skillful painter of still life and rustic scenes.

Dirk Hals, c.1591–1656, brother of the elder Frans Hals, imitated his style but lacked his genius.
..... Click the link for more information. , he was strongly influenced by his fellow student Adriaen Brouwer Brouwer or Brauwer, Adriaen (both: ä`drēän' brou`ər), c.
..... Click the link for more information. . Van Ostade created good-humored depictions of village and peasant life, in which the figures are lively in expression and action. Later, under the influence of Rembrandt Rembrandt Harmenszoon van Rijn or Ryn (rĕm`brănt, Du.
..... Click the link for more information. , he used a warmer palette and deeper chiaroscuro (high-contrast) effects. His work after 1650 was refined, the color and light skillfully balanced. In addition to his more than 1,000 oils, van Ostade executed about 50 graphic works and supplied figures for many other artists' landscapes. He is represented in important collections throughout Europe and the United States. Among his many notable works are Peasants in an Inn (The Hague); The Drinker (Louvre); The Smoker (Antwerp); and The Old Fiddler (Metropolitan Mus.). His brother and pupil,

Isaak van Ostade, 1621–49, painted at first in close imitation of his brother, but his interest in landscape led to paintings of a more pastoral character. He created many fine winter landscapes.

Ostade, Adriaen van

(born Dec. 10, 1610, Haarlem, Neth.—buried May 2, 1685, Haarlem) Dutch painter and printmaker. Known for his Baroque genre paintings of peasant life, he also did religious subjects, portraits, and landscapes. The most important influence on his style was the work of Adriaen Brouwer. Like Brouwer, he delighted in scenes such as tavern brawls, usually in dimly lit interiors, as in Carousing Peasants in an Interior (c. 1638). He employed a broad, vigorous technique in a subdued range of colours. After he adopted a brighter palette in the 1640s, his subjects became less ribald, and from the 1650s he painted many of them in outdoor settings.