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Jacob Jordaens bonfesten olja pa duk 300x242cm
1659
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Jacob Jordaens The Satyr and the Peasant 1620(1620)
Oil on canvas
188,5 x 168 cm
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Jacob Jordaens Feast of the bean king um 1640/1645
Oil on canvas
242 x 300 cm
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Jacob Jordaens Portrait of Abraham Grapheus as Job 1620(1620)
Medium Oil on panel
Dimensions 67 x 52 cm (26.4 x 20.5 in)
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Jacob Jordaens The Childhood of Zeus c. 1640
Oil on canvas
150 x 203 cm
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Jacob Jordaens The Judgement of Midas Medium Oil on canvas
Dimensions 116 x 154 cm (45.7 x 60.6 in)
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Jacob Jordaens The Childhood of Zeus Deutsch: um 1640
English: c. 1640
Medium Oil on canvas
Dimensions Deutsch: 150 x 203 cm
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Jacob Jordaens A Satyr Date between 1630(1630) and 1645(1645)
Medium Oil on canvas
Dimensions 135 x 176 cm (53.1 x 69.3 in)
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Jacob Jordaens The Adoration of the Shepherds Date ca. 1616(1616)
Medium Oil on canvas
Dimensions 157.7 x 118 cm (62.1 x 46.5 in)
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Jacob Jordaens Cave of Polyphemus Oil on canvas
Dimensions Deutsch: 76 x 96 cm
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Jacob Jordaens Allegory of Fertility Date 17th century
Medium Oil on canvas
Dimensions 119 x 182 cm (46.9 x 71.7 in)
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Jacob Jordaens Al legoria de la Pau Date 1887(1887)
Medium Oil on canvas
Dimensions 220 x 300 cm (86.6 x 118.1 in)
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Jacob Jordaens The Fall of Man 17th century
Medium Oil on canvas
Dimensions 185 x 221 cm
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Jacob Jordaens The Judgement of Midas Oil on canvas
Dimensions 116 x 154 cm (45.7 x 60.6 in)
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Jacob Jordaens A Satyr between 1630(1630) and 1645(1645)
Medium Oil on canvas
Dimensions 135 x 176 cm (53.1 x 69.3 in)
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Jacob Jordaens The Adoration of the Shepherds 1616(1616)
Medium Oil on canvas
Dimensions 157.7 x 118 cm (62.1 x 46.5 in)
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Jacob Jordaens Allegory of Peace 1887(1887)
Medium Oil on canvas
Dimensions 220 x 300 cm (86.6 x 118.1 in)
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Jacob Jordaens Return of the Holy Family from Egypt 1616(1616)
Medium Oil on oak
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Jacob Jordaens Diana and Actaeon 1640(1640)
Medium Oil on oak panel
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Jacob Jordaens Diana and Actaeon 1640(1640)
Medium Oil on oak panel
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Jacob Jordaens
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Flemish Baroque Era Painter, 1593-1678
Jacob Jordeans was born on May 19, 1593, the first of eleven children, to the wealthy linen merchant Jacob Jordaens Sr. and Barbara van Wolschaten in Antwerp. Little is known about Jordaens's early education. It can be assumed that he received the advantages of the education usually provided for children of his social class. This assumption is supported by his clear handwriting, his competence in French and in his knowledge of mythology. Jordaens familiarity with biblical subjects is evident in his many religious paintings, and his personal interaction with the Bible was strengthened by his later conversion from Catholicism to Protestantism. Like Rubens, he studied under Adam van Noort, who was his only teacher. During this time Jordaens lived in Van Noort's house and became very close to the rest of the family. After eight years of training with Van Noort, he enrolled in the Guild of St. Luke as a "waterscilder", or watercolor artist. This medium was often used for preparing tapestry cartoons in the seventeenth century. although examples of his earliest watercolor works are no longer extant. In the same year as his entry into the guild, 1616, he married his teacher's eldest daughter, Anna Catharina van Noort, with whom he had three children. In 1618, Jordaens bought a house in Hoogstraat (the area in Antwerp that he grew up in). He would then later buy the adjoining house to expand his household and workspace in 1639, mimicking Rubens's house built two decades earlier. He lived and worked here until his death in 1678.
Jordaens never made the traditional trip to Italy to study classical and Renaissance art. Despite this, he made many efforts to study prints or works of Italian masters available in northern Europe. For example, Jordaens is known to have studied Titian, Veronese, Caravaggio, and Bassano, either through prints, copies or originals (such as Caravaggio's Madonna of the Rosary). His work, however, betrays local traditions, especially the genre traditions of Pieter Bruegel the Elder, in honestly depicting Flemish life with authenticity and showing common people in the act of celebratory expressions of life. His commissions frequently came from wealthy local Flemish patrons and clergy, although later in his career he worked for courts and governments across Europe. Besides a large output of monumental oil paintings he was a prolific tapestry designer, a career that reflects his early training as a "watercolor" painter.
Jordaens' importance can also be seen by his number of pupils; the Guild of St. Luke records fifteen official pupils from 1621 to 1667, but six others were recorded as pupils in court documents and not the Guild records, so it is probable that he had more students than officially recorded. Among them were his cousin and his son Jacob. Like Rubens and other artists at that time, Jordaens' studio relied on his assistants and pupils in the production of his paintings. Not many of these pupils went on to fame themselves,however a position in Jordaens's studio was highly desirable for young artists from across Europe.
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