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Meleager and Atalanta
new18/JORDAENS, Jacob-852655.jpg
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Meleager_and_Atalanta
1618
Oil on canvas,
152 x 120 cm
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Christ Driving the Merchants from the Temple
new21/JORDAENS, Jacob-522962.jpg
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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
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Adoration of the Shepherds
new21/JORDAENS, Jacob-659863.jpg
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Adoration_of_the_Shepherds
Oil on canvas Mauritshuis, The Hague , Artist: JORDAENS, Jacob , Adoration of the Shepherds , 1651-1700 , Flemish , painting , religious
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An Apostle
new21/JORDAENS, Jacob-652278.jpg
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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
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Portrait of a Young Married Couple
new21/JORDAENS, Jacob-485647.jpg
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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
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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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