Leo Jordaens (1944- 2000) - De haven van Antwerpen





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€45 | ||
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De haven van Antwerpen, an oil painting by Leo Jordaens (1944–2000) from 1970–1980, Belgium, signed and original, sold with frame, measuring 38 x 43 cm without the frame and 41 x 46 cm with the frame.
Description from the seller
The Port of Antwerp
The Port of Antwerp is frequently the subject of paintings by the highly undervalued artist Leo Jordaens. But every painting by this remarkable colorist is surprising in its own way.
Size without frame 38x43 cm and with frame 41x46 cm.
Leo Jordaens was undoubtedly incredibly talented, and there is more to say about his work than that it is beautiful. With minimal means—a putty knife, oil paint, and a panel—he managed to create stunning compositions, based on existing scenes, but in the final result were only vaguely recognizable. Recognizing a work by Leo Jordaens, on the other hand, is child’s play; no one paints like him, although there is still a rumor that father Jordaens painted in almost the same style and the works are hardly distinguishable.
Besides the characteristic technique and the recurring subject matter, there are a number of other traits unique to Leo Jordaens. He consistently painted on a base of thin plywood; had he painted on canvas, his work would be worth many times more today. Furthermore, he also always used very thin wooden frames, usually in natural wood or white-painted.
The Port of Antwerp
The Port of Antwerp is frequently the subject of paintings by the highly undervalued artist Leo Jordaens. But every painting by this remarkable colorist is surprising in its own way.
Size without frame 38x43 cm and with frame 41x46 cm.
Leo Jordaens was undoubtedly incredibly talented, and there is more to say about his work than that it is beautiful. With minimal means—a putty knife, oil paint, and a panel—he managed to create stunning compositions, based on existing scenes, but in the final result were only vaguely recognizable. Recognizing a work by Leo Jordaens, on the other hand, is child’s play; no one paints like him, although there is still a rumor that father Jordaens painted in almost the same style and the works are hardly distinguishable.
Besides the characteristic technique and the recurring subject matter, there are a number of other traits unique to Leo Jordaens. He consistently painted on a base of thin plywood; had he painted on canvas, his work would be worth many times more today. Furthermore, he also always used very thin wooden frames, usually in natural wood or white-painted.

