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Student Artwork Guide

Psyche hosted on Olympus

Name Class Date

Jacob Jordaens, Psyche hosted on Olympus (1652). Public domain. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
Jacob Jordaens originaluniqueart.com/en/artists/jacob-jordaens/
Artist’s dates
1593 – 1678
Painted
1652
Medium
Oil
Original size
225 x 266 cm
Movement
Baroque Dramatic, theatrical pictures using deep shadow and strong diagonals to pull you into the action.
Period
Early Modern
Artistic style
Baroque
Notable elements
Intricate details, celestial beings
Subject or theme
Mythological scene on Olympus

In context

Psyche hosted on Olympus — Jacob Jordaens

How big is it?

The original measures 225 × 266 cm (height × width), drawn here beside an adult of average height. It is too large to draw to scale on this page.

When was this painted?

  1. 1590
  2. 1600
  3. 1610
  4. 1620
  5. 1630
  6. 1640
  7. 1650
  8. 1660
  9. 1670

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 85 at death.

Painted when the artist was 59. The artist lived to 85. 114 of the 130 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of Jacob Jordaens (1593–1678) ▲ this work, 1652 every dated painting, decade by decade

First works: up to 1621 Main working years: 1621–1645 Late works: from 1645

Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: originaluniqueart.com/en/art/similar/jacob-jordaens-psyche-hosted-on-olympus-8XYAJC-en/

Colours

Measured from the image

    Main colour

    Bronze #d88730

    Catalogued palette

    • #D88730
    • #130E12
    • #9B461E
    • #572519

    These colours inside the artist’s whole palette Find other paintings by colour

    Palette
    Dark The dominant colour family in the image.
    Main colour name
    Bronze
    Intensity
    Balanced How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Bold How much the colours differ in lightness and saturation across the picture.
    Harmony
    Strong Color Unity How well the colours work together, from clashing to fully unified.
    Brightness
    Deep_shadow How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Clear Color Presence How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by Jacob Jordaens over the last twelve months — 17 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 57.0%
    2. 2 Singapore 9.3%
    3. 3 Hong Kong 8.6%
    4. 4 United States of America 8.6%
    5. 5 France 5.3%
    6. 6 Norway 2.0%
    7. 7 Switzerland 1.3%
    8. 8 Italy 1.3%
    9. 9 Türkiye 1.3%
    10. 10 Bosnia and Herzegovina 0.7%
    11. · 7 other countries 4.6%

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 20 most looked-at works by Jacob Jordaens

    1. 1 The Four Evangelists, 1620 8.9%
    2. 2 Prometheus Bound, 1640 4.2%
    3. 3 Odysseus in the Cave of Polyphemus, 1635 3.6%
    4. 4 The Fall of Man 3.1%
    5. 5 The King Drinks, 1638 2.6%
    6. 6 The Rest of Diana, 1645 2.6%
    7. 7 Martyrdom of St Quentin, 1650 2.6%
    8. 8 Satyr and Peasant, 1620 2.6%
    9. 9 Cleopatra's Feast, 1653 2.1%
    10. 10 Psyche comforted by Pan, 1640 2.1%
    11. 11 Moses strikes water from the rock, 1618 2.1%
    12. 12 Self-Portrait among Parents, Brothers and Sisters, 1615 1.6%
    13. 13 Psyche hosted on Olympus, 1652 this painting 1.6%
    14. 14 Study of two female heads and torso of a warrior, 1623 1.6%
    15. 15 Portrait of a Gentlewoman, 1660 1.6%
    16. 16 The Bean King (detail), 1638 1.6%
    17. 17 Satyr and Peasant, ca, 1621 1.6%
    18. 18 Self-Portrait among Parents, Brothers and Sisters (detail), 1615 1.6%
    19. 19 The Holy Family and child St. John the Baptist 1.6%
    20. 20 Two putti 1.6%

    Together these works take 50.9% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 234 works by this artist, of which 89 were looked at at least once. This painting ranks 13 of them, with 1.6% of that attention. The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    About this artwork

