Jacob Jordaens, Self-Portrait with Parents, Brothers, and Sisters (c. 1615). Oil on canvas. The Hermitage, St. Petersburg, Russia

Jacob Jordaens (May 19, 1593 - October 18, 1678), was one of three Flemish painters, including Rubens and Van Dyck, to bring prestige to the Antwerp school of painting. He is unique, in regards to his contemporaries, in that he never traveled abroad to study painting and spent the great majority of his life in Antwerp. Also unique is his indifference to high culture.^[1] Along with paintings he is also regarded for his many cartoons in preparation for various tapestries.^[2] His body of work illustrates religious, mythological, and allegorical scenes. Visual quotations from Flemish traditions, such as animal and genre scenes, make an appearance in his work. Influence from artists such as Rubens, Veronese, and Caravaggio can also be seen. In all, Jordaens lived a unique life that is reflected in his art. Download high resolution version (570x732, 39 KB)Jacob Jordaens. ... Download high resolution version (570x732, 39 KB)Jacob Jordaens. ... is the 139th day of the year (140th in leap years) in the Gregorian calendar. ... Events May 18 - Playwright Thomas Kyds accusations of heresy lead to an arrest warrant for Christopher Marlowe. ... is the 291st day of the year (292nd in leap years) in the Gregorian calendar. ... Events August 10 - Treaty of Nijmegen ends the Dutch War. ... This article or section does not cite its references or sources. ... Rubens may be: Look up Rubenesqe in Wiktionary, the free dictionary. ... Self Portrait With a Sunflower Sir Anthony (Antoon) van Dyck (*March 22, 1599 - December 9, 1641) was a Flemish painter — mainly of portraits — who became the leading court painter in England. ...

Biography

Jacob Jordeans was born to Jacob Jordaens Sr., a wealthy linen merchant, and Barbara van Wolschaten on May 19, 1593. Born in the city of Antwerp he was the first of eleven children.^[3] Little is known about Jordaens' 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 the French language and in his knowledge of mythology. Jordaens also had a strong knowledge of the Bible which he displayed in his later works. This knowledge was no doubt strengthened by his later conversion from Catholocism to Protestantism.^[4] Like Rubens, he studied under Adam van Noort, his only teacher. During this time, Jordaens, lived in Van Noort's house in Everdijstraat and became very close to the rest of the family.^[5] After eight years of training with van Noort, Jordaens entered the Guild of St. Luke as a "waterscilder", or watercolor artist.^[6] This was a skill that would become extremely important to his design of tapestries as the cartoons were often executed in watercolor.^[7]. Examples of his watercolor works are no longer in existence. In the same year as his entry into the guild, 1616, he married his teacher's eldest daughter, Anna Catharina van Noort. 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. It was at this residence he stayed until his death.^[8] Settling down shortly after his training was completed prevented him from making the traditional Northern artist's journey to Italy to study classical and Renaissance art. Despite this shortcoming, Jordaens made many efforts to study prints or works of Italian masters available in the North. For example, Jordaens is known to have studied works by Titian, Veronese, Caravaggio, and Bassano. Later on in his career, Jordaens abandoned watercolor for the more conventional and profitable medium of oil painting. He also became a prolific tapestry artist.^[3] His commissions came mainly from wealthy local Flemish patrons and clergy. Jordaens painted Flemish life with honesty and authenticity, catching common people in the act of celebratory expressions of life.^[9] Peter Paul Rubens (June 28, 1577 – May 30, 1640) was a prolific seventeenth-century Flemish and European painter, and a proponent of an exuberant Baroque style that emphasized movement, color, and sensuality. ... Adam van Noort (1561–1641) was a successful Antwerp painter and draughtsman in the late sixteenth and seventeenth centuries. ... Jan Gossaert, , c. ... Year 1616 (MDCXVI) was a leap year starting on Friday (link will display the full calendar) of the Gregorian calendar (or a leap year starting on Monday of the 10-day slower Julian calendar). ... Tiziano Vecelli or Tiziano Vecellio (c. ... Veronese means either of the following things: the painter Paolo Veronese someone or something from Verona, Italy. ... For other uses, see Caravaggio (disambiguation). ... Bassano or Bassan (Hebrew: באסאנו ) is a Jewish surname derived probably from arabic-sephardi surname Ben Hassan. ...

