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Topic: Jordaens


In the News (Tue 23 Apr 19)

  
 [No title]   (Site not responding. Last check: 2007-10-30)
Jacob Jordaens (1593—1678), was a Flemish painter, born and died at Antwerp.
Jordaens is second to Rubens alone in their special department of the Flemish school.
In both there is the same warmth of colour, truth to nature, mastery of chiaroscuro and energy of expression; but Jordaens is wanting in dignity of conception, and is inferior in choice of forms, in the character of his heads, and in correctness of drawing.
wikiwhat.com /encyclopedia/j/ja/jacob_jordaens.html   (209 words)

  
 JORDAENS at the London Food Film Fiesta
Although Jordaens often assisted Rubens, he had a flourishing studio of his own by the 1620s, and after Rubens's death in 1640 he was the leading figure painter in Flanders.
The surfeit to which Jordaens' figures are giving themselves over, but which is not really doing them much good, receives a somewhat ambivalent commentary in the cartouche in the top centre: "In een vry gelachllst goet gast syn" (where there is a free meal it is good to be a guest).
Jordaens' presentation is therefore not free from a certain amount of irony.
www.londonfoodfilmfiesta.co.uk /Artmai~1/Jordaens.htm   (627 words)

  
 Jacob Jordaens - Wikipedia, the free encyclopedia
Jacob Jordaens (May 19, 1593 - October 18, 1678), was a Flemish painter, born and died at Antwerp.
Jordaens died of the mystrtious Antwerp disease in October of 1678 that the same day killed his unmarried daughter Elizabteh, who lived with him.
Their bodies were buried together under one tombstone in the Protestant cemetery at Putte, a village just north of the Dutch border, where his wife Catharina had earlier been put to rest.
en.wikipedia.org /wiki/Jacob_Jordaens   (343 words)

  
 Jacob Jordaens   (Site not responding. Last check: 2007-10-30)
Jordaens’ art was distinct from that of his most notable contemporaries, Rubens and Van Dyck, in that it lacked idealistic themes.
Jordaens’ influence on the Flemish artist is evident in both the style of Boeckhorst’s paintings as well as other forms of his artistic work (Ali, 648) For instance, Jordaens’ watercolor technique that he used in creating cartoons for woven tapestries was one of the skills borrowed by Boeckhorst.
Jordaens’ influence on Boeckhorst is also evidenced by the fact that the context of both artists' work was of a religious, mythological, or historical nature (Ali, 648).
www.unc.edu /~evaughn/Jordaens.html   (371 words)

  
 Jacob Jordaens - AMAM
Jordaens was admitted to the Antwerp St. Luke's guild in 1615/16 as a waterschilder (tempera painter), which qualified him to paint cartoons for tapestries and wall coverings.
Jordaens was active as a portraitist, history and genre painter, and designer of tapestries, and was also a printmaker and a prolific draftsman.
Jordaens made several changes to the central design when the peripheral panel members were added: the position of the sacrificial lamb in the immediate foreground was reversed, and a balustrade and hanging rug were added to support the two figures introduced in the top section at right, replacing the semicircular niche shown in the tapestries.
www.oberlin.edu /allenart/collection/jordaens_jacob.html   (2131 words)

  
 JORDAENS, JACOB. The Columbia Encyclopedia: Sixth Edition. 2000   (Site not responding. Last check: 2007-10-30)
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 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).
www.bartleby.com /aol/65/jo/Jordaens.html   (161 words)

  
 Jordaens Paintings Reproduction and Biography   (Site not responding. Last check: 2007-10-30)
Jordaens was a Flemish painter, the pupil and son-in-law of Adam van Noort.
Although Jordaens often assisted Rubens, he had a flourishing studio of his own by the 1620s, and after Rubens’s death in 1640 Jordaens was the leading figure painter in Flanders.
Jordaens rarely left his native Antwerp, but commissions came from all over Europe, the most important being The Triumph of Frederick Hendrik (1651-2), an enormous composition painting painted for the Huis ten Bosch, the royal villa near The Hague.
www.allartclassic.com /author_biography.php?p_number=70   (294 words)

