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(1) Jacob van Loo
(b Sluis, nr Bruges, 1614; d Paris, 27 Nov 1670). Painter. He first trained with his father, Jan van Loo, and seems to have been influenced in his youth by Thomas de Keyser and Jacob Backer. From 1642 he lived and worked in Amsterdam, where he married a sister of the painter Maerten Lengele (d 1668). The works of his first ten years in Amsterdam are Flemish in feeling, as is demonstrated by a comparison between his Coucher à l’italienne (1650; Lyon, Mus. B.-A.) and Jacob Jordaens’s the Wife of King Candaules (Stockholm, Nmus.). The provocatively posed figure of a naked woman seen from behind, portrayed by Jordaens with Baroque exuberance, receives a somewhat calmer treatment from van Loo in terms of line and composition; nevertheless, the motif of the naked woman turning towards the viewer and the structure of the painting are clearly inspired by Jordaens. The same ten years produced more complex figure compositions based on mythological themes, in which Flemish monumentality and animation were again translated into quieter compositions of a more classical nature. Examples of this development include van Loo’s portrayals of Diana with her Nymphs (Berlin, Bodemus., and Brunswick, Herzog Anton Ulrich-Mus.). Similar stylistic features can be recognized in the Allegory of Wealth (Chantilly, Mus. Condé).
Part of the Loo, van family
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