Jacob Jordaens, 1622 - Den heliga familjen - konsttryck

Background information on the artpiece created by the old master named Jacob Jordaens

Denna 17. talet med titeln Den heliga familjen målades av barockmålaren Jacob Jordaens in 1622. Konstverket mäter storleken: Höjd: 122 cm (48 tum); Bredd: 92 cm (36,2 ″) Inramad: Höjd: 150 cm (59 ″); Bredd: 120 cm (47,2 tum); Djup: 13 cm (5,1 tum) and was painted with oil. The work of art is in the the digital collection of Nationalmuseum Stockholm. Detta klassisk konst konstverk, som är i allmängods förses med artighet av Nationalmuseum Stockholm & Wikimedia Commons.Konstverkets kreditlinje: . Dessutom är anpassningen av den digitala reproduktionen inne porträtt format med ett sidoförhållande på 3: 4, meaning that the length is 25% shorter than the width. The painter Jacob Jordaens was an artist from the Netherlands, whose style was mainly Baroque. The Dutch artist lived for a total of 85 år - born in 1593 and deceased in the year 1678 in Antwerp.

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• Duk: A printed canvas material mounted on a wooden frame. A canvas print has the advantage of being relatively low in weight, which means that it is easy and straightforward to hang up the Canvas print without any wall-mounts. That is why, a canvas print is suited for any type of wall.
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English: Jordaens’ down-to-earth rendering of the Holy Family embraces the most intimate qualities of Caravaggism. The lit candle held by a maidservant is supplemented by the light from the unseen fireplace at which Joseph warms his hands, situating the genre-like scene in the heart of winter, the season in which Jesus was born. Standing upright on Mary’s lap, the realistically portrayed Christ Child seeks the viewer’s attention, as if beckoning us to approach and join in the adoration. With motherly pride Mary presents Jesus. The knife in his right hand alludes to the Circumcision, the first occasion on which the Redeemer’s blood was shed for our sins, intended to encourage meditation on the Passion. Details of the iconography are derived from the visions of St Bridget of Sweden, who described the newborn Christ Child as the source of a bright supernatural light. Jordaens concretises this divine radiance emanating from the body of Jesus – “the light of the world” – as an unusually intense reflected light from the flame of the candle. Jordaens vardagliga gestaltning av den Heliga familjen avspeglar caravaggismens mest intima karaktär. Den genreartade scenen utspelar sig på vintern, tiden för Jesu födelse. Det tända vaxljuset i tjänstekvinnans hand kompletteras av en eldstad utanför bildrummet vid vilken Josef värmer sina frusna händer. Det realistiskt skildrade Jesusbarnet står i Jungfru Marias knä. Genom blicken söker han kontakt med betraktaren, som för att bjuda oss att komma närmare och ansluta i tillbedjan. Med moderlig stolthet visar Maria upp Jesusbarnet. Kniven i Jesusbarnets hand hänsyftar till omskärelsen, det första tillfället då Frälsaren utgjuter sitt blod för våra synder, och uppmanar därmed till begrundan av Kristi passion. Målningens ikonografi härrör delvis från den heliga Birgittas uppenbarelser. Hon beskrev det nyfödda Jesusbarnet – ”världens ljus” – som källan till ett starkt övernaturligt ljus. Jordaens konkretiserar här den gudomliga strålglansen i form av det intensiva reflekterade skenet från vaxljusets låga.