  
 Painting Example   (Site not responding. Last check: 2007-10-30)
Jordaens uses dramatic contrasts of light and dark to emphasize one diagonal, which further accentuates the painting’s asymmetricality (typical of Baroque).
Jordaens uses contrast: the bright red of the Virgin’s cloak contrasts the purity of the white veil around her neck, on the Christ child and on the Baptist.
The texture of the wicker bird cage and chair serve to emphasize the smoothness of the plumb flesh of the children and the flawless complexion of the Virgin.
www.meredith.edu /art/arthist/222paint.htm   (1190 words)

  
 BookRags: Jacob Jordaens Biography   (Site not responding. Last check: 2007-10-30)
Jacob Jordaens (1593-1678) was a Flemish painter of prodigious energy and lively imagination.
The influences that shaped the art of the young Jordaens are plainly visible in the Daughters of Cecrops (1617).
Jordaens was given the lion's share in the decoration of the Huis ten Bosch near The Hague in Holland.
www.bookrags.com /biography-jacob-jordaens/index.html   (663 words)

  
 Home|Collections|Picture Gallery|Flanders:
17th century|Jacob Jordaens
Jordaens was the only Flemish painter apart from Van Dyck who, having assimilated Rubens overwhelming influence, went on to develop his own unmistakable style.
However, whereas Rubens sensuously heightened treatment is always idealised in the classical sense, that of Jordaens tends towards a direction only hinted at in Rubens works: the representation of a robust, often burlesque reality.
While working on the picture, Jordaens enlarged the painting, originally conceived as a much smaller work (a practice also employed by Rubens), developing it into a rich, sweeping depiction of a custom associated with Twelfth Night.
www.khm.at /staticE/page738.html   (342 words)

  
 ART / 4 / 2DAY
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, and he did not receive a single significant commission from Italy, France, or England.
Jordaens' lifelike characterization of the peasants, full of insight into human nature, and their closeness to nature expressed in their unpolished manners must have strongly seduced the city-dwellers commissioning these tableaux, who considered themselves as more civilized.
Jordaens' skilful technique and deft observation can, however, be admired in their purest form in the double Studies of the Head of Abraham Grapheus.
www.safran-arts.com /42day/art/art4may/art0519.html   (7433 words)

  
 Famous Belgians - Jacob Jordaens
Jordaens was clearly influenced by Rubens, and although his style was not as refined as that of Rubens, he is nevertheless considered one of the leaders of northern baroque art.
Aided by his students, Jordaens painted large decorative works, especially subjects of revelry, grand banquets, and vivacious genre scenes.
Jordaens became famous and was overwhelmed with commissions, the most important coming after the death of Rubens in 1640.
www.famousbelgians.net /jordaens.htm   (133 words)

  
 Jacob Jordaens: Hippomenes and Atalanta
The Flemish master Jacob Jordaens (the foremost painter in Antwerp after Rubens' death in 1640) was particularly gifted in portraying such "history" scenes as the story of Atalanta.
Jordaens has created beaux-ideals of youth and beauty, and heir as he was to the Renaissance traditions of vanishing perspective, he adopted the device and in fact, accentuated it.
The railings are packed with onlookers and the whole scene has the energy, vivacity, and humor that are hallmarks of Jordaens' marvelous storytelling style.
www.indiana.edu /~iuam/exhibitions/green/jordaens.html   (195 words)

  
 Jacob Jordaens - Rijksmuseum
At the age of fourteen, Jordaens, a merchant's son, was apprenticed to Adam van Noort.
In addition to large history paintings, Jordaens produced genre paintings and portraits, as well as designs for tapestries.
Jordaens was a wealthy man and remained active until late in life.
www.rijksmuseum.nl /aria/aria_artists/00018630?lang=en   (341 words)

