May 19, 1593. ANTWERP.- Jacob Jordaens was one of three Flemish Baroque painters, along with Peter Paul Rubens and Anthony van Dyck, to bring prestige to the Antwerp school of painting. Unlike those contemporaries he never traveled abroad to study Italian painting, and his career is marked by an indifference to their intellectual and courtly aspirations. In fact, except for a few short trips to locations in the Low Countries, he remained in Antwerp his entire life. As well as being a successful painter, he was a prominent designer of tapestries. In this image: Jacob Jordaens. The King Drinks. c.1640.
|Jacob Jordaens Self-Portrait with Parents, Brothers, and Sisters. c. 1615. Oil on canvas. The Hermitage, St. Petersburg, Russia. Web Gallery of Art|
|[Abduction of Europa], Jacob Jordaens, 1615/16, Gemäldegalerie Berlin|
|Jacob Jordaens, As the Old Sang, So the Young Pipe. National Gallery of Canada|
In the 1620s Jordaens built a flourishing studio while also frequently assisting Rubens. His style is based on Rubens's exuberance, with stronger chiaroscuro and thicker impasto. Despite converting from Catholicism to Calvinism in mid-life, Jordaens received numerous commissions for Catholic churches. A masterful technician, Jordaens' prolific output includes altarpieces, portraits, genre, and mythological scenes. He also produced watercolors, tapestry designs, and engravings. His late works include large genre scenes of drinking parties. The Getty, http://www.getty.edu/art/collection/artists/355/jacob-jordaens-flemish-1593-1678/
|Holy Family with Shepherds|
The date of 1616 on the tall shepherd’s hat is the earliest known on any work by Jordaens. He never went to Italy but intensified the Caravaggesque qualities found in works by Rubens and other Antwerp artists such as Abraham Janssens. His handling of light and shadow and closely clustered figure groups convey a sense of intimacy that is distinctive of the young Jordaens. The Met http://www.metmuseum.org/art/collection/search/436798