    Psyche hosted on Olympus — Jacob Jordaens

    A Celestial Banquet: The Grandeur of Jordaens' Olympus

    In the heart of the Flemish Baroque, few works capture the sheer exuberance of divine celebration as masterfully as Jacob Jordaens’ "Psyche hosted on Olympus." Painted in 1652, this monumental canvas serves as a breathtaking window into a realm where the mortal and the divine converge. The composition is anchored by a magnificent circular arrangement of figures, a technique that draws the viewer’s eye into a swirling dance of light, shadow, and celestial motion. As Psyche is welcomed into the heights of Olympus, the painting transcends mere mythological storytelling; it becomes an immersive experience of abundance, warmth, and cosmic harmony.

    Jordaens, a titan of the Antwerp school, brings his signature robust style to this scene, eschewing the ethereal fragility often found in Italian depictions of myth in favor of something much more tactile and alive. The figures surrounding the central event are a tapestry of existence, ranging from luminous, angelic beings to forms that possess a grounded, human vitality. This interplay between the celestial and the earthly is where Jorbdaens’ genius truly resides. Every brushstroke contributes to a sense of weight and presence, making the divine feast feel as though it could be reached out and touched, a quality that makes this piece an extraordinary focal point for any sophisticated interior.

    Mastery of Light and Baroque Complexity

    The technical prowess displayed in this work is nothing short of extraordinary. Jordaens utilizes the dramatic chiaroscuro characteristic of the Baroque era to sculpt his subjects, using deep, velvety shadows to push the brightly lit figures forward into the viewer's space. The complexity of the composition—featuring at least thirteen distinct figures—is balanced by a meticulous attention to detail. From the subtle glint of light on a ceremonial bowl to the intricate presence of a clock that anchors the temporal world amidst the eternal, Jordaens weaves a narrative of time and eternity. This level of detail ensures that the painting rewards prolonged contemplation, revealing new textures and subtle gestures with every glance.

    For the discerning collector or interior designer, this artwork offers more than just visual beauty; it provides a profound emotional resonance. The painting radiates a sense of triumph and joy, celebrating the union of soul and divinity. Its large-scale presence (225 x 266 cm) allows it to command a room, acting as a conversational centerpiece that evokes the rich history of the 17th-century Flemish masters. Whether placed in a grand library or a contemporary living space, a high-quality reproduction of this masterpiece brings with it an aura of classical elegance and the timeless spirit of Antwerp’s golden age.

    Artist and museum

    Artist

    Jacob Jordaens

    Born in Antwerp, Belgium

    A Flemish Master of Life’s Abundance: Jacob Jordaens

    Born into a prosperous Antwerp family in 1593, Jacob Jordaens emerged as one of the most significant and vibrant voices within the Flemish Baroque. Unlike many of his contemporaries who sought training in Italy, Jordaens remained rooted in his native Flanders, developing a uniquely robust and earthy style that celebrated the pleasures and realities of everyday life. His father, a successful linen merchant, provided him with a comfortable upbringing, allowing for an education befitting his social standing before he began his artistic journey under Adam van Noort – also the master of Peter Paul Rubens. This formative training instilled in Jordaens a foundation in meticulous technique and a keen understanding of composition, yet he quickly diverged to forge his own distinct path. In 1616, solidifying his connection to the established Antwerp art world, he married Van Noort’s daughter, Katharina.

    The Painter of Peasant Revelry and Baroque Grandeur

    Jordaens' artistic output was remarkably diverse, encompassing religious narratives, mythological scenes, allegorical compositions, genre paintings brimming with life, and even portraits. However, he is perhaps best remembered for his boisterous depictions of peasant festivals and tavern scenes – works that radiate a palpable energy and an uninhibited joy in earthly pleasures. Paintings like The King Drinks (also known as the Feast of the Bean King) exemplify this characteristic style: crowded compositions filled with robust figures engaged in lively revelry, rendered in warm, glowing colors and dramatic chiaroscuro. These scenes weren’t merely celebrations of merriment; they were often imbued with subtle moralizing undertones, reflecting the complex relationship between indulgence and restraint prevalent in 17th-century society. Yet, Jordaens was equally adept at handling grander, more formal commissions. His involvement in decorating the Huis ten Bosch palace near The Hague – alongside collaborations with Rubens – showcased his ability to create monumental allegorical works that seamlessly integrated painting and architecture.

