雅各约尔丹斯出生于1593年5月19日，第11个孩子中给富人的亚麻布商人雅各约尔丹斯老和芭芭拉面包车Wolschaten在安特卫普。鲜为人知的是，约尔丹斯“早期教育。可以设想，他收到通常是他的社会阶层的子女提供教育的优势。这个假设是他的字迹清晰，他的法语和他的神话知识能力的支持。约尔丹斯熟悉圣经科目是他的许多宗教画明显，他与圣经个人利益被从天主教新教他后来的转换加强。像鲁本斯，他师从亚当面包车Noort，谁是他唯一的老师。在此期间，约尔丹斯住在凡Noort的房子在Everdijstraat，成为非常接近，在家里的其他人经过八年的培训与范Noort，他在就读的圣卢克协会作为一个“ waterschilder ”或水彩艺术家。这种培养基经常用于制备挂毯 动画片在十七世纪。虽然他最早的作品水彩画的例子不再现存。同年他进入公会，1616年，他娶了他的老师的大女儿安娜凯萨琳娜面包车Noort，与他有三个孩子。在1618年，约尔丹斯在Hoogstraat（安特卫普地区，他长大）买了一套房子。然后，他后来买房子毗邻扩展他的家庭和工作区在1639年，模仿鲁本斯的房子建二十年前。他生活和工作在这里，直到他去世于1678年

约尔丹斯从未传统前往意大利学习古典和文艺复兴时期的艺术。尽管这样，他做了许多努力学习打印或在欧洲北部可用意大利大师的作品。例如，约尔丹斯被称为有研究提香，委罗内塞，卡拉瓦乔和巴萨诺，无论是通过打印，复印或原件（如卡拉瓦乔的念珠的麦当娜）。他的作品，但是，背叛了当地的传统，尤其是流派的传统长老勃鲁盖尔，在诚实地描绘佛兰芒的生活与真实性，展示生活中的庆祝表情的行为寻常百姓家。[10]他的佣金经常来自富裕当地佛兰芒来了食客和神职人员，虽然后来在他的职业生涯他曾在欧洲各地法院和政府。除了大输出巨大的油画，他是一位多产的挂毯设计师，这体现了他早期的训练作为一个“水彩”画家的职业生涯。

约尔丹斯“的重要性也可以通过他的学生数量可见; 圣卢克公会记录从1621 15官方小学生1667，但有6人被记录在法庭文件中小学生，而不是公会记录，所以很可能他有更多的学生比官方记录。其中有他的表弟和他的儿子雅各布。像鲁本斯和当时的其他艺术家，约尔丹斯“工作室在制作他的绘画依靠他的助手和学生。不是很多，这些学生继续成名自己，但在约尔丹斯“工作室的位置是来自欧洲各地的年轻艺术家非常可取的。

约尔丹斯大受谁偶尔会雇用他重现小草图在一个更大的格式彼得·保罗·鲁本斯的影响。鲁本斯去世后，约尔丹斯提前到安特卫普最崇拜的画家之一的地位。[13]像鲁本斯，约尔丹斯依靠一个温暖的调色板，自然，和的掌握明暗对比和tenebrism。约尔丹斯是作为肖像画家只有适度的成功，但在人性的基础上字符的表现出色。他的灵感来自古典题材的农民和大型道德风俗的影响扬·斯特恩。虽然雅各约尔丹斯没有专门，他经常重复一个主题的基础上，画了广泛的各种年龄段的，在周围宴会桌的喜庆场面热闹非凡人物的谚语。这些幽默件有粗糙感。[5]虽然约尔丹斯借鉴了鲁本斯的整个职业生涯的图案，他的工作是一种趋势分化更大的现实主义，他的作品表面的拥挤，并为滑稽戏的偏好，甚至在宗教和神话题材的背景下。[13] 普罗米修斯，C。1640是既鲁本斯和雅各约尔丹斯弗兰斯斯奈德的影响的一个例子。虽然他画的灵感来自他们的合作被缚的普罗米修斯，C。1611年至1612年，约尔丹斯“的版本是一个更有希望的故事。
 

Jacob Jordaens was born in May 19, 1593, eleventh children to the wealthy linen merchant Jacob iordan Si Lao and Barbara van Wolschaten in Antwerp. Little is known about Jordaens "early education. It can be imagined that he received the advantage of providing education for the children of his social class. The assumption is that his handwriting is clear, his French and his ability to support mythological knowledge. Jordaens subject is familiar with the Bible many of his religious paintings and the Bible he obviously, personal interests are from Catholic Protestant he later converted to strengthen. Like Lubensi, he studied with Adam van Noort, who was his only teacher. In the meantime, Jordaens at the van Noort house in Everdijstraat, become very close to other people at home after eight years of training and van Noort, he worked as a "waterschilder" or a watercolor artist at St. Luke's association. This medium is often used in the preparation of tapestry cartoons in seventeenth Century. Although the earliest examples of his watercolor paintings no longer exist. In the same year he entered the guild, in 1616, he married his teacher's eldest daughter, Anna Katharina van Noort, with whom he had three children. In 1618, Jordaens in Hoogstraat (Antwerp area, he grew up) to buy a house. He then bought a house adjacent to his extended family and work area in 1639, mimicking Lubensi's house built twenty years ago. He lived and worked here until his death in 1678
Jordaens never went to Italy traditional classical and Renaissance art of learning. In spite of this, he made a lot of efforts to study the prints or works available in Italy in northern europe. For example, Jordaens called Research Committee Ronese, Titian, Caravaggio and Bassano, whether through print, copy or original (such as Caravaggio Madonna of the rosary). His works, however, betrayed the local tradition, especially the traditional schools of elder Bruegel, in an honest picture of life and the authenticity of the Flemish, in celebration of the expression show life behavior of ordinary people. [10] his commissions often come from wealthy local Flemish patrons and clergy, although later in his career he worked in the occupation Europe court and government. In addition to large output huge oil painting, he is a prolific tapestry designer, which shows him a watercolor painter's occupation career as early training.
"The importance of Jordaens also by his students the number of visible; guild of St. Luke records from the 162115 official 1667 pupils, but 6 people were recorded in the primary and middle school students in court documents, rather than public records, so it is very likely that he has more students than the official records. Among them are his cousin and his son, Jacob. Like Lubensi and other artists at the time, Jordaens "studio in the production of his paintings by his assistants and students. Not many, these students continue their fame, but in the "Jordaens studio location is from across Europe young artists very desirable.Influence of Jordaens greatly who occasionally hired him to reproduce small sketches in a larger format of Peter Paul Rubens. After the death of Lubensi, Jordaens in advance to one of Antwerp's most admired artist position. [13] like Lubensi, Jordaens rely on a warm palette, natural, and mastery of chiaroscuro and tenebrism. Jordaens is only a modest success as a portrait painter, but the characters on the basis of humanity's outstanding performance. His inspiration comes from the classical theme of the farmer and the influence of a large moral custom Jan Stern. Although there is no special Jacob Jordaens, he often repeat a theme based on the paintings of all ages wide, around the banquet table, festive scene lively extraordinary proverbs. These humorous pieces are rough. Although [5] Jordaens borrowed from Lubensi's entire occupation career design, his work is a trend of differentiation greater realism, his works on the surface of the crowded, and burlesque preferences, even in religious and mythological background. [13] Plo Michel J, C. 1640 is an example of both Lubensi and Frans Snyder of Jacob jordaens. Although he drew inspiration from their co being tied by Plo Michel J, C. From 1611 to 1612, Jordaens "version is a more hopeful story.