Jacob Jordaens's The Return of the Holy Family from Egypt

Image File history File links Size of this preview: 467 × 599 pixelsFull resolution (528 × 677 pixels, file size: 29 KB, MIME type: image/jpeg) The two-dimensional work of art depicted in this image is in the public domain in the United States and in those countries with a copyright... Image File history File links Size of this preview: 467 × 599 pixelsFull resolution (528 × 677 pixels, file size: 29 KB, MIME type: image/jpeg) The two-dimensional work of art depicted in this image is in the public domain in the United States and in those countries with a copyright... The Flight into Egypt: Jesus, the Virgin Mary and St. ...

Influence of Rubens

Jacob Jordaens was greatly influenced by Peter Paul Rubens who occassionally employed him to reproduce small sketches in a larger format. After the death of Rubens, Jordaens advanced to the position of one of the most admired painters in Antwerp .^[10] Like Rubens, Jordaens relied on a warm palette, naturalism, mastery of chiaroscuro and energy of expression. Jordaens lacks a certain dignity of conception, sometimes inferior in his choice of forms, in the character of his heads, and in correctness of drawing. Often displaying less than good taste, his more humorous pieces have a sense of coarseness only atoned for by their animation. Of these last he seems in some cases to have painted several replicas.^[3] While Jordaens drew upon Rubens’ motifs throughout his career, his work is differentiated by a tendency to greater realism, a crowding of the surface of his compositions, and a preference for the burlesque, even within the context of religious and mythological subjects.^[11] It has been suggested that this article or section be merged with Tenebrism. ...

Subjects

In addition to being a well-known portrait painter, Jordaens also employed his pencil in biblical, mythological, and allegorical subjects and even etched a number of plates. Although primarily a history painter, he also painted illustrations of Flemish proverbs, such as the "Old Sing so the Young Twitter," and depictions of Flemish festivals, for example "The King Drinks."^[3] Several of his works hint at a passion for animal painting. It seems as if he often included a variety of animals, most likely drawn from life, including: cows, horses, poultry, cats, dogs, and sheep. His life drawings of both animals and people were used and referenced throughout his life. ^[12] After Rubens' death in 1640 Jordeans became Antwerp's new leading artist. ^[13] Only after achieving this status did Jordeans receive royal commissions, predominantly from the north. ^[3]

In 1635-40, when Rubens was ill from gout, Jordaens was commissioned to use Rubens' sketches, and work on the decorations for the triumphal entry of the Cardinal-Infante Ferdinand, the new Governor of the Spanish Netherlands, for his arrival in Antwerp in 1635. Although the works are lost, Jordaens was commissioned in 1639-40 by Charles I to finish decorating the Queen’s chambers at Greenwich, a commission which was originally given to Rubens, who was unable to execute due to his poor health.^[3]

Jordaens also played his part in a collaborative effort to decorate the Torre de la Paroda, done between 1636 and 1681^[14]. Two works in the series attributed to Jordaens are Appollo and Pan (1637), made after a sketch by Rubens, and Vertummus and Pomona (1638)^[15]. Further contributions debated include "Fall of the Titans", "Marriage of Peleus and Thitis", and "Cadmus Sawing the Dragons Teeth"(Vieghe, 262). In 1661, he was asked to paint three, fairly large lunettes for the newly constructed Amsterdam Town Hall.^[3]

