Jacob Jordaens

Flemish, 1593 - 1678

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Flemish painter, draftsman and designer of prints and tapestries (1593-1678)

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Jacob Jordaens, Design for a Wall Decoration [recto], 1640/1645, brush with brown and black ink and color washes, heightened with white, over black chalk on laid paper, Ailsa Mellon Bruce Fund, 1975.13.1.a

Design for a Wall Decoration [recto]

Jacob Jordaens · 1640/1645 · brush with brown and black ink and color washes, heightened with white, over black chalk on laid paper ·  Accession ID  1975.13.1.a

Jacob Jordaens, Susannah Crouching, c. 1640/1645, black and red chalk with watercolor, heightened with white, Rosenwald Collection, 1943.3.5147

Susannah Crouching

Jacob Jordaens · c. 1640/1645 · black and red chalk with watercolor, heightened with white ·  Accession ID  1943.3.5147

Jacob Jordaens, "It is good candles which light the way", 1640s, pen and ink with brown wash and white heightening over black and red chalk on laid paper, Julius S. Held Collection, Ailsa Mellon Bruce Fund, 1984.3.13

"It is good candles which light the way"

Jacob Jordaens · 1640s · pen and ink with brown wash and white heightening over black and red chalk on laid paper ·  Accession ID  1984.3.13

Jacob Jordaens, Saint Martin of Tours Healing the Servant of Tetrodius, c. 1630, watercolor and gouache over black chalk on four joined sheets of laid paper, Ailsa Mellon Bruce Fund and Pepita Milmore Memorial Fund, 1993.9.1

Saint Martin of Tours Healing the Servant of Tetrodius

Jacob Jordaens · c. 1630 · watercolor and gouache over black chalk on four joined sheets of laid paper ·  Accession ID  1993.9.1

A seated woman with an infant on her lap and three children are clustered on a terrace overlooking green hills and a body of water in this square painting. They all have pale skin with flushed cheeks. The group is centered in the composition, and the woman sits to our left, facing our right, almost in profile. The wooden chair is upholstered in scarlet-red fabric and a large slate-blue bird perches on the backrest. Gold-edged, red drapery hangs behind the woman, suspended from stone columns on either side of her. The woman’s brown hair is covered by a frilly, silvery-gray cap with a matching shawl layered over a short, three-quarter sleeve jacket. Her fern-green skirt, covered with a pattern of coral-red flowers and gold vines, gleams in the soft light coming from behind us. A thin black band encircles her neck, and a round, black earring dangles from the ear we can see. She bows her head slightly and gazes down at the children. The infant lies across her lap with its head coming toward us, its chubby arms reaching up to the woman while turning to look at the three standing children. They appear to be a young boy and two girls, and they all have blond hair, large brown eyes, and delicate rose-red mouths. They crowd together at the woman’s knees. The boy is taller than the girls and stands behind them, visible from the shoulders up. He is dressed in red garments and stands almost in profile to gaze up at the woman. The girls turn their heads to look directly at us. At the center of the trio, the taller girl wears a long, voluminous brown gown. Her hair is pulled back and long ringlets frame her face. She also wears round black earrings and two delicate black cords around her neck, one of which holds a gold ring. At the front, the shortest girl wears a black and white gown with a sheer neckerchief along neckline, and she rests one arm across the woman’s lap. The girl’s long, puffy, black sleeves are slashed to create openings for white fabric to show through. Her hair is also upswept with ringlets framing her face. To the right of the group is a column made of two creatures with pink female heads, faces, and nude torsos with scaly, olive-green, twisting, snake-like legs. One creature faces us and the other faces our right. The sky beyond the terrace is filled with clouds that transition from slate gray at the top to tan and rust orange where it meets the distant hills.
Sir Peter Paul Rubens, Jacob Jordaens, Deborah Kip, Wife of Sir Balthasar Gerbier, and Her Children, 1629/1630, reworked probably mid 1640s, oil on canvas, Andrew W. Mellon Fund, 1971.18.1

Deborah Kip, Wife of Sir Balthasar Gerbier, and Her Children

Sir Peter Paul Rubens, Jacob Jordaens · 1629/1630, reworked probably mid 1640s · oil on canvas ·  Accession ID  1971.18.1

Jacob Jordaens, The Martyrdom of Saint Sebastian, c. 1620/1621, pen and brown ink with brown wash on laid paper, Andrew W. Mellon Fund, 1975.107.1

The Martyrdom of Saint Sebastian

Jacob Jordaens · c. 1620/1621 · pen and brown ink with brown wash on laid paper ·  Accession ID  1975.107.1

Jacob Jordaens, Sheet of Studies with the Drunken Pan and Nymphs [verso], black and red chalk on laid paper, Ailsa Mellon Bruce Fund, 1975.13.1.b

Sheet of Studies with the Drunken Pan and Nymphs [verso]

Jacob Jordaens · · black and red chalk on laid paper ·  Accession ID  1975.13.1.b

Remoldus Eynhoudts, Thus the Master Pulls the Cow out of the Well by its Tail, 1652, etching with engraving on laid paper, Ailsa Mellon Bruce Fund, 1971.36.10

Thus the Master Pulls the Cow out of the Well by its Tail

Remoldus Eynhoudts · 1652 · etching with engraving on laid paper ·  Accession ID  1971.36.10

Remoldus Eynhoudts, Juno Surprising Jupiter and Io, 1652, etching with engraving on laid paper, Ruth and Jacob Kainen Memorial Acquisition Fund, 2022.175.1

Juno Surprising Jupiter and Io

Remoldus Eynhoudts · 1652 · etching with engraving on laid paper ·  Accession ID  2022.175.1

Remoldus Eynhoudts, Jupiter Nourished by the Goat Amalthea, 1652, etching on laid paper, Ailsa Mellon Bruce Fund, 1975.21.2

Jupiter Nourished by the Goat Amalthea

Remoldus Eynhoudts · 1652 · etching on laid paper ·  Accession ID  1975.21.2

Bibliography

2005

  • Wheelock, Arthur K., Jr. Flemish Paintings of the Seventeenth Century. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 2005: 205 n. 47.