54 Facts About Jacob Jordaens

Jacques Jordaens was a Flemish painter, draughtsman and a designer of tapestries and prints.

Jacob Jordaens was a prolific artist who created biblical, mythological, and allegorical compositions, genre scenes, landscapes, illustrations of Flemish sayings and portraits.

Jacob Jordaens remained largely indifferent to Rubens and van Dyck's intellectual and courtly aspirations.

Jacob Jordaens regularly worked as an independent collaborator of Rubens.

Jacob Jordaens was registered in the local Guild of Saint Luke as a pupil of van Noort in the year 1607.

Jacob Jordaens never made the traditional trip to Italy to study classical and Italian art.

The couple had three children, Elizabeth, Jacob Jordaens, who became a painter, and Anna Catharina.

In 1618, they bought two adjoining houses in the Hoogstraat, the street where Jacob Jordaens was born, but which were situated behind the house of the merchant Backx.

Jacob Jordaens became in 1616 a member of the 'Gilde van de Armenbus'.

Jacob Jordaens accepted the position on condition that he would solely cover the expenses incurred during his tenure and not be responsible for the debts left by his predecessors.

Jacob Jordaens painted the Martyrdom of St Apollonia for the altar on the right.

That Jacob Jordaens was invited to contribute to this project shows the high regard in which he was already held at that early period of his career.

Jacob Jordaens was one of the artists invited to work on the decorations for the Joyous Entry into Antwerp of the new governor of the Habsburg Netherlands Cardinal-Infante Ferdinand in 1635.

Two works in the series attributed to Jacob Jordaens are Apollo and Pan, made after a sketch by Rubens, and Vertummus and Pomona.

When Jacob Jordaens submitted his initial designs to his intermediaries between himself and the English court, Gerbier was still attempting to convince the King that Rubens was a better choice for a project requiring a thorough skill in foreshortening.

Jacob Jordaens received a commission from Ruben's heirs to finish a painting of Hercules and Andromeda commissioned by Philip IV of Spain.

In 1639 Jacob Jordaens bought the large house "De Halle van Lier" or "Turnhoutsche Halle", at number 43 on the Hoogstraat, which was located in front of the houses in which he was then living.

Jacob Jordaens had the three houses converted into a new large complex.

Jacob Jordaens lived and worked there until his death in 1678.

Jacob Jordaens designed the facades of the large inner court yard in the style of Rubens' house constructed two decades earlier.

Jacob Jordaens decorated the house with sculptures, carpets and decorative furniture.

Towards the end of his lifetime Jacob Jordaens converted to Calvinism.

One year after his death, Jacob Jordaens' son-in-law donated twenty-five Flemish pounds to the Camer van den Huysarmen in Antwerp.

Jacob Jordaens donated Jordaens' painting The Washing and Anointing of the Body of Christ to the Maagdenhuis, an orphanage for girls in Antwerp.

Apparently, these gifts were made in execution of instructions which Jacques Jacob Jordaens, who died intestate, had left behind.

Jacob Jordaens managed a large workshop as is attested by the large number of pupils that trained with him.

Jacob Jordaens defended himself against the accusation with the argument that he had personally put the finishing touches on works executed by assistants in his workshop.

Jacob Jordaens was a very prolific painter, draftsman and designer of tapestries and prints who left a large oeuvre.

Jacob Jordaens worked primarily, though not exclusively, for the rich Antwerp bourgeoisie.

Jacob Jordaens' paintings are populated with many figures, even though he lacked compositional talent.

Jacob Jordaens combined high art with folk culture related elements.

Jacob Jordaens's art has often been regarded as less idealized than that of Rubens and van Dyck.

Jacob Jordaens's painting of Marsyas illustrates the painting entitled "Pan" in the Eikones.

Jacob Jordaens was greatly influenced by Rubens who occasionally employed him to reproduce his designs in a larger format.

Jacob Jordaens excelled in representations of the base character of humanity.

Jacob Jordaens abandoned vibrant colours in favour of a grey-blue palette, accented at times with a dull brown and applied paint so thinly that the canvas could be seen.

Jacob Jordaens often included a variety of animals, most likely drawn from life, including cows, horses, poultry, cats, dogs, and sheep.

The title is based on a popular proverb from the book Spiegel van den Ouden ende Nieuwen Tijdt, an Emblem book by Jacob Jordaens Cats published in 1632.

Jacob Jordaens' positioning of the eagle, the backwards, heroically nude bloodshot-eyed Prometheus as well as the depiction of the punishment and pain through spastic twisting and contorted movements, are common themes in Rubens' version.

Jacob Jordaens' Prometheus is a facial study, a prevalent subject found in the paintings of Jacob Jordaens and other artists of the period.

Jacob Jordaens found that he was particularly successful in the tapestry ventures.

Jacob Jordaens was especially motivated in this field and his perfected techniques and style earned him numerous commissions for series of tapestries.

Jacob Jordaens was seen as one of the leading tapestry designers of the era.

Jacob Jordaens began planning a tapestry by executing a preparatory drawing coloured with water-soluble pigments.

Jacob Jordaens' tapestries were made for the aristocracy who placed such high value on them they would carry them with them while they travelled or went on military campaigns as a symbol of their status.

Jacob Jordaens was very thrifty with his paper and often reused pieces of paper.

Jacob Jordaens often enlarged a drawing at once or later by transferring it to a larger sheet or adding strips of paper.

Jacob Jordaens was engaged in the print publishing business as an organiser and designer of prints.

About 34 prints made or designed by Jacob Jordaens are currently known.

The print was made after Jacob Jordaens' painting of the same name which is dated to about 1621 and is in the Goteborg Museum.

Jacob Jordaens designed a few of these prints at the request of the publisher Martinus van den Enden.

Some art historians have conjectured that seven etchings made after paintings by Jacob Jordaens had been etched by Jacob Jordaens himself as the early impressions of these prints only carry the inscription 'Iac.

Jacob Jordaens had a particularly close collaboration with the printmaker Marinus Robyn van der Goes who as a result created many prints after his works such as the Heracles and Cacus.

Jacob Jordaens regularly prepared the prints after his own designs by creating drawings on paper, which are referred to as 'modelletti'.