An artwork on Galleree from Minneapolis Institute of Art.
About the artwork
Two Studies of the Head of an Old Manc. 1616–23
Artist: Jacob Jordaens
Flemish, 1593 - 1678
Portrait study of the head of an old man; two views
11 5/8 x 18 3/4 in. (29.53 x 47.63 cm) (canvas)
19 1/4 x 26 1/2 x 3 1/2 in. (48.9 x 67.31 x 8.89 cm) (outer frame)
Oil on canvas
Painting
Netherlands
17th century
The Walter H. and Valborg P. Ude Memorial Fund and gift of the Paintings Council
In the heart of Antwerp, amidst the bustling streets and vibrant marketplaces of the seventeenth century, there stood a meticulous artist named Jacob Jordaens. His brush held the vibrancy of life itself, painting with an intensity that echoed through the halls of his studio. Among the shadows and flickering flames from the hearth, Jordaens embarked on a series of profound experiments, capturing the essence of humanity in a set of oil sketches that would reveal intricate tales of shared experiences and timeless expressions.
With every stroke, Jordaens called to mind another artist of his time—Peter Paul Rubens—whose famous works danced in the eyes of admirers. But while Rubens drifted into grand compositions, Jordaens carved out his unique path, choosing instead to delve into the depths of human emotion through meticulous head studies. Amidst his palette of colors, a bearded man captivated his attention, becoming not just a model, but a recurring character within the vast tapestry of Jordaens's artwork.
Like a ghost whispering secrets through the ages, this bearded figure first graced the canvas in "Saint Peter finding the Tribute Money in the Fish's Mouth," painted around 1630. The artwork now resides in the serene city of Copenhagen, where it quietly invites viewers to ponder its intricate details. In this piece, the bearded man serves as a silent witness, bearing witness to a moment of divine miracle — a fish with a treasure, a visual tale of faith and providence.
But the man did not linger in just one realm of Jordaens's imagination. He traveled through another magnificent creation, the monumental altarpiece "Saint Martin Healing a Possessed Man," painted in the same year. Today, it rests in the Museum of Fine Arts in Brussels, whispering the drama of the healing gaze, as the bearded man stands resolute in the background, embodying hope and the quest for redemption.
The journey of this character continued, culminating in the grand story captured in "Triumph of the Eucharist," housed in the National Gallery of Ireland in Dublin. Here, Jordaens painted a scene bursting with jubilance and celebration, with the same bearded man at its heart—an unsung hero imbibed with layers of meaning and narrative depth.
Through these lively and direct oil sketches, Jordaens created a bond that transcended time. The gleaming strokes of his brush offered an immediate and intimate connection to the human condition, depicting a bearded man's quiet dignity in an ever-changing world. In these artworks, we do not just see a painted face; we see a story beckoning us to reflect, to feel, and to resonate with the age-old truths of our shared existence.
About the artist
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