Updated October 2026 · ranked by our popularity score (searches, visits and orders for each work) · 53 works by Jacob van Loo in our catalogue
In short
To the gallery's eye, Jacob van Loo's most famous painting is Allegory of Fortune (1655), whose original hangs in the Bavarian State Painting Collections, Munich. Bacchus and Ariadne (1650) and Portrait of Thomas Corneille (1660) complete the trio every eye recognises. Of the 53 works by Jacob van Loo in our catalog, the gallery presents the 51 most famous below, each original with its year, its museum and what makes it unique.
In Allegory of Fortune, Jacob van Loo presents a dense gathering of figures within a dark, lush woodland. The scene is a complex arrangement of movement and light, where the shadows of the forest press against the illuminated bodies of the subjects. At the heart of this chaotic abundance, a central nude figure appears to float or dance, caught in a moment of weightless grace. This figure anchors a composition…
In Bacchus and Ariadne, Jacob van Loo captures a sudden collision of myth and flesh. Created about 1650, the oil painting freezes the precise moment of a mythological encounter. Bacchus lunges from the left, his movement driven by a sudden discovery. He reaches toward the reclining Ariadne, whose form rests upon the right. The scene is a flash of passion caught against a dark, turbulent sky.
The gaze of an elderly man meets us in the Portrait of Thomas Corneille, a work that captures a quiet moment of contemplation. Created by the artist Jacob van Loo, this oil on canvas presents a single subject, an aged male whose presence fills the frame. His long, wispy hair and weathered features suggest a life of significant experience, frozen here in a moment of serene stillness. The portraiture genre…
The Portrait of a Young Girl by Jacob van Loo brings a quiet presence into the room. Painted about 1650, this work captures a moment of stillness in the life of a child. The subject sits with a poised dignity, her gaze meeting the viewer from across the centuries. There is a sense of a life paused, a single breath held in the soft light of the Dutch Golden Age.
The work before us is titled Amorous Couple, a painting by the Dutch artist Jacob van Loo. Created around 1650, this oil on canvas captures a quiet, private moment between two figures. It is a piece that reflects the artist's specific interest in the nuances of human interaction and the subtle play of light across different textures.
The scene unfolds in a moment of profound tension within the painting titled Susannah and the Elders. Created by the artist Jacob van Loo, this oil on canvas captures a heavy, dramatic instance of religious art. The work is signed and dated in the bottom right corner, where the hand of the painter leaves the mark "J; van Loo fecit 1658."
The oil on canvas work titled Portrait of a Lady was executed by the artist Jacob van Loo in 1647. This half-length portrait depicts a woman seated in a high-backed chair. The subject is positioned against a dark, indistinct background that emphasizes her presence and the details of her attire. The composition focuses on the sitter from the waist up, establishing a direct connection through her orientation toward the viewer.
Jacob van Loo’s Family Portrait of Rutger van Weert and Maria Beels presents a formal and dignified arrangement of seven family members within an outdoor setting. The subjects are organized in a loose pyramidal structure, a composition that establishes a sense of stability and familial unity. This group portrait relies on a rhythmic pattern created by the sharp contrast between somber, dark tones—primarily blacks and deep browns in the clothing—and…
Jacob van Loo painted "Diana and her nymphs, resting after the hunt" about 1648. The oil painting depicts a group of women situated within a mythological setting. These figures are identified as the goddess Diana and her nymphs. The scene captures a specific moment of repose following a hunt, moving away from the active pursuit of prey toward a state of rest.
The scene unfolds within the Allegory of Wealth, an oil on canvas created by the Dutch painter Jacob van Loo. This work emerges from around 1650, capturing a moment of profound abundance. The figures exist in a space defined by their interactions, a hallmark of the artist's approach to narrative painting. Every gesture and glance contributes to the unfolding story of prosperity and its allure.
Portrait of Sophia Huydecoper, née Coymans1655
12
Portrait of Joan Huydecoper1655
13
Portrait of Jan Hinlopen and Leonora Huydecoper1657 · Szépművészeti Múzeum
14
Boy with a Top and Dog1650
15
A Glass and Coral Factory1649 · Statens Museum For Kunst
16
Allegory of feeding the poor1657 · Amsterdam Museum
17
Group portrait of the regents of the Aalmoezeniers, Arm- and Werkhuis in Haarlem, 16591659 · Frans Hals Museum
18
Portrait of Lodewijk Huygens (1631-1699)1649
19
Young Man Reading1650
20
Musician with a wine-glass1651 · Wallraf-Richartz-Museum
21
Portrait of a boy with a dog1658 · Musee Baron Martin
22
Mother with two children1657 · Gemäldegalerie
23
Three Men in a Wine Cellar1664
24
Portrait of Michel Corneille (1661-1664)1663
25
Portrait of a woman1662 · Frederik Muller & Co
26
Diana resting and bathing with her nymphs1665 · Herzog Anton Ulrich Museum
27
Amarillis crowning Blueberry.
