All JORDAENS, Jacob 's Paintings
The Painting Names Are Sorted From A to Z

Choice ID Image  Paintings (From A to Z)       Details 
43534 : The Satyr and the Peasant  : The Satyr and the Peasant   1651-1700 1620s Oil on canvas
63967 Adoration of the Shepherds  Adoration of the Shepherds   Oil on canvas Mauritshuis, The Hague , Artist: JORDAENS, Jacob , Adoration of the Shepherds , 1651-1700 , Flemish , painting , religious
7699 Adoration of the Shepherds sf  Adoration of the Shepherds sf   Oil on canvas Mauritshuis, The Hague
64186 Allegory of Fertility  Allegory of Fertility   191 x 2261 mm Musees Royaux des Beaux-Arts, Brussels This sketch for the homonymous painting in the Brussels museum is fascinating in more than one respect. First of all because it allows us, so to speak, to look over the artist's shoulder during the creation process. A comparison between the drawn object and the painted composition shows us how Jordaens strongly increased the concentration of the figures in the painting. By omitting motifs from the original sketch, such as a figure looking upwards to the right of the woman with a mantle and a goat or ass on the right edge, the satyrs to the right are more closely connected with the nymphs in the middle. The painter makes the link between both groups even tighter by having the nymph's hand reach upward at the back and by reversing the position and the direction of the gaze of the crouching nude in the front. Finally the central group of women is made tighter by the removal of a flute-playing satyr in the background and of one of the children in the foreground. In a second draft sketch, conserved in the Copenhagen museum, most of the changes have already been carried out, demonstrating how the artist achieved his balanced final result not immediately but in various phases. We note that Jordaens already planned the cornucopia in his sketches, although in the final painting it was executed by Frans Snyders. The lowering of the skyline in the painting is to be attributed to a later shortening of the canvas by a foreign hand. Secondly this sketch illustrates Jordaens' preference for pen and paper as against chalk in his initial designs, unlike Rubens, who frequently opted for oil paint sketches. This concords with Jordaens' training as a "water painting painter". This technique had been developed in earlier generations, in particular in Mechelen, where it was used to produce a cheaper variant of tapestry, which was very expensive. On the one hand a drawn sketch was less good than an oil paint sketch in suggesting both the placing of the shapes and their colouring and modelling. On the other hand, it allowed an artist with a good command of ink and water to achieve a lively linear handling, a subtle chiaroscuro effect and a sense of nuance. Jordaens has taken full advantage of the possibilities of this balanced drawing technique in this sketch. , Artist: JORDAENS, Jacob , Allegory of Fertility , 1651-1700 , Flemish , graphics , mythological
63968 An Apostle  An Apostle   1623-25 OIl on oak, 68,5 x 51,5 cm National Gallery, Prague Jordaens painted a series of apostles between 1623 and 1625. The model of these characteristic heads was Abraham Grapheus, the messenger of the St Luke Guild in Antwerp. , Artist: JORDAENS, Jacob , An Apostle , 1651-1700 , Flemish , painting , religious
7700 An Apostle sg  An Apostle sg   1623-25 OIl on oak, 68,5 x 51,5 cm National Gallery, Prague
7695 As the Old Sang the Young Play Pipes (detail) sf  As the Old Sang the Young Play Pipes (detail) sf   1638 Oil on canvas Koninklijk Museum voor Schone Kunsten, Antwerp
7694 As the Old Sang the Young Play Pipes dy  As the Old Sang the Young Play Pipes dy   1638 Oil on canvas, 192 x 120 cm Koninklijk Museum voor Schone Kunsten, Antwerp
7701 Assumption of the Virgin d  Assumption of the Virgin d   Oil on canvas, 280 x 178 cm Museum voor Schone Kunsten, Ghent
63940 Christ Driving the Merchants from the Temple  Christ Driving the Merchants from the Temple   1650 Oil on canvas, 288 x 436 cm Musee du Louvre, Paris , Artist: JORDAENS, Jacob , Christ Driving the Merchants from the Temple , 1651-1700 , Flemish , painting , religious
