Painting

The innocence between the virtue and the load The innocence is the young woman in the middle of the picture brought a white blouse and a red piece of fabric. The white color plays on indebtedness and the red on the carnal, d v s that she is a living human being unlike the other two alongside who are allegorical figures and symbolize Dygden and Lasten respectively. But who is who? The load is now not the young man that one could think, but instead the old woman. She holds a silver bowl with gold chains that ring around the Oskulden’s arm, i.e. giants her at brushes and material things. Old wrinkled women were often allowed to illustrate the indignant course of time and the relentless fate of the person who lets himself be carved by the worldly in existence. To the right in the picture we find Dygden, a young man, appolonsk and raised with meadow rings. His hand points up to spiritual life and with the other hand he reminds us of the perishability of life. If we choose the spiritual path, we seem to remain forever young, he seems to want to say. The colours in their clothing costumes also suggest which way we should choose. The old woman is dressed in black - the color of death, while Dygden’s costume goes in dark velvet green with elements of gold brocade. Johan Jacob Jordaens (15931678) was the most significant Flemish Baroque painter after Rubens. He worked in time as an assistant to Rubens and was strongly influenced by his painting. After Rubens’s death in 1640, Jordaens becomes the leading artist in Antwerp. He lived and appeared in Flanders who was the stronghold of the Counter-Reformation. The Earth was, however, something of the contradictions. His circle of motifs usually consisted of religious, allegorical and mythological motifs in true Baroque spirit. The figures are often bloody and sincerely drawn, the wall of the skin shines white or inconspicuously carnal. He gladly uses clanging colours and signs lush, voluminous bodies. Influence from Caravaggio is noticeable in his light obscure painting. However, contrary to this Catholic sworn image world, Jordan’s own beliefs, which professed Calvinism on the elderly, stand. The 1800s painter Delacroix spoke of Jordan’s fact that... “he was a brilliant painter with a ferocious thinking” and had in mind the paintings in which little puttis tumble around with lush women’s bodies most to satisfy his Catholic principals. But Jordaens was a man with both feet on earth and let the shops go before, a realist who was turning a blind eye to reality. von Zeipel, Agneta: Symbols in Dutch and Flemish Painting. From Bohusländer Konst. YEARBOOK 1996. The art at Bohusläns museum. Bohusläns homestead association and Bohusläns museum. Uddevalla 1996.