Religion

The Protestant religion was forbidden in Antwerp, which at the time was still Spanish-occupied territory. Towards the end of his lifetime Jordaens converted to Protestantism, but continued to accept commissions to decorate Catholic churches.^[3] A monument was erected in Putte in 1877, dedicated to and containing the tombstones of Jordaens and two of his pupils, van Pape and Stalbemt. It stands on the location of the little Protestant church and cemetery, both of which were demolished years earlier. <reference?> Jordaens died of the mysterious Antwerp disease ('zweetziekte' or 'polderkoorts' in Dutch) in October of 1678, which, on the same day, also killed his unmarried daughter Elizabeth, who had 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 been put to rest earlier.^{[citation needed]} One year after his death, Jacob Jordaens' son donated "twenty-five flemish pounds to the Camer van den Huysarmen in Antwerp."^[3] Also included in this donation was The Washing and Anointing of the Body of Christ which was given to an orphanage of girls. Apparently this was all done in following correspondence with a will that Jacob Jordaens left behind. Unfortunately, this document has yet to be found.^[3]

At the end of Jordeans career between 1652-78 his creative and artistic ability had deteriorated. He moved from vibrant colors to a gray-blue palette, accented at times with a dull brown, and applied paint so thinly that the canvas could be seen. However, there were few exceptions to this (such as the aforementioned religious paintings he produced after he had converted to Protestantism), most notable being the History of the Psyche that he did for his own house.^[3]

Works

The Adoration of the Shepherds

The Adoration of the Shepherds (1616) depicts the Virgin Mary preparing to suckle the Christ Child while He is adored by Flemish-looking shepherds. The scene is limited to five figures who, with the exception of Christ, are shown in half length emphasizing the intimacy of the scene.

Prior to 1616, Jordaens had been interested in the bright, clear palette of Mannerism. However, in this image, he is experimenting with using light, rather than color, as the primary means to mold figures in space. This is evidence of his interest in Caravaggio. The principle light source in The Adoration of the Shepherds is the candle held by St. Joseph. This also reflects influence of Adam Elsheimer, who is known for placing a light source in the center of his compositions.^[3] In Parmigianinos Madonna with the Long Neck (1534-40), Mannerism makes itself known by elongated proportions, affected poses, and unclear perspective. ... For other uses, see Caravaggio (disambiguation). ... Adam Elsheimer (b. ...

Perhaps another influence of Caravaggio may be cited in Jordaens use of realism. "The Virgin and Child are rendered in rustic simplicity, and are not even slightly idealized."^[3] Jordaens painted at least six other renditions of the Adoration of the Shepherds. He usually grouped these half-length figures closely together and cropped the scene so that the viewer focused their attention solely on the figures. This compositional approach sought to intensify the narrative and accentuate the characters' expression.

The Satyr and the Peasant

"The Satyr and the Peasant"

This particular scene, of which Jordaens painted many versions, illustrates a moralizing fable from Aesops' book of "Fables," which was developed in the 6th Century BCE in Ancient Greece. The story begins with a man and a satyr. One cold day, as they talked, the man put his fingers to his mouth and blew on them. When the satyr asked the reason for this, he told him that he did it to warm his hands. Later on that day when they sat down to eat, the man raised his dish of hot food towards his mouth and blew on it. When the satyr again inquired the reason, he said that he did it to cool the food, which was too hot. The satyr then informs the man, “I can no longer consider you as a friend, a fellow who with the same breath blows hot and cold.”^[16] The moral of this story is the duality of human nature, or “untrustworthy.” Image File history File links Size of this preview: 657 × 599 pixelsFull resolution (2024 × 1846 pixels, file size: 345 KB, MIME type: image/jpeg) File historyClick on a date/time to view the file as it appeared at that time. ... Image File history File links Size of this preview: 657 × 599 pixelsFull resolution (2024 × 1846 pixels, file size: 345 KB, MIME type: image/jpeg) File historyClick on a date/time to view the file as it appeared at that time. ...