7703 Christ Driving the Merchants from the Temple zg  Christ Driving the Merchants from the Temple zg   c. 1650 Oil on canvas, 288 x 436 cm Mus??e du Louvre, Paris
7692 Eating Man f  Eating Man f   Oil on canvas Staatliche Museen, Kassel
7697 Education of Jupiter sf  Education of Jupiter sf   Oil on panel, 61 x 75 cm Rockox House, Antwerp
51058 Meleager and Atalanta  Meleager and Atalanta   1618 Oil on canvas, 152 x 120 cm
32364 Nymphs at the Fountain of Love  Nymphs at the Fountain of Love   c. 1630 Oil on canvas backed by panel, 131 x127 cm
32365 Offering to Ceres, Goddess of Harvest  Offering to Ceres, Goddess of Harvest   1618-20 Oil on canvas, 165 x 112 cm
63971 Portrait of a Young Married Couple  Portrait of a Young Married Couple   1615-1620 Oil on panel Museum of Fine Arts, Boston , Artist: JORDAENS, Jacob , Portrait of a Young Married Couple , 1651-1700 , Flemish , painting , portrait
7702 Portrait of a Young Married Couple dg  Portrait of a Young Married Couple dg   1615-1620 Oil on panel Museum of Fine Arts, Boston
32367 Prometheus Bound  Prometheus Bound   c. 1640 Oil on canvas, 245 x 178 cm
66509 Satyr and the Peasant  Satyr and the Peasant   1st half of 17th century Oil on canvas 174 ?? 204 cm (68.50 ?? 80.31 in)
7696 Self-portrait among Parents, Brothers and Sisters (detail) sg  Self-portrait among Parents, Brothers and Sisters (detail) sg   c. 1615 Oil on canvas The Hermitage, St. Petersburg
63977 St Charles Cares for the Plague Victims of Milan  St Charles Cares for the Plague Victims of Milan   1655 Oil on canvas Sint-Jacobskerk, Antwerp , Artist: JORDAENS, Jacob , St Charles Cares for the Plague Victims of Milan , 1651-1700 , Flemish , painting , religious
7704 St Charles Cares for the Plague Victims of Milan s  St Charles Cares for the Plague Victims of Milan s   1655 Oil on canvas Sint-Jacobskerk, Antwerp
7690 The Bean King sf  The Bean King sf   c. 1638 Oil on canvas, 160 x 213 cm The Hermitage, St. Petersburg
7687 The Bean King (detail) af  The Bean King (detail) af   c. 1655 Oil on canvas Kunsthistorisches Museum, Vienna
7691 The Bean King (detail) sf  The Bean King (detail) sf   c. 1638 Oil on canvas, 160 x 213 cm (full painting) The Hermitage, St. Petersburg
7686 The Bean King af  The Bean King af   c. 1655 Oil on canvas, 242 x 300 cm Kunsthistorisches Museum, Vienna
7688 The Bean King f  The Bean King f   Oil on canvas Staatliche Museen, Kassel
7698 The Four Evangelists sg  The Four Evangelists sg   1620-25 Oil on canvas, 133 x 118 cm Mus??e du Louvre, Paris
7689 The King Drinks s  The King Drinks s   Oil on canvas, 156 x 210 cm Mus??es Royaux des Beaux-Arts, Brussels
7693 The King Drinks sf  The King Drinks sf   1638 Oil on canvas Mus??es Royaux des Beaux Arts, Brussels
20553 The Purification of the Temple (mk05)  The Purification of the Temple (mk05)   Canvas,113 1/2 x 171 1/2''(288 x 436 cm)Acquired for Louis XV in 1751 by the intervention of the painter Natoire INV
32368 The Satyr and the Peasant  The Satyr and the Peasant   1620s Oil on canvas
JORDAENS, Jacob
Flemish painter (b. 1593, Antwerpen, d. 1678, Antwerpen). Flemish painter, tapestry designer and draughtsman. In the context of 17th-century Flemish art, he emerges as a somewhat complicated figure. His oeuvre, the fruit of a continual artistic development, is characterized by great stylistic versatility, to which the length of his career contributed. His religious, mythological and historical representations evolved from the rhetorical prolixity of the Baroque into a vernacular, sometimes almost caricatural, formal idiom. The lack of idealistic treatment in his work is undoubtedly the factor that most removed Jordaens's art from that of his great Flemish contemporaries Rubens and van Dyck. Jordaens's officially commissioned works included many paintings in which the sublimity of the subject-matter clashed with the vulgarity of some of his figures. Unlike Rubens and van Dyck, both of whom were knighted in the course of their careers, Jordaens was, in fact, completely ignored by the courts of Spain and Brussels

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