Jacob Jordaens


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Jordaens, Jacob

(yä`kôp yôr`däns), 1593–1678, Flemish baroque painter, b. Antwerp. After the deaths of Rubens and Van Dyck, by whom he was influenced, he became the leading Flemish painter of his day and worked in Antwerp nearly all his life. Like Rubens, Jordaens produced portraits and religious and allegorical paintings, often expressing a joy of life. In early works (c.1612–25), such as The Artist's Family (Hermitage, St. Petersburg) and Allegory of Fertility (Brussels), he reveals the influence of Caravaggio in his firm modeling and realistically treated surface. Works executed c.1625–35 show increased grandeur and richness (Triumph of Bacchus; Kassel), and in the next years Rubens and Van Dyck influences are especially clear. In the last 25 years of his life, Jordaens stressed increasingly the classicist elements in baroque art, moving from the energetic Triumph of Prince Frederik Hendrik of Orange (The Hague) to the more rigidly composed Christ and the Doctors (Mainz). Examples of his work may be seen in many of the major museums of Europe and the United States.

Jordaens, Jacob

 

Born May 19, 1593, in Antwerp; died there Oct. 18, 1678. Flemish painter.

Jordaens, the son of a cloth merchant, began his artistic training under A. van Noort in 1607. He organized a large studio, where his many commissioned works were executed. Jordaens’ work, which is noted for its keen sensory perception of life, its powerful brushwork, and its inexhaustible optimism, strongly reflects folk elements and the realist tendencies characteristic of the Flemish school of art. Early Dutch traditions and elements of Carravagism are also evident. In his early paintings, such as Family Portrait (c. 1615, Hermitage, Leningrad) and The Adorationof the Shepherds (1618, National Museum, Stockholm), Jordaens uses many of Carravagio’s devices. These devices include the crowded arrangement of common people in the foreground of the picture, the emphasis on the materiality of objects, and the contrasts of light and shade.

Among Jordaens’ best works, which were painted in the 1620’s and 1630’s, are The Education of Jupiter (1620, Picture Gallery, Kassel), Family Portrait (c. 1622–25, Prado, Madrid), The Allegory of Fertility (c. 1625–28, Museum of Ancient Art, Brussels), and Boonenfeest (1638, Hermitage). These paintings reflect the distinctive characteristics of Jordaens’ realism—a predilection for sanguine peasant and burgher types, strong heavy figures, and lavish details; a preference for genre scenes and secular treatment of religious and mythological themes; and the use of warm colors and a strong, energetic, impasto painting technique.

Beginning in the 1640’s, Jordaens painted overly crowded ceremonial compositions, which were characterized by a sense of pompousness and false enthusiasm (for example, the panel The Triumph of Prince Frederik Hendrik of Orange, 1652, Huis ten Bosch, The Hague).

REFERENCES

[Smol’skaia, N.] Iakob Iordans. Moscow, 1959. [Album.]
Puyvelde, L. van. Jordaens. Paris-Brussels, 1953.
References in periodicals archive ?
The immediate inheritors of the Rubens brand were the next generation of Antwerp artists, notably his equally illustrious assistant, Anthony van Dyck, and Jacob Jordaens.
His best pupil was Anthony van Dyck (1599-1641) and his successor in Antwerp was Jacob Jordaens (1593-1678); both earned lasting places in art history.
Art works include one of the finest examples of a standing Bactrian Princess from the end of the 3rd millennium BCE, a Middle-Eastern gold bracelet with a lion's head approximately 3000 years-old, a painting titled The Good Samaritan by Jacob Jordaens one of the major Flemish painter from the 17th century and a painting by Oman Hemdy Bey from the 1878, titled The Scholar.
At times he collaborated with other artists, among them Willeboirts Bosschaert and Jacob Jordaens.
It contains a selection of nearly 50 masterworks -- paintings and decorative objects -- by Rubens and other acclaimed artists such as Anthony van Dyck, Jacob Jordaens, Jacob Van Oost the Elder, Adriaen van Utrecht, and Frans Snyders among others, most of whom were Rubens' pupils or collaborators.
Of the two pupils of Adam van Noort, Rubens often assumed the role of the warrior aristocrat, whilst Jacob Jordaens usually played that of the quiet peasant who rejoices in peace and fecundity:
There are also exquisite works by figures of more specialty interest--Parmigianino, Agostino Carracci, Jacob Jordaens, Roelant Savory, and Hubert Robert to name just a few.
PETER PAUL RUBENS AND THE ART OF DRAWING IN FLANDERS'' _ Features the newly acquired and magnificent ``The Assumption of the Virgin,'' along with other Rubens drawings in the museum's collection as well as works by his predecessors and contemporaries such as Anthony van Dyck, Frans Snyders, Jan Cossiers and Jacob Jordaens.
The Meeting of Odysseus and Nausicaa by Jacob Jordaens (1593-1678), a lush, unpublished oil, illustrates Homer's account of the shipwrecked Odysseus's return to his native Ithaca where, naked but for a leafy branch, he surprises the king's daughter and her handmaidens (Fig.
Their faces, as if touched by Jacob Jordaens, glow with fair, almost translucent fat and with inner revelry.
It will include more than 30 major pieces by Rubens as well as works by about 40 other artists, including Anthony van Dyck, Jacob Jordaens, and Jan Brueghel the Elder.