    Influences and a Distinct Artistic Voice

    While Jordaens never traveled to Italy, he was deeply influenced by Italian masters like Jacopo Bassano, Paolo Veronese, and Caravaggio—artists whose work reached Flanders through engravings and paintings brought back by other artists. The influence of Caravaggio is particularly evident in his dramatic use of light and shadow, a technique known as tenebrism, which heightens the emotional intensity of his scenes. However, Jordaens didn’t simply imitate these influences; he synthesized them with his own Flemish sensibilities, creating a style that was uniquely his own. He differed from Rubens and Van Dyck in his preference for realism over idealism, embracing a more direct and unrefined approach to depicting the human form. His figures are often substantial, even corpulent, their faces flushed with health and vitality. This commitment to naturalism, combined with his masterful command of color and composition, set him apart from his contemporaries and established him as a leading figure in Flemish Baroque painting.

    Legacy and Enduring Impact

    Throughout his long and prolific career, Jordaens trained numerous pupils – fifteen were officially recorded by the Guild of St. Luke between 1621 and 1667— ensuring the continuation of his artistic legacy. His influence can be seen in the work of later artists like Jan Steen, who shared his penchant for depicting lively genre scenes. Beyond his direct impact on other painters, Jordaens’ classically inspired peasant themes had a lasting effect on the art world, challenging traditional hierarchies and celebrating the dignity of everyday life. Even today, his paintings continue to captivate audiences with their energy, vitality, and honest portrayal of human experience. His ability to blend realism with allegory, sensuality with morality, and grandeur with intimacy makes him one of the most compelling and enduring figures of the Baroque period. Discover more of Jordaens’ masterpieces and explore the rich artistic landscape of the Baroque era through resources available online, including detailed databases of his works and insightful analyses of his life and art.

    Where to read more

    Find this online

    QR code linking to the download page for Psyche hosted on Olympus

    originaluniqueart.com/en/art/download/jacob-jordaens-psyche-hosted-on-olympus-8XYAJC-en/

    Cite this artwork

    MLA
    Jordaens, Jacob. Psyche hosted on Olympus. 1652, https://originaluniqueart.com/en/art/jacob-jordaens-psyche-hosted-on-olympus-8XYAJC-en/
    APA
    Jordaens, Jacob (1652). Psyche hosted on Olympus [Painting]. https://originaluniqueart.com/en/art/jacob-jordaens-psyche-hosted-on-olympus-8XYAJC-en/
    Chicago
    Jacob Jordaens. Psyche hosted on Olympus. 1652. https://originaluniqueart.com/en/art/jacob-jordaens-psyche-hosted-on-olympus-8XYAJC-en/
    Harvard
    Jordaens, Jacob (1652) Psyche hosted on Olympus. Available at: https://originaluniqueart.com/en/art/jacob-jordaens-psyche-hosted-on-olympus-8XYAJC-en/

    Look closely

    Psyche hosted on Olympus — Jacob Jordaens

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Our catalogue files this work under: baroque, mythology, olympus. Do you agree? What would you add, or take away?
    4. Look back at The Four Evangelists (1620), earlier in this guide. Name two things it shares with this work, and one that is different.
    5. Baroque: Dramatic, theatrical pictures using deep shadow and strong diagonals to pull you into the action. Where can you see that in this work?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Questions & Answers

    What size and orientation are recommended for a print of "Psyche hosted on Olympus" by Jacob Jordaens?

    large size, landscape orientation: that is the print setup suggested for "Psyche hosted on Olympus" by Jacob Jordaens.

    How is the color composition of "Psyche hosted on Olympus" by Jacob Jordaens built?

    The color composition of "Psyche hosted on Olympus" by Jacob Jordaens combines a bold contrast with a strong color unity harmony.

    Which room is "Psyche hosted on Olympus" by Jacob Jordaens recommended for?

    A reproduction of "Psyche hosted on Olympus" fits well in a dining room.