  
 Jordaens Jacob - Search Results - MSN Encarta
Jordaens Jacob - Search Results - MSN Encarta
After the deaths of Rubens in 1640 and van Dyck in 1641, Jacob Jordaens was left as the leading Flemish figure painter of the day.
Rembrandt was one of several painters who contributed scenes relating to Dutch history to the decoration of Amsterdam's new town hall.
uk.encarta.msn.com /Jordaens_Jacob.html   (109 words)

  
 Jacob Jordaens (1593 - 1678) Artwork Images, Exhibitions, Reviews
Jordaens also was a tapestry designer and engraver.
Jacob Jordaens - Portrait of Elizabeth Jordaens, Daughter of the Artist c.
Jacob Jordaens - The Judgement of Paris c.
wwar.com /masters/j/jordaens-jacob.html   (928 words)

  
 The Bean King by JORDAENS, Jacob
Jordaens was one of Rubens' most promising students and upon his master's death acquired the title of "principal Antwerp painter".
A pie containing a single bean is served on this day and the guest who receives it becomes the "Bean King".
Three people are recognizable in the painting: "The Bean King" - Jordaens' father-in-law; the woman to the left - Jordaens' wife, Yelizabeth; and the man with the upraised pitcher, Jordaens himself.
www.wga.hu /html/j/jordaens/1/beanking.html   (86 words)

  
 Meleager and Atalanta by JORDAENS, Jacob
After the death of Rubens in 1640, Jacob Jordaens became the leading artist of the Southern Netherlands.
He was primarily active in Antwerp, and his artistic aspirations did not extend quite so high as those of Rubens.
Jordaens showed himself to be an uncomplicated member of the middle-class, and there is little room in his work for reflection or any feeling of transcendence.
www.wga.hu /html/j/jordaens/2/meleager.html   (110 words)

  
 The Appleton Museum of Art - Rubens, Jordaens, Van Dyck, and their Circle   (Site not responding. Last check: 2007-10-30)
One of the most important drawings in the exhibition, if not in Ruben’s oeuvre as a whole, is Kneeling Man Seen From Behind, which was made (partly after a classical sculpture) in preparation for a large painting in the Statankamer of the City Hall in Antwerp.
Jordaen’s characteristic figure renderings in red, fl, and white chalks are represented by his Bagpiper, a study for The King Drinks, which is also included in the show.
The final section of the exhibition will present drawings by other Flemish artists, who, while less renowned than the three great masters, excelled in the various genres in which they specialized, producing works that were extremely influential.
www.appletonmuseum.org /exhibitions/rubens091302.shtml   (741 words)

  
 The Holy Family with Saint Anne (?) and a Maidservant | Musée du Louvre
This straightforward Holy Family is typical of Jordaens' early style in its composition using distinct masses and its introspectiveness.
At the center of the composition is the seated Virgin, suckling the Child on her knees.
In two drawings of the Holy Family with Saint Elizabeth, Jordaens shows the latter with a lamb, the traditional attribute of her son, St. John the Baptist (Holy Family with Saint Elizabeth, London, British Museum), or flanked by an angel (Holy Family with Saint Elizabeth and an Angel, Lille, Musée des Beaux-Arts).
www.louvre.fr /llv/oeuvres/detail_notice.jsp?CONTENT<>cnt_id=10134198673226315&CURRENT_LLV_NOTICE<>cnt_id=10134198673226315&FOLDER<>folder_id=9852723696500827&fromDept=false&baseIndex=42&bmUID=1143472042388&bmLocale=en   (635 words)

