Collection: Jacob Jordaens
Jacob Jordaens: A Dutch painter
One of the most long-lived Old Masters in Flanders, Jacob Jordaens, was a significant figure in the Flemish painting who frequently helped another painter, Peter Paul Rubens (1577-1640) with his huge scale of paintings.
Jacob was born in 1593 in Antwerp. Little fact is known about his initial life, but he came from a prominent family, and it is expected that he got a good education. Like Peter Rubens, he was apprenticed to Adam van Noort (c.1561-1641), the Flemish painter, etcher, and artist, who might later turn into his father-in-law.
Following the preparation for eight years with van Noort, Jordaens turned into a Master of the Antwerp Painters Guild in 1615, specializing in wall hangings made with watercolors. This method was frequently used in the seventeenth century to make preparatory colored cartoons for artwork plans. In 1621 Jordaens was elected as the Dean of the Guild.
Although Jordaens continued to borrow motifs and topics from Rubens, his artwork from 1625 onwards displayed a developing realism. His painting includes Allegory of Fertility (c.1622, Royal Museums of Fine Arts, Brussels), Ferry Boat to Antwerp (c.1623, Museum for Kunst, Copenhagen), and The Four Evangelists (c.1625, Louver, Paris).
During this time, he also started to explore genre painting, portraying Flemish celebrations, along with these lines to Bruegel, just as Adriaen Brouwer (1605-38), Adriaen van Ostade (1610-85), and different exponents of the Dutch Realist genre artwork idioms.
His painting style is illustrated by his several painting, The King Drinks (c.1640, Royal Museums of Fine Arts, Brussels) - although more than one version of the same painting is available.
Boisterous and soaked with liquor, Jordaens uses the paintings to lecture about the evil of drink. He inscribed a note into one painting: 'Nothing appears to be more like a madman than a drunkard.
Final Years and Death:
In 1618, Jordaens bought a house in Hoogstraat. Afterward, he purchased the adjoining house to expand his family and workspace in 1639, mimicking Rubens' home built twenty years earlier. He lived and worked here until he died in 1678.