28
Indulgent Old Lady1654 · Hermitage Museum
29
Venus and Cupid1649 · Statens Museum For Kunst
30
Concert1650 · Hermitage Museum
31
Self Portrait, circa 1660, Jacob van Loo, 1655 - 16651665 · Rijksmuseum
32
Young Woman Going to BedGrand Palais
33
Danae1660 · The Kremer Collection
34
Amaryllis of the Annunciation1649 · Gemäldegalerie
35
Portrait of a Man, thought to be Christoffel van Gangelt, Second Husband of Lucretia Boudaen, Jacob van Loo (attributed to), 1640 - 16701670 · National Museum in Warsaw
36
Portrait of ScientistThe Art Museum RIGA BOURSE
37
interior - a nude woman - Rhodope
38
A Bacchanal
39
Ariadne.
40
Portrait of Lucretia Boudaen
41
Melancholy
42
Lovers.Rijksmuseum
43
Portrait of a Woman, thought to be Lucretia Boudaen (1616-1663), Wife of Jean Ortt and Second Wife of Christoffel van Gangelt, Jacob van Loo (attributed to), 1640 - 16701670 · Rijksmuseum
44
Diana and Her Nymphs1654 · Statens Museum For Kunst
45
Portrait of a Gentleman
46
Group portrait of the regentesses of AalmoezeniersFrans Hals Museum
47
Danae
48
Portrait of Johan Ort
49
Study of a woman
50
Bacchic sceneRijksmuseum
51
Portrait of the Meebeeck Cruywagen family near the gate of their country home on the Uitweg near Amsterdam.
The four subjects that come back most often in these originals, each with its finest example.
The 8 museums that hold the most of the paintings on this page.
| Museum | City | Works by Jacob van Loo | Paintings from this list |
|---|---|---|---|
 Rijksmuseum |
Amsterdam | 4 | Self Portrait, circa 1660, Jacob van Loo, 1655 - 1665, Lovers., Portrait of a Woman, thought to be Lucretia Boudaen (1616-1663), Wife of Jean Ortt and Second Wife of Christoffel van Gangelt, Jacob van Loo (attributed to), 1640 - 1670 |
 Gemäldegalerie |
Berlin | 3 | Diana and her nymphs, resting after the hunt, Mother with two children, Amaryllis of the Annunciation |
 Statens Museum For Kunst |
Copenhagen | 3 | A Glass and Coral Factory, Venus and Cupid, Diana and Her Nymphs |
 Condé Museum |
Chantilly | 2 | Portrait of Thomas Corneille, Allegory of Wealth |
 Mauritshuis |
The Hague | 2 | Amorous Couple, Portrait of a Lady |
 Frans Hals Museum |
Haren | 2 | Group portrait of the regents of the Aalmoezeniers, Arm- and Werkhuis in Haarlem, 1659, Group portrait of the regentesses of Aalmoezeniers |
 Hermitage Museum |
Saint Petersburg | 2 | Indulgent Old Lady, Concert |
 Bavarian State Painting Collections |
Munich | 1 | Allegory of Fortune |
Pick a decade to see the original that defines it.
The oil on canvas work titled Portrait of a Lady was executed by the artist Jacob van Loo in 1647. This half-length portrait depicts a woman seated in a high-backed chair. The subject is positioned against a dark, indistinct background that emphasizes her presence and the details of her attire. The composition focuses on the sitter from the waist up, establishing a direct connection through her orientation toward the viewer.
In Allegory of Fortune, Jacob van Loo presents a dense gathering of figures within a dark, lush woodland. The scene is a complex arrangement of movement and light, where the shadows of the forest press against the illuminated bodies of the subjects. At the heart of this chaotic abundance, a central nude figure appears to float or dance, caught in a moment of weightless grace. This figure anchors a composition…
The gaze of an elderly man meets us in the Portrait of Thomas Corneille, a work that captures a quiet moment of contemplation. Created by the artist Jacob van Loo, this oil on canvas presents a single subject, an aged male whose presence fills the frame. His long, wispy hair and weathered features suggest a life of significant experience, frozen here in a moment of serene stillness. The portraiture genre…
Portrait of a man, presumably Christopher van Gangelt, second husband of Lucretia Boudaen. Kneepiece, standing, with the right hand in the side. Pendant of SK-A-3750.
Allegory of Fortune (1655), Bavarian State Painting Collections, Munich. Bacchus and Ariadne (1650) and Portrait of Thomas Corneille (1660) come next.
41 years old: Allegory of Fortune dates from 1655, and Jacob van Loo was born in 1614.
Allegory of Fortune, Bacchus and Ariadne, Portrait of Thomas Corneille, Portrait of a Young Girl, Amorous Couple, Susannah and the Elders, Portrait of a Lady, Family Portrait of Rutger van Weert and Maria Beels, Diana and her nymphs, resting after the hunt and Allegory of Wealth. The ranking above gives each one's year and museum.
