From 06.10 to 30.11 - Remise de 25\% - "Family Concert" - Jacob Jordaens (after) - XIXème

From 06.10 to 30.11 - 25% discount - New price: 2212 €.

"The Family Concert" - Jacob Jordaens (after) - XIXth Century
After Jacob JORDAENS (1593-1678 ) - The Family Concert
As on this painter's previous painting, "Ainsi chantent les Vieux; ainsi piaillent les Jeunes ..." presented and sold by our gallery Une Autre Epoque, this canvas presents a family reunion scene, with its colorful characters.
Oil on canvas
55 x 77 cm
Unlike the aforementioned painting, which was by Jordaens himself and came from a prestigious collection, this one is a 19th-century reworking of a work by the artist painted in 1638 and now in the Museum voor Schone Kunsten in Antwerp.

Jacob Jordaens (1593 - 1678) was a Flemish painter whose entire career was spent in Antwerp. Highly regarded, he received commissions from all over Europe. After the deaths of Rubens (1640) and Van Dyck (1641), Jordaens was considered his hometown's foremost painter.
A pupil of Adam Van Noort, in 1615 he became a freemason of the Antwerp guild as a tempera painter. He quickly acquired a personal style, but constantly returned to some of the models of his elders, especially Rubens and Caravaggio. Although he never traveled to Italy, he found in Caravaggio's work a close affinity with his own sensibility: a harsh, vigorous realism, ample, rounded forms and lighting that exalts vivid colors. He was also influenced by Rubens, whose themes and compositions long inspired him. His work always oscillated between these two tendencies. In Rubens' studio (1620 - 1640), Jordaens was more a collaborator than a pupil of the master, working alongside him for twenty years.
Together with Van Dyck, he took part in the great compositions Rubens was painting at the time. In 1622, after Van Dyck's departure for Italy, he became Rubens' first assistant and probably took part in the preparation of the twenty-one paintings commissioned for the Galerie Médicis in Paris.
A Rubens collaborator, he nonetheless pursued his own career. He gradually reached maturity, and his style found its happiest expression during the 1630's. He succeeded in presenting each subject with great realism, in group portraits (particularly family portraits) as well as in religious scenes. He moved from one genre to another in compositions that were often dense, sensual and full of color. Until the end of his career, he drew on the subjects that had ensured his success, proposing variations that gradually lost their power.
Seventeenth-century painting bears witness, almost continuously, to a dynamic tension between the quest for ideal beauty and a fascinated, immediate apprehension of the world's abundant spectacle, summarized under the unsatisfactory term of realism. The artists of the southern Netherlands, known as "Spanish", strove to achieve this ideal beauty, for which imitation of the antique was supposed to offer the surest and best-marked path.
Nonetheless, most of them did not abandon the idea of nourishing their art through contact with the real, the incarnate, the carnal, particularly under the Caravaggesque influence that swept through the Netherlands, becoming prevalent in the paintings of Jordaens in the late 1610s. The influence of Caravaggio's use of deliberately rustic, plebeian typologies to embody history played a decisive role in Jordaens' choice of physiognomies that were sometimes violently "anticlassical", but nevertheless imbued with a singular nobility and authenticity (like the model Abraham Grapheus) when embodying characters from mythology or sacred history.

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