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Jacob Jordaens , a contemporary of Rubens and Van Dyck , embodied the Flemish genius in his raw rudeness and brave sensuality. Jordaens almost created a Flemish mythology with his glorification of food and wine consumed in happy company, together with shouts of play and revelry. His work represents an apotheosis of health and life so extraordinary that, even in the religious paintings of his early period, where he appeared more reserved—such as in his Four Evangelists —, the realism of observation and the force of life, remove from these scenes any hint of religious inspiration or mysticism.
John traditionally portrayed as the youngest wears a white robe, in the foreground, and Matthew is on the far right. He is shown writing his Gospel, but the angel who traditionally accompanies him as his attribute is here absent. The other two Evangelists cannot be accurately identified, as they also lack their traditional attributes the lion for Saint Mark, the ox for Saint Luke.
All four evangelist stand erect, and are seen only from the knees upwards. Their eyes are fixed upon the book which lies open on a table. We see them as if they are all lost in meditation and deliberation.
All, except for young John, are tanned by the sun and wrinkled as if by hard labor. Saint Matthew is holding a book in his left hand and lifts a quill in his right as if he is about to write. A glimpse of sky is noticeable in the background behind the red drapery which acts as a backdrop for the scene. In the 17th century, following the example given by the Carracci and Caravaggio , painters depicted the Evangelists as robust ordinary men.