  
 Jacob Jordaens (Getty Museum)   (Site not responding. Last check: 2007-10-30)
From the time of Peter Paul Rubens's death in 1640 until 1660, Jacob Jordaens was in greater demand than any other artist in northern Europe.
Unlike most of his contemporaries, Jordaens never went to Italy; he was born and lived his whole life in Antwerp, where he and his friend Rubens shared the same teacher.
Despite converting from Catholicism to Calvinism in mid-life, Jordaens received numerous commissions for Catholic churches.
www.getty.edu /art/gettyguide/artMakerDetails?maker=359   (144 words)

  
 Jordaens, Jacob - HighBeam Encyclopedia   (Site not responding. Last check: 2007-10-30)
JORDAENS, JACOB [Jordaens, Jacob], 1593-1678, Flemish baroque painter, b.
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.
www.encyclopedia.com /html/J/Jordaens.asp   (325 words)

  
 Jesus Driving the Merchants from the Temple | Musée du Louvre
The painting, produced when Jordaens was sixty-three, is from the artist's late period.
But Jordaens' manifest delight in painting such a wide range of faces is all his own.
In the wave of panic, each person embodies a different sentiment with their expressive grimaces: dumbstruck or terrified awe, hatred, anger, and the cold calculation of the high priests looking down on the scene and already plotting Jesus' demise.
www.louvre.fr /llv/oeuvres/detail_notice.jsp?CONTENT<>cnt_id=10134198673225626&CURRENT_LLV_NOTICE<>cnt_id=10134198673225626&FOLDER<>folder_id=9852723696500812&fromDept=false&baseIndex=4&bmUID=1143473087332&bmLocale=en   (597 words)

  
 Jacob Jordaens
In 1621 he became head of the Antwerp Guild and from about this time ran his own large and successful workshop, whilst at the same time working for Rubens, initially alongside van Dyck.
Rubens was undoubtedly the greatest influence on the work of Jordaens' mature period.
As with Rubens, his female figures are amply fleshed, his male figures robust and powerful looking, and yet he retains the early influence of Caravaggio in the somewhat coarser physical types he chooses and the stronger contrasts of light and shade which are so characteristic of much of his work (e.g.
www.artchive.com /artchive/J/jordaens.html   (385 words)

  
 JORDAENS, JACOB (1593-... - Online Information article about JORDAENS, JACOB (1593-...
Search over 40,000 articles from the original, classic Encyclopedia Britannica, 11th Edition.
Jordaens is second to Rubens alone in their See also:
energy of expression; but Jordaens is wanting in dignity of conception, and is inferior in choice of forms, in the See also:
encyclopedia.jrank.org /JEE_JUN/JORDAENS_JACOB_1593_1678_.html   (344 words)

  
 Hans Jordaens II -also IV- (1616-1680). Landscape painter. He was a member of the Bentveughel circle in Rome in 1650. ...   (Site not responding. Last check: 2007-10-30)
He was a member of the Bentveughel circle in Rome in 1650 where he was nicknamed Pollepel [pot ladle].
On May 16, 1672 both Johannes Vermeer and Johannes Jordaens, both 'outstanding art painters in Delft' testified together in their role as experts and as painting connoisseurs.
The grand prize, a Golden Banquet painting by Jordaens III plus a real gold dish were worth as much as 330 guilders.
www.xs4all.nl /~kalden/dart/d-a-jorda2.htm   (308 words)

  
 Whitfield Fine Art » Jacob Jordaens   (Site not responding. Last check: 2007-10-30)
Although the identity of the lady shown is unknown there is some evidence to suggest that she may have been a personal acquaintance of the artist as Jordaens portrayed her another time in a painting now housed in the Indianapolis Museum of Art.
The Indianapolis version shows the lady seated, (Jordaens exhibition, Ottawa 1968/69, No. 93) and some of the pentimenti in this work are similar to those in the Indianapolis painting.
Both date from the 1640s, the period when the artist was the ‘prime painter’ in Antwerp after the death of both Rubens (1640) and Van Dyck (1641), and had all the fashionable customers he might want for portraits.
www.whitfieldfineart.com /?p=14   (264 words)

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