Our catalog holds 53 works by Jacob van Loo, dated from 1644 to 1670.
Mostly in Rijksmuseum (Amsterdam), Gemäldegalerie (Berlin) and Statens Museum For Kunst (Copenhagen). The museum table above lists them all.
In 1650s: 19 of the 51 works on this page were made then, Allegory of Fortune among them.
On this page, the earliest is Family Portrait of Rutger van Weert and Maria Beels (1644) and the latest Portrait of a Man, thought to be Christoffel van Gangelt, Second Husband of Lucretia Boudaen, Jacob van Loo (attributed to), 1640 - 1670 (1670).
Woman (15), Man (12) and Dark background (9), across the 51 works on this page.
Oil On Canvas, for 21 of the 51 works on this page.
Baroque, judging by the originals on this page.
Self Portrait, circa 1660, Jacob van Loo, 1655 - 1665, Lovers. and Portrait of a Woman, thought to be Lucretia Boudaen (1616-1663), Wife of Jean Ortt and Second Wife of Christoffel van Gangelt, Jacob van Loo (attributed to), 1640 - 1670: the Rijksmuseum, Amsterdam holds 4 of the works on this page.
Born in Sluis, a bustling port town in the Dutch Republic in 1614, Jacob van Loo’s life was one inextricably linked to the vibrant artistic currents of his time. His early years were shaped by his father, Jan van Loo, a painter who instilled in him a foundational understanding of technique and artistry. While details surrounding his formative years remain somewhat obscured due to wartime destruction of city archives, it's clear that Van Loo’s artistic journey began within the rich tapestry of the Dutch Golden Age – an era renowned for its innovative painting styles and prolific artists. His family history is significant; his father was a painter, and this lineage would ultimately establish a dynasty of painters, forever impacting European art.
Amsterdam quickly became Van Loo’s adopted home in 1635, immersing him within a dynamic artistic circle that included luminaries like Rembrandt, Frans Hals, and Bartholomeus van der Helst. This environment fostered intense competition and collaboration, pushing the boundaries of artistic expression. The city's bustling atmosphere undoubtedly fueled his creativity, providing a constant stream of inspiration and challenging him to refine his skills. He married Anna Lengele in 1642, a union that brought stability and contributed to the family’s growing influence within the art world. Their household flourished with six children, including talented painters Jean-Baptiste van Loo and Louis-Abraham van Loo – establishing a legacy that would extend far beyond his own lifetime.
Van Loo distinguished himself through his masterful command of ‘conversational groupings,’ a technique that revolutionized the history painting genre. Unlike earlier depictions, which often presented mythological or biblical scenes as static and formal events, Van Loo populated his canvases with lively, engaging figures caught in moments of interaction – dialogues, gestures, and expressions that breathed life into the narrative. This approach wasn’t merely decorative; it imbued the paintings with a sense of immediacy and realism, drawing viewers directly into the scene.
His skill extended particularly to his depictions of nudes, a subject often considered daring for its time. While Rembrandt's female figures were celebrated for their psychological depth and emotional resonance, Van Loo’s nudes gained considerable popularity among audiences. Some contemporary critics even suggested that his female forms were more favored than those of his Amsterdam rival. This preference speaks to the public’s appreciation for his technical virtuosity and the idealized beauty he captured on canvas. Notably, during his lifetime, his female figures were considered superior and more popular than those of Rembrandt.
Van Loo's artistic development was undoubtedly shaped by several key influences. Early connections with Thomas de Keyser and Jacob Adriaensz Backer provided him with a solid foundation in classical techniques and composition. These encounters exposed him to the principles of Renaissance art, which he skillfully integrated into his own style. The Baroque movement, originating in Rome, also exerted a significant impact, contributing to the dramatic lighting, rich colors, and dynamic poses characteristic of his work.
His time in Paris proved pivotal, marking a shift towards greater elegance and refinement. He was accepted into the Académie royale de peinture et de sculpture in 1663, solidifying his position within the French artistic establishment. This move signaled not only a professional advancement but also a deepening of his engagement with the evolving tastes and conventions of the Parisian art world.
Jacob van Loo’s influence extended far beyond his own lifetime. His success established the ‘Van Loo family of painters,’ a dynasty that profoundly impacted European painting for centuries. His son, Jean-Baptiste van Loo, continued the family tradition, producing works of exceptional quality and establishing a distinct artistic style. His grandson, Charles-André van Loo, further expanded the family’s legacy, becoming one of the most celebrated French painters of the 18th century.
The Van Loo dynasty's influence can be seen in the works of subsequent generations, demonstrating a continuous evolution and adaptation of their father’s innovative techniques. Jacob van Loo’s pioneering approach to composition, his masterful handling of nudes, and his establishment of a lasting artistic lineage cemented his place as a pivotal figure in Dutch and French art history. His paintings continue to be studied and admired for their beauty, dynamism, and enduring appeal.
Further information about Jacob van Loo can be found on the Artists Database and a detailed Wikipedia entry: Wikipedia.