The particular moment which Jordaens depicts in his painting is when the satyr declares that he cannot trust the man who blows both hot and cold. The satyr raises his hand and begins to stand up and leave the man’s home. The man eats his porridge while the satyr rises abruptly addressing him.^[17] Jordaens’ chooses to place the scene inside a farmhouse, complete with a bull, dog, cat, and rooster integrated around the furniture and figures. All different age groups are represented around the table; a young boy stands behind the man’s chair, an old woman holds a young child, while a youthful woman peers over the Satyr's shoulder.

Characteristic of Jordaens’ artistic style all the figures are pushed forward toward the front of the composition, crowded together in this small space. Also Jordaens uses tenebrism and chiascuro to create dramatic lighting, which illuminates certain figures in the scene, such as the baby in the old woman’s lap. Jordaens creates a sense of naturalism with the dirty feet of the seated peasant displayed in the foreground of this large painting. Jordaens created two versions of this subject around 1620-21.^[18]

Jacob Jordaens. Self-Portrait with Wife and Daughter Elizabeth. 1621-22.

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Self-portrait with Wife and Daughter Elizabeth

Here we see Jordaens with his wife Catherine van Noort and his edlest child Elizabeth. The painting has been dated around 1621-22 because Elizabeth appears to be about 4 years old and she was born in 1617.^[19] Everyone in the painting is looking out at the viewer as if to invite them in to join the group. Jardin d'amour was an ancient tradition that Jordaens has represented in his family portrait. We see that he has also thrown a fair amount of symbolizim into the painting to help give it meaning. "The intertwined vines behind the couple symbolize the inseparability of husband and wife."^[20] Elizabeth is holding fruit in her hand which is symbolic of love and the flowers she has in her basket reflect innocense and purity."^[21] In the upper left there is a perched parrot which depicts marital fidelity. Another animal located in the lower right is a dog represnting faithfullness and trust."^[22]

St. Peter finding the tribute money

This painting represents the story from Matthew 17: 24-27, in which Jesus tells Peter to catch a fish and inside he will find the money to pay tribute in Capernaum. The composition is crowded, with the center of action happening inside the boat. Peter and the other apostles are seen at the right side of the painting, peering down as Peter draws a fish from the water. The viewer hardly interacts with these figures, but instead connects with the figures looking out of the painting: the woman with her child and the man using an oar to launch the boat. The figures are consumed each in their own task, whether that be finding the fish, working to heave to and sail the boat, or sit as passengers awaiting the destination. The variety of human expression stems from Jordaens' studies of heads, many of which are recognizable from his other works. This was painted circa 1623 for an unknown patron. ^[23]

The Martyrdom of St. Apollonia

The church of St. Augustine, located in Antwerp, had three altars. Each altar held one large painting by either Rubens, van Dyck, or Jordaens. All three paintings were created in 1628.^[24] Rubens' "Madonna and Child Adored by Saints" hung over the high or main altar in the center. The altar on the left contained van Dyck's "St. Augustine in Ecstasy", and finally Jordaens' "The Martyrdom of St. Apollonia" hung over the altar located to the right.^[24] Jordaens' rendition of the martyrdom of St. Apollonia, who jumped into a fire rather than denounce her faith in the 3rd century, is crowded and dramatic. Rubens, van Dyck and Jordaens were Antwerp's greatest Baroque painters and the only time that these three painters collaborated simultaneously was during the commission of the church of St. Augustine. Together they tied the themes of each painting to one another.^[24] Rubens' piece was of the Virgin surrounded by saints, van Dyck and Jordaens each painted saints which frame the Virgin. The saintly images invited the viewer to become closer to heaven and God through either martyrdom or monasticism.^[24]

Jacob Jordaens. The Infant Jupiter Fed by the Goat Amalthea. 1630-35.

