He studied, like Rubens, under Adam van Noort, and his marriage with his master’s daughter in 1616, the year after his admission to the gild of painters, prevented him from visiting Rome. He was forced to content himself with studying such examples of the Italian masters as he found at home; but a far more potent influence was exerted upon his style by Rubens, who employed him sometimes to reproduce small sketches in large.
Jordaens is second to Rubens alone in their special department of the Flemish school. In both there is the same warmth of colour, truth to nature, mastery of chiaroscuro and energy of expression; but Jordaens is wanting in dignity of conception, and is inferior in choice of forms, in the character of his heads, and in correctness of drawing. Not seldom he sins against good 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 pencil also in biblical, mythological, historical and allegorical subjects, and is well-known as a portrait painter. He also etched some plates.
This entry was originally from the 1911 Encyclopedia Britannica.