Founded in 1810, the Koninklijk Museum voor Schone Kunsten van Antwerpen contains a collection featuring painting, sculpture and drawing from 1400-2000. Highlights include works by: Jan van Eyck, Jean Fouquet, Roger van der Weyden, Frans Floris de Vriendt, Quinten Metsijs, Joachim Patinir, Marten de Vos, Jan Brueghel, Van Dyck, Frans Hals, Jacob Jordaens, Theodoor Rombouts, Rubens, James Ensor, Henry van de Velde, Pierre Alechinsky, Jacob Smits, Gustave Van de Woestijne and Rik Wouters. For more information, please see: .
Among the most fundamental contributions is a rediscovery of the artist’s preferred first name. While nearly all later writings on the artist have used Jacob, documents published in the catalogue show that Jordaens signed his letters Jacques. Names in early modernity were far more fluid than they are today. Instances abound of artists modifying their given names to adapt to local languages as they traveled or worked abroad. Rubens, for example, was known variously as Pieter Pauwel, Pietro Paulo, and Peter Paul. Names were also transformed to fashion various identities based on ascribed connotations of certain languages. To take the case of Rubens again, the artist often used Pietro as his first name when he returned to Antwerp after living in Italy for eight years to establish or remind others of his travels as well as his aspirations to rival the great artists Michelangelo, Titian, and others. For Jordaens, the discovery of his use of Jacques reveals much, as the curators explore in their introduction. They suggest that later scholars cast Jordaens as Jacob to evoke Flemish cultural pride and frame him as a painter of the common people. Alternatively, reclaiming Jacques, with its associations with French intellectualism (even perhaps in the seventeenth century), begins the process of understanding Jordaens’s artistic and cultural sophistication, including his knowledge of and interest in Greco-Roman antiquity.
Essays on jacob jordaens Research paper Academic Writing Ser
A publication planned for the end of 2009 is going to present current research activities on Jacob Jordaens including all aspects of his oeuvre, the artist´s part in the social history of his times, aesthetics, art theory, the art market of the Early Modern Era et al.
In these two paintings by Jacob Jordaens, The Miracle of the Fishes and The Judgment of Paris, there are many similar and contrasting ideas. From a first glance they are quite different; The judgment of Paris is centered on the three Goddesses and their surrounding aura that is the bright center of the painting while The Miracle of the Fishes seems to have a rather dark and almost gloomy center. However, upon a second examination or a more thorough look one begins to notice an abundance of...Last year the Royal Museums of Fine Arts of Belgium and the Museumlandschaft Hessen Kassel co-organized the provocative exhibition and published the accompanying catalogue under review here. Jacob Jordaens (1593–1678) has long been relegated to a distant third position in the pantheon of seventeenth-century Flemish painters, behind Peter Paul Rubens and Anthony van Dyck. Nonetheless, Jordaens outlived both Rubens and Van Dyck by twenty-five years and, as a result, became perhaps the leading Flemish painter for a quarter of a century. Despite achieving considerable fame in his lifetime, Jordaens has remained a bit of a shadow figure in histories of Northern European art. does much to shed new light on the artist and his work.This exhibition comprised a stunning selection from the Flemish art collection of the State Hermitage Museum in St. Petersburg. With 75 paintings and about 20 drawings, this definitive survey included numerous masterpieces by the three giants of the Antwerp School – Peter Paul Rubens, Anthony van Dyck, and Jacob Jordaens – accompanied by the work of well-known contemporaries.The exhibition also examined Rubens's influence and followers in detail, devoting particular attention to the elegant and refined portraits of his greatest pupil, Anthony van Dyck (1599–1641). The third great Master of the Flemish school, Jacob Jordaens (1593–1678), did not study with Rubens but was influenced by him. His impressive paintings invite viewers to share in his exuberant Flemishjoie de vivre. Even his history paintings have a Flemish feel.