Image File history File links Download high resolution version (2536x1903, 364 KB) Description: Title: de: Jugend des Zeus (Die Ziege Amalthea ernährt Zeus) Technique: de: Öl auf Leinwand Dimensions: de: 150 × 203 cm Country of origin: de: Niederlande (Flandern) Current location (city): de: Paris Current location (gallery): de: Mus... Image File history File links Download high resolution version (2536x1903, 364 KB) Description: Title: de: Jugend des Zeus (Die Ziege Amalthea ernährt Zeus) Technique: de: Öl auf Leinwand Dimensions: de: 150 × 203 cm Country of origin: de: Niederlande (Flandern) Current location (city): de: Paris Current location (gallery): de: Mus...

The Infant Jupiter Fed by the Goat Amalthea

At the foot of a gentle slope, The Infant Jupiter Fed by the Goat Amalthea (1630-35) is set in a landscape. The focus of the compostion is on the nymph Andrastea, whose pale nakedness is contrasted by the darker hues of the other figures. She sits on ground with her legs folded partly underneath her and a cloth draped around her hips. She has one hand on the back of the goat Amalethea and the other pulls on the goat's udder, squirting milk into a dish. The infant Jupiter sits behind her, holding an empty bottle and crying for food. In attempt to distract Jupiter, a satyr pulls a branch. An engraving afte the canvas by Schelte a Bolswert clarifys the moral significance of the subject: according to the Latin inscription on the print, the goat's milk Jupiter was fed as a child was repsonsible for the god's notorious infidelity.^[25]

Jacob Jordaens. The King Drinks. c.1640.

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The King Drinks

Jordaens painted several versions of this subject, including one c. 1640 work in the Royal Museum of Art, Brussels. On January 6, Epiphany is celebrated in Flanders. It is a celebration of food, wine and merriment that is shared with family. One person gets to be king for the evening, which as Jordaens thoughtfully depicts as the eldest person in the room. The rest of his subjects are assigned by him.^[26] Jordaens also made another version of the painting as there are many paintings on this particular topic. In one version over 17 people are shown in the painting and they are all tightly packed together. In the other version they are closer to the picure plain and more spaced. The painting shows that emotions are running high with peoples extremely boistureous expressions.^[26] There seems to be a brawl that is about to errupt and the expression of the man that is puking seems all too pitiful. Jordaens uses this painting to express his distaste for drunkenness with the motto enscribed at the top that translates "Nothing seems more like a madman than a drunkard."^[27]

As the Old Sang, So the Young Pipe

As the Old Sang, So the young Pipe

As the Old Sang, So the Young Pipe c.1638-40 is considered a companion to The King Drinks (Louvre, Paris). Both paintings are of a moralizing nature, have near identical measurements, and related styles.^[28] As the Old Sang, So the Young Pipe shows three generations of wealthy Antwerp burghers sitting around a table making music. Being a popular theme among Jordaens and his clients, several versions of this painting were created. In the version shown Jordaens' father-in-law Adam van Noort is depicted as the old man. However, always represented are elderly and middle-aged figures singing and creating music, as children pipe along.^[28] The title was taken after a proverb from the book "Spiegel van den Ouden ende Nieuwen Tijdt," a collection of emblems published by Jacob Cats in 1632. Cats, a Calvinist, translated the proverb into a moralizing message; parents must be mindful of their actions and words, because children will copy their elders.^[28] In the paintings, Jordaens conveys this moralizing message as well as the idea that younger generations succeed their elders. The owl, considered the bird of the night, perched on the older woman’s wicker chair, serves as a ‘’memento mori’’, a reminder of mortality. ^[28] Image File history File links Size of this preview: 800 × 577 pixelsFull resolution (1576 × 1136 pixels, file size: 170 KB, MIME type: image/jpeg) File historyClick on a date/time to view the file as it appeared at that time. ... Image File history File links Size of this preview: 800 × 577 pixelsFull resolution (1576 × 1136 pixels, file size: 170 KB, MIME type: image/jpeg) File historyClick on a date/time to view the file as it appeared at that time. ...

