Katalog wystawy: Koninklijk Museum voor Schone Kunsten, Antwerp, 27 marca - 27 czerwca 1993.

"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.

This book gives an excellent overview of Flemish art from the Hermitage in St Petersburg. A large proportion was acquired in the eighteenth century by Catherine the Great, from superb collections such as those of Crozat and Brühl, which she bought up in their entirety. Many of these paintings originally hung in churches and monasteries in Antwerp and other European cities. Most attention focuses on the 'big three': Peter Paul Rubens, Anthony van Dyck and Jacob Jordaens. Rubens was the most important, the most talented, and the most influential seventeenth-century Flemish painter. He was also a phenomenon in his day, a true homo universalis. The portraits produced by Van Dyck for the court of King Charles I of England also share the limelight, along with impressive history paintings by Jordaens, exuding the vibrant atmosphere in which he excelled. Exhibition: De Nieuwe Kerk - Hermitage, Amsterdam, 17.9.2011 to 16.3.2012.

An extraordinary history of Netherlandish drawing, focused on the training and skill of artists during the long 17th century With a lively narrative thread and thematic chapters, this book offers an exceptional introduction to Dutch and Flemish drawing during the long 17th century. Victoria Sancho Lobis discusses the many roles of drawing in artistic training, its function in the production of works in other media, and its emergence as a medium in its own right. Beautifully illustrated with some 120 drawings by artists including Rembrandt van Rijn, Peter Paul Rubens, Hendrick Goltzius, Gerrit von Honthorst, and Jacob De Gheyn, this book surveys current methodologies of studying these works and features a brief history of Dutch papermaking and watermarks as well as a glossary. Paying careful attention to materials and techniques, and informed by recent conservation treatments, Lobis explains how to look at these drawings as records of experimentation and skill, true windows into the artist’s mind.

In The Drawing Lesson, Jan Steen celebrates the art of the painter as teacher, placing his subjects in a familiar Dutch interior. This fascinating study of the painting - a masterpiece of the Museum's collection - examines the individual parts and larger patterns of the work and also recounts Steen's career and a history of the picture itself.

Katalog wystawy: Koninklijk Museum voor Schone Kunsten, Antwerp, 27 marca - 27 czerwca 1993.