page_title: Jacob van Oost
section_title: Work
hierarchical_section_title: Jacob van Oost / Work
context_page_description: Jacob van Oost or Jacob van Oost the Elder was a Flemish painter of history paintings and portraits. He was the most important painter of Bruges in the 17th century through his portraits of members of the local bourgeois and his many altarpieces made in the spirit of the Counter Reformation. He also created genre paintings of musicians and card players for the open market.
context_section_description: Jacob van Oost was a prolific painter who made portraits for the local bourgeois and history paintings.  He is primarily known for the altarpieces in the spirit of the Counter Reformation and his portraits.  A small number of paintings, mostly with secular, genre-style themes such as interiors with figures (musical companies, card players, fortune tellers etc.), was likely aimed at private individuals and possibly for the open market. He also made copies after van Dyck and Rubens.  Van Oost was the leading 17th-century painter from Bruges.
  His work was strongly influenced by early Baroque painters such as Caravaggio and his follower Bartolomeo Manfredi whose work he had studied during his stay in Italy.  The influence of Caravaggio can be seen in the chiaroscuro effects as well as the non-idealised figures.  An example of this is the 1630 Adoration of the Shepherds (Hermitage Museum). His genre scenes in the 1630s showed the influence of Bartolomeo Manfredi.  An example is the Card Players (1634, private collection).
  After this early Caravaggesque influence, his work developed towards more monumental figures and a more classicist treatment that reflected the work of Annibale Carracci and his follower Domenichino.   From the 1650s, his work started to display greater emotionality, the use of dramatic spatial effects and a palette closer to Venetian art.   Van Oost's paintings of that period show the influence of Federico Barocci, Correggio and Anthony van Dyck.  A few times he even simply copied van Dyck’s compositions. While this stylistic development was quite common among contemporary Flemish artists, the clear structure and strong modelling of van Oost’s work make his manner distinctive.
  While his portraits are generally rather formulaic the Portrait of a Bruges Family (1645, Groeningemuseum, Bruges) reveals a careful composition. Through its emblematic and monumental character it can be regarded ais a masterpiece of high Baroque painting.
  Many of his religious works can still be seen in the churches of Bruges.  The St. Salvator's Cathedral in Bruges holds 13 paintings by Jacob Van Oost, which can be viewed in situ throughout the church. His paintings can also be seen in museums throughout the world including the Gemäldegalerie, Berlin, the Groeningemuseum in Bruges, the National Gallery in London, the Louvre in Paris, the Philadelphia Museum of Art and the Hermitage in St Petersburg.
caption: Portrait of a Bruges family
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