Jacob Jordaens, Prometheus (1640). Cologne.

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Prometheus

The painting "Prometheus" (1640) by Jacob Jordaens is a depiction of the mythological tale of the titan Prometheus who had his liver pecked out by an eagle each day only to regenerate and begin the cycle anew the next day.^[29] Prometheus was punished for his audacity by Zeus for having given fire to man, not just in its physical form but also in the fire of reason, which can be related to mans creativity in arts and sciences.^[30] Jordaens's depiction is very much likened to Rubens Prometheus. Jordaens's eagle postitioning, backwards heroically nude bloodshot eyed Prometheus, and the use of punishment and pain of man with spastic twisting and contorted movements are common themes in Rubens' version.^[31] The difference lies in the depiction of Mercury, which can be argued represents a note of optimism of being saved as in other versions of the mythology, Mercury helps obtain Prometheus's release.^[32] The depiction of the sacks of bones(used in another part of the mythology to deceive Zeus)and a clay statue (that represents his creation of man) are also not part of Rubens painting.^[33]

The Story of Cupid and Psyche

Sometime during the years 1639-40, Jacob Jordaens received the commission to create a series of works for Charles I of England through Balthazar Gerbier, the King’s agent in Brussels, and Cesare Alessandro Scaglia, a diplomat residing in Antwerp. The project entailed twenty-two paintings illustrating The Story of Cupid and Psyche (1640-41).^[34] While the works were to be displayed in the Queen’s House at Greenwich upon completion, the patron and final location were unknown to the artist.^[35] As Jordaens submits his initial design to his intermediaries between himself and the English court, Gerbier continually attempts to convince the King that Rubens would be much more suited to a project requiring such substantial amounts of foreshortening.^[36] His efforts are in vain, however, as Rubens dies on May 30, 1640. With Rubens’s death, Jordaens bore sole responsibility for the entire commission.^[37]. Efforts to continue with the project continued slowly, and a year later, in May 1641, all plans for The Story of Cupid and Psyche series were disrupted, with the death of diplomat Scaglia. The project never fulfilled, only eight completed paintings made their way to the English Court, and a resulting dispute with Scaglia’s heirs over payment for seven of these works continued into the next generation.^[38]

The Holy Family with Various Persons and Animals in a Boat

The style of Jacob Jordaens' mid-century painting can be clearly seen in "The Holy Family with Various Persons and Animals in a Boat" (1652). Nearing the age of sixty, Jordaens' paintings became more the work of his assistants following the direction of Jordaens, and the production of his work began to decline. He included great numbers of figures in his works, which became a heavy task for a 60-year-old. The palette used is monotonous, with variety from greyish-blue to brown. At times taking away from the rest of the painting and composition, the gestures of the figures are often self-contained while the bodies themselves are angular in form.^[39]

Tapestry Designs

Jacob Jordaens. Kitchen Scene, preparatory study for the tapestry “Interior of a Kitchen”

Jacob Jordaens' most significant body of work were the numerous designs he did for tapestries. As the most lucrative of the arts, tapestries were considered precious throughout the Renaissance and Baroque periods. These large wall hangings began to appear on the walls of wealthy European nobility in the fourteenth century. ^[40] Patrons employed the likes of Jacob Jordaens, Peter Paul Rubens and Pietro Cortona to be portrayed in a manner that would identify themselves with famous historical or mythological figures as a form self promotion. ^[41] Jordaens found that he was particularly successful in the tapestry ventures. He was especially motivated in this field and his perfected techniques and style earned him numerous commissions for series of tapestries. He was seen as one of the leading tapestry designers of the era.^[42] Image File history File links Size of this preview: 800 × 581 pixelsFull resolution (2024 × 1470 pixels, file size: 429 KB, MIME type: image/jpeg) File historyClick on a date/time to view the file as it appeared at that time. ... Image File history File links Size of this preview: 800 × 581 pixelsFull resolution (2024 × 1470 pixels, file size: 429 KB, MIME type: image/jpeg) File historyClick on a date/time to view the file as it appeared at that time. ...

