"This monograph is dedicated to the painter Jacob Jordaens (Antwerp,1593-1678) and his relationship with Spain. This book is a catalogue raisonnâe of the painter's preserved works that have had a long and close link with the Court and Spanish patrons, both inside and outside of Spain. His paintings and designs are contemplated in this book in a deep and detailed way. In these pages the reader will find out about Jordaens work method, his sources of inspiration and the solutions he chose for the commissions that he carried out."--Provided by publisher.

"Jacob Jordaens (1593-1678) was a Flemish Baroque painter whose work has largely been overshadowed by his contemporaries Peter Paul Rubens and Anthony van Dyck. Providing new insight on the artist as well as art historical context for his works, Jacob Jordaens and Antiquity emphasizes his strategic intelligence with respect to imagery and the art market and challenges the common characterization of Jordaens as a bourgeois artist of genre scenes. Jordaens's work is examined as an example of classical culture being introduced into the commercial and intellectual life of Antwerp. He was an artist with an unusual talent for conveying imagery from classical literature, ranging from Satyr and Peasant to Diogenes Searching for an Honest Man. Focusing on the theme of antiquity, this volume features eighty paintings, drawings, tapestries, and sculptures from private collections and major museums, including the Museo Nacional del Prado in Spain and the Statens Museum for Kunst in Denmark."--Publisher's website.

Drawings played a crucial role in the artistic practices of the three great giants of Flemish Baroque art, Peter Paul Rubens (1577-1640), Anthony van Dyck (1599-1641), and Jacob Jordaens (1593-1678). Accompanying an exhibition featuring the most spectacular drawings by them in the collection of the Morgan Library & Museum in New York, *Power and Grace* demonstrates just how differently drawings functioned in the oeuvres of these artists as well as highlights the distinctive features of their graphic styles and the impact they had on each other. The Morgan is particularly well suited to tell this story, for its holdings of Rubens, Van Dyck, and Jordaens drawings are unparalleled in the United States.

16 essays by a group of internationally acclaimed authors help contribute to a clearer perception of the complex facets of Jacob Jordaens' oeuvre—and moreover to distinguish it from the works of Rubens, van Dyck, and his contemporaries. The title "Genius of Grand Scale" refers to the spectrum from history to genre as well as to Jordaens' preference for large formats. The greatness of the artist Jacob Jordaens needs to be emphasized, since even though he outlived Rubens for four whole decades, he was never able to escape from under his shadow. By reference to iconographic and iconological studies, single works are identified and presented in a broad review and the long, in many aspects fragmentary reception of his artistic work also forms a large part of the interpretations presented here. Furthermore, technical examinations of paintings assist in defining more precisely how they were generated.This overdue volume presents essential reading for anyone interested in Jacob Jordaens.

"The National Gallery of Art's collection of seventeenth-century Flemish paintings is relatively small, numbering less than sixty, but exceptional in quality. At the core of the collection are twelve paintings by Sir Peter Paul Rubens and his school and seventeen paintings by Sir Anthony van Dyck, including some of their finest masterpieces. Also represented are excellent works by other important Flemish masters, among them Osias Beert the Elder, Adriaen Brouwer, Jan Brueghel the Elder, and David Teniers the Younger." "This catalogue of the Gallery's remarkable collection of Flemish paintings offers new information about each of the individual works. Stylistic characteristics of the paintings have been analyzed; historical circumstances related to their creation have been assessed; and their provenances have been reexamined. A number of the paintings have undergone conservation treatment, while the technical characteristics of other works have been thoroughly studied. This exhaustive research has indicated that the titles, dates, and even attributions of a number of works needed to be changed, and the catalogue includes a concordance of these revisions."--BOOK JACKET.