Jacob jordaens

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Jacob Jordaens - The Good Samaritan (c.1616) Samson And Delilah, Peal And Stick Wallpaper, Hallway Wallpaper, Anthony Van Dyck, Rennaissance Art, Kunsthistorisches Museum, Bright Walls, Drawing Wallpaper, Baroque Art

The Good Samaritan illustrates one of Jesus’ parables, which appears in the Gospel according to Saint Luke. A man had been attacked on the road and left for dead by his attackers. He was helped by a man from Samaria, who hoisted him onto his horse and took him to the nearest inn. Their arrival at the inn is the episode that the Flemish artist Jacob Jordaens chose to depict in this work dating from around 1615. The painting focuses on the compassion shown by the Samaritan, the figure in the…

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ajlani
Jacob Jordaens - Return of the Holy Family from Egypt (ca. 1616) Gemäldegalerie Berlin Berlin, Jacob Jordaens, Dutch Golden Age, Religious Painting, Baroque Art, History Painting, Painting Media, Baroque Style, Holy Family

Jacob Jordaens (Jacques Jordaens), Antwerpen 1593 - 1678 Die Rückkehr der Heiligen Familie aus Ägytpen / Return of the Holy Family from Egypt (ca. 1616) Gemäldegalerie Berlin This painting shows the Antwerp master working after Federico Barocci, with a new freedom of colour and brushwork.

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Mica Zadjina Hassiotis
The Artist: The biography of Johann Liss is that of a restless outsider trained in Holstein (in modern north Germany)—outside the cosmopolitan centers of seventeenth-century art. Paradoxically, being an outsider gave him a beneficial critical distance when, through his travels, he came into contact with many of the leading artists of his day, from Hendrick Goltzius, Peter Paul Rubens, and Jacob Jordaens to the principal followers of Caravaggio and the pupils of Annibale Carracci Judith And Holofernes, Jacob Jordaens, Annibale Carracci, Maria Magdalena, Peter Paul Rubens, Mary Magdalene, Dutch Painters, Saint Mary, Caravaggio

The Artist: The biography of Johann Liss is that of a restless outsider trained in Holstein (in modern north Germany)—outside the cosmopolitan centers of seventeenth-century art. Paradoxically, being an outsider gave him a beneficial critical distance when, through his travels, he came into contact with many of the leading artists of his day, from Hendrick Goltzius, Peter Paul Rubens, and Jacob Jordaens to the principal followers of Caravaggio and the pupils of Annibale Carracci

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Christie Tashjian

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