Jordaens’ process of tapestry creation included a preliminary drawing or sketch of the design. The design then is transferred to larger, more detailed modelli usually oil paintings for the full-scale cartoons, which the weavers work from in creating tapestry. Jordaen's began planning a tapestry by executing a preparatory drawing colored with water soluble pigments. Although Jordaens did some sketches in oil, most were executed on paper or, later in his career, directly on canvas. ^[43] Jordaens’s tapestries were made for the aristocracy who placed such high value on them they would carry them with them while they traveled or went on military campaigns as a symbol of their status. ^[44] Jordaens’ scope of artistic representation was diverse, ranging from mythology, country life, to the history of Charlemagne. ^[45] It has been noted that Jordaens’ tapestry design incorporated densely organized crowds of figures, packed into a flat two-dimensional picture plane emphasizing surface patterns which resulted in a “woven picture”.^[46]

The drawing done for the tapestry Interior of a Kitchen is an example of a part of the process used by Jacob Jordaens. He has used brown ink and applied color over black chalk on paper to layout the still life on a table and how the figures were to be arranged. The final tapestry underwent changes, but the initial design which borrowed elements of still life paintings by the seventeenth century Antwerp artist Frans Snyders, was fairly closely adhered to.^[47]

Drawings

Maintaining trends in Flemish painting, Jordaens was a proponent of extending Rubens' and Van Dycks' "painterly" style of art to his exceptionally prolific body of preparatory drawings. Today, approximately 450 drawings are attributed to Jordaens, however, there is continuing scholarly debate in terms of accurate attribution of Flemish drawings to Jordaens or Rubens, due to their similar ouevre. Jordaens and his contemporaries were proponents of the Flemish trend towards making, expanding, and modifying preparatory drafts for larger paintings or to add to their visual vocabulary the classical artistic ideals. As a painter-draftsman, Jordaens often employed gouache and washes to his preparatory drawings, and was known to be extremely economical in his use of paper, as he never hesitated to add strips, cut away unwanted sections, or paste over existing work in order to achieve his desired effect. ^[3]

References

• This article incorporates text from the Encyclopædia Britannica Eleventh Edition, a publication now in the public domain.

Encyclopædia Britannica, the eleventh edition The Encyclopædia Britannica Eleventh Edition (1910–1911) is perhaps the most famous edition of the Encyclopædia Britannica. ... The public domain comprises the body of all creative works and other knowledge&#8212;writing, artwork, music, science, inventions, and others&#8212;in which no person or organization has any proprietary interest. ...

Bibliography

• An elaborate work on this painter, "Jordaens' leven en werken" ("Jordaens' Life and Work") by Max Rooses, was published in 1906.
• d'Hulst, R.A: ”Jordaens, Jacob” The Oxford Companion to Western Art. Ed. Hugh Brigstocke. Oxford University Press, 2001. Gove Art Online. Oxford University Press, 2005. [20 Oct 2007]. http://www.groveart.com
• d'Hulst, Roger Adolf, Nora de Poorter, and M. Vandenven. 'Jacob Jordaens, 1593-1678 Antwerp, Koninklijk Museum Voor Schone Kunsten, 27 March-27 June 1993 : Catalogue. Gemeentekrediet, 1993.
• Nelson, Kristi. Jacob Jordaens Design for Tapestry. Brepols, 1998.
• Aesop, "The Man and the Satyr" <http://www.fordham.edu/Halsall/ancient/aesop-fables.html>

Max Rooses Max Rooses (Antwerp, 10 February 1839-15 July 1914) was a Belgian writer, literature critic, and curator of the Plantin-Moretus Museum at Antwerp. ... 1906 (MCMVI) was a common year starting on Monday (see link for calendar). ...

See also

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Jakob Jordaens

• List of Belgian painters