Jan Van Eyck (1390-1441)

Jan Van Eyck is one of the most significant figures of the early Netherlandish Renaissance.

• He is renowned for achieving an extraordinary level of realism in oil painting, particularly in capturing details like metal reflections, fabrics, human skin, and wrinkles.
• The exceptional quality of his works has led to various speculations regarding his materials, tools, and techniques. Some suggest he may have used an optical device, such as a concave mirror, to project images onto his canvas, enabling him to capture the intricate forms of complex objects with precision. However, this has never been proven.

Artwork:

Saint Francis of Assisi receiving the Stigmata (1430)

During Van Eyck's time, it was uncommon to depict highly detailed and naturalistic landscapes—this trend gained prominence with Leonardo da Vinci about 50 years later. In the background of the painting, there is a miniature portrayal of a Netherlandish city, while in the foreground, St. Francis is shown receiving the stigmata, the wounds of Christ, symbolizing his holiness.

• Like many of Jan Van Eyck’s works, this painting is a small one, measuring only 5x7 inches.
• The depiction of the two monks has been critiqued for being anatomically awkward and not well integrated into the landscape, leading to speculation that it may have been completed by Van Eyck's assistants in his workshop.

The Ghent Altarpiece (1432)

This oil polyptych (a multi-panel work with more than three sections joined by hinges and poles) is considered to mark the transition from medieval to Renaissance art. It was begun by Hubert van Eyck and completed by his brother Jan.

• When the altarpiece is closed, its central theme is the Annunciation—the angel Gabriel's announcement to Mary that she will conceive a son by the Holy Spirit, who will be named Jesus.
• When opened, the altarpiece reveals a procession of just judges, pilgrims, hermits, saints, and common people journeying to witness and adore the mystic lamb, symbolizing Christ's crucifixion. A fountain, visually linked to the cup collecting the lamb's blood, symbolizes eternal life.

This masterpiece is regarded as one of the most significant achievements in Western art and one of the most stolen. For instance, panels were stolen by Napoleon in the 1790s and by the Nazis in 1942.

• The "Just Judges" panel was stolen and never recovered. It was replaced by a copy during the 1945 restoration.

👉 This website provides an incredibly detailed view of the altarpiece as part of preservation and education efforts.

Man in a Red Turban (1433)

This painting is debated to be a self-portrait for several reasons:

• First, the man’s gaze is directly toward the viewer, suggesting he is looking at himself. The remarkable detail in the red veins and wrinkles suggests the artist either stood very close to the model or painted from his own reflection.
• Secondly, the original frame (not shown here) bears Van Eyck’s personal motto, "As I can," a phrase often used by artists who copied works. This adds to the speculation that Van Eyck was subtly boasting about his ability to capture realism.
• It's also believed this portrait could have been a form of self-promotion, showcasing Van Eyck’s unmatched skill in painting. By portraying himself so realistically, he could have been inviting potential clients to compare the portrait with his actual likeness.
• Additionally, in The Portrait of Arnolfini, one of the figures is seen wearing a red turban. Above the mirror in that painting, Van Eyck’s signature reads “I was here,” suggesting that the man in the red turban might be the artist himself.

Van Eyck is often credited with being one of the first artists to sign his works.

The Arnolfini Portrait (1434)

A lot of Van Eyck’s works are enigmatic, and this piece is no exception. The Arnolfini family were wealthy merchants, and this full-length portrait is most commonly thought to depict Arnolfini’s wedding. However, the actual wedding took place about 13 years after the painting was completed, and 5-6 years after Van Eyck’s death. The true subject of the painting remains uncertain.

• During that period, couples could marry anywhere, as long as there were witnesses. If you look closely at the mirror, you can see reflections of guests, including one wearing a red turban. Above the mirror is Van Eyck’s signature, “I was here,” suggesting the event took place in real life, with Van Eyck as a witness.
• The dog is a symbol of fidelity, particularly sexual faithfulness, which supports the idea that the painting represents a wedding scene.
  Oranges and the red garments represent wealth and abundance, though the brick wall in the background implies that the scene is set in a modest household.
• As for the speculation about the woman’s pregnancy, this is argued to be simply the way women of the time held their dresses to avoid being encumbered by the heavy fabric.

Another theory posits that the woman is Costanza Trenta, whom Giovanni Arnolfini married in 1426, seven years before the painting. She died in 1433 (a year before the painting was made) during childbirth. Supporters of this theory point to the dragon statue in the background, which allegedly represents Margaret of Antioch, the patron saint of childbirth.

They suggest that the woman is pregnant, and that the scene depicts a posthumous ceremony. The man’s black clothing, paired with the remnants of a second candle, may symbolize the wife’s death, while the lit candle represents the man, still alive and standing strong.

👉 Van Eyck’s works are often thought to be filled with hidden symbolism. For example, the single lit candle in the chandelier is seen by some as a symbol of God’s presence and blessing during the marriage. Others argue that, since the household seems to be of middle-class status, the candle may simply be a practical way to save electricity.

Ultimately, Van Eyck’s paintings are open to interpretation, and he was certainly aware of his historical significance.

Jan Van Eyck had an unusual sense of perspective, mostly atmospheric. In this painting, the floor panels feature several vanishing points, and the chandelier is rendered in a way that makes it physically impossible to fit in the depicted space.

The Virgin in a Church (1438)

As mentioned, Van Eyck’s sense of perspective was more imaginative or idealized, but his portrayal of people was highly realistic. In this painting, the oversized Virgin Mary appears as if she has materialized from the statue behind her. The palace, depicted with a sense of familiar reality, makes the ideal or fantastical world more accessible to us.