See also:

• JACOB
• JACOB, JOHN (1812-1858)

JACOB See also:

• JACOB JORDAENS (1593-1678)

JORDAENS (1593-1678)  , Flemish painter, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born and died at See also:

• ANTWERP
• ANTWERP (Fr. Anvers)

Antwerp . He studied, like See also:

• RUBENS, PETER PAUL (1577-164o)

Rubens, under See also:

• ADAM
• ADAM (or ADAN) DE LE HALE (died c. 1288)
• ADAM, ALEXANDER (1741–1809)
• ADAM, JULIETTE (1836– )
• ADAM, LAMBERT SIGISBERT (1700-1759)
• ADAM, MELCHIOR (d. 1622)
• ADAM, PAUL (1862– )
• ADAM, ROBERT (1728—1792)
• ADAM, SIR FREDERICK (1781-1853)
• ADAM, WILLIAM (1751-1839)

Adam See also:

• VAN

van Noort, and his See also:

• MARRIAGE

marriage with his See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master's daughter in 1616, the See also:

• YEAR

year after his See also:

• ADMISSION

admission to the gild of painters, prevented him from visiting See also:

• ROME
• ROME (Roma)

Rome . He was forced to content himself with studying such examples of the See also:

• ITALIAN

Italian masters as he found at See also:

• HOME
• HOME, DANIEL DUNGLAS (1833-1886)
• HOME, EARLS OF

home; but a far more potent See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence was exerted upon his See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style by Rubens, who employed him sometimes to reproduce small sketches in large . See also:

• JORDAENS, JACOB (1593-1678)

Jordaens is second to Rubens alone in their See also:

• SPECIAL

special See also:

• DEPARTMENT (Fr. departement, from departir, to separate into parts)

department of the Flemish school . In both there is the same warmth of See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour, truth to nature, mastery of See also:

• CHIAROSCURO (from the Ital. chiaro, Iight or brightness, and oscuro, darkness or shade)

chiaroscuro and See also:

• ENERGY (from the Gr. ivipyela; iv, in, ipyov, work)

energy of expression; but Jordaens is wanting in dignity of conception, and is inferior in choice of forms, in the See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character of his heads, and in correctness of See also:

• DRAWING

drawing . Not seldom he sins against See also:

• GOOD, JOHN MASON (1764-1827)

good See also:

• TASTE (from Lat. taxare, to touch sharply; tangere, to touch)

taste, and in some of his humorous pieces the coarseness is only atoned for by the animation . Of these last he seems in some cases to have painted several replicas . He employed his See also:

• PENCIL (Lat. penicillus, brush, literally little tail)

pencil also in biblical, mythological, See also:

• HISTORICAL

historical and allegorical subjects, and is well-known as a portrait painter . He also etched some plates . See the elaborate See also:

• WORK

work on the painter, by Max Rooses (1908) .