Jordaens was lucky to be born in the very era when painting was recognized as an honorable thing, and the artists themselves became very wealthy and respected citizens in Italy, Flanders, and the Netherlands. The era itself, which completed the Renaissance, disposed to the heyday of monumental painting. The magnificent baroque demanded a magnificent artistic content.
The artist was born in a family of a textile merchant. The intricate patterns on silk, velvet and woolen cloth interested the young Jacob much more than the instructions of his father and his mother’s lamentation. Being the oldest in a large family, Jacob was destined for the fate of the successor of his father's business, successor, heir. The boy's father understood that the eldest offspring needed to look for a different craft. Where could a good Flemish Catholic go for advice? Of course to the church with my parish priest. The Padre was wise, asking Jordaens about the hobbies and inclinations of his son, the priest promised to provide patronage to the son of the shopkeeper when he enrolled in the most prestigious art school.
The owner of the school - Adam van Noort - knew his job, among his pupils were Rubens and Van Dyck. Having carefully examined the drawings of Jacob Jordaens Jr., the master decided to accept a new student.
The new schoolboy was remarkable for his unprecedented industriousness and quickly adopted science. The flight of his imagination was never as high as that of Van Noort's beloved students, but he knew his business. Classmates often enjoyed his hard work and dedication. Jacob often made sketches for friends, mixed paints, whitewashed canvases. The teacher carefully watched what was happening in his workshop and soon waved his hand at Jordaens - to be his eternal apprentice, assistant, painter - so Van Noort decided.
One moment slipped from the eyes of the experienced master - his hopeless student laid eyes on the master’s daughter, it was going to the wedding ...
To the great surprise of van Noort, it was Jordaens who began to receive orders immediately after graduation. His rude, uncomplicated manner of writing, simple plots and accuracy in the depiction of details - pleased the audience.
Legendary hard work and a cheerful disposition also worked for Jordaens, Rubens and Van Dyck invited him to his workshop. This collaboration was in essence a continuation of training, a creative magistracy.
Connoisseurs blamed Jordaens for its popular simplicity and lack of creative scale. Until the death of Rubens and Van Dyck, he was compared with these recognized masters and found flaws in his works. And Jordaens worked as best he could, as he wanted, as he saw fit. Any pathos was alien to him, but fashion demanded another. Often, the pomp in the master’s works exceeds a reasonable margin, but in the image of folk parties, the life of peasants and townspeople - Jordans is not equal!
The church willingly ordered the artist works for new churches. The work of the son of the shopkeeper was more understandable to the simple people who formed the basis of every parish. Yordans also performed many other orders, and when they were not written for himself ... The fate of the artist’s work was not easy. A series of 8 works for the English princess suffered an evil fate - they burned down in a fire. Many paintings were lost, destroyed. But what remains is firmly in the list of masterpieces of world art and adorns the best collections of museums in the world.