JORDAENS, JAcon, a celebrated Dutch painter of his torical and ailegenical subjects, and bacchanallans, was born at Antwerp in the year 1594: Nothing remarkable concerning his parentage has been prase' Ted ; but at an early age he became a pupil ol Adam Van Ourt, a native of the same city, who died in 1641. Van Oart was a man of irritable temper, and coarse and forbidding manners, whereby he not only lost the regard of his pupils, among whom was the famous Roberts, but forfeited the esteem of his friends. Jordaens, however, from his own mild and pacific. disposition, could accommodate himself to the ca price of Ins master, to which also an attachment to his daughter is supposed to have contributed. He married her soon after, and hence forward began to apply with all possible assiduity to his profession. Sandsrari, indeed, in hi ?rademia ?irtis Pictorix, seems to infer, that it was perhaps to that sedulous attention which always distinguished hint, that he obtained so much of Van Ouit's favour.
Jordaens speedily employed his pencil on subjects both sacred and profane, as well as those of his own composi tion. Among the earlicqt specimens of his art was a paint ing ol the Satyr ft om yEsop's Fables, who, having entered a peasant's cottage, retreated in disgust on seeing him blow hot and cold with the same breath; and this work gained him such celebrity, that it was engraved by Luca Vasterman. Next he painted Christ on the M.Amt of Olives, betrayed by Judas, and bound by the Jews, while P ict woh his sword sti uck off the ear of Malchus. the high pliest's servant : a night scene, admirably executed. A p ,railel now began to be drawn between Jordaens and Ru bens ; and the most skilful, who were inclined to bestow the palm of invention on the latter, ascribed the stricter re presentation of truth, and more forcible expression, to the former. Perhaps Jordaens had not equal opportunities of s tidying the most celebrated works ; for although he al ways entertained a strong desire to visit Rome, the circum sn.nces attending on his marriage prevented him.
Rubens was accustomed to employ many other artists in assisting him to complete his works, as they gained access to him, for the purpose of receiving instruction. Jordaens appears to have been of this number. It is said, that Ru bens occupied him for a considerable time in painting de signs for tapestries in distemper after his own sketches ; xr1 r and Sandsrart affirms, that he was engaged by the King of Spain to execute some tapestries for the royal palace at Madrid, a work which he finished with wonderful elegance; but that, by addicting himself to this style, he weakened his own knowledge of the principles of colouring, and en feebled the tints whereby he so accurately represented na ture. Rubel s being then the most flourishing painter of
the age, is accused of entertaining great jealousy of his ta lents, and of having taken that method to depreciate them; but, independent of this being inconsistent with the general character of that eminent artist, the works of Jordaens, ex ecuted at an advanced age, are considered to be not infe rior to those of Ruhens himself, in the very points where in his master is supposed to have wished his deficiencies to be most piominenl.
Jordaens worked with so much ease and expedition, that all Belgium began to he full of his paintings. He com pleted a fine representation of Pan and Syrinx, who was metamorphosed into a reed, within six days, though the figures were as large as life. A painting of Satyrs carry ing cornucopia of fruit and grain, apparently of the same description, is equally celebrated for its harmonious pro portions and colouring. He executed paintings for a ban queting-house for the King of Sweden ; and another work for his native city, wherein a vast intermixture of mankind and animals was introduced. Jordaens was much employ ed in painting altar-pieces, many of which are yet preserv ed throughout the Netherlands.
This painter during his whole life was in constant occu pation; but it is owing to the remarkable expedition with which he produced them, that the public are in possession of so many of his works. He is said never to have left his native city ; and lie died there in the year 1678, aged 84.
Jordaens was of a cheerful temper, and of a disposition particularly friendly and affable, and he enjoyed much gra tification in the society of his friends. His industry ena bled him to accumulate considerable wealth. He ranked high in his professional art ; and he is thought to have car ried the precepts of Rubens farther than any of his other pupils, Vandyke excepted. His compositions are full of taste and effect ; his style brilliant and harmonious; and his designs are peculiarly characterized by truth and ac curacy. He was most skilful in giving relief and rotun dity to his figures ; and from the nature of their execution, he is supposed to have studied the objects in candle light, or bright sunshine. Fur a free and spirited touch, no paint er is accounted his superior. Yet Jordaens had conspicu ous faults. His design, though distinguished by accuracy-, is deficient in taste. He is charged with grossness of sub ject and lorm, and with images of low and commrat life. Jordaens, however, must be considered a great painter ; for his beauties in every piece predominate over his imper fections. (c)