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The Arnolfini Portrait
Jan van Eyck. c. 1434 C.E. Burges, Netherland. Oil on wood
Jan van Eyck. c. 1434 C.E. Burges, Netherland. Oil on wood
Van Eyck used oil-based paint as the medium for his artwork. This type of paint is manufactured by adding pigment to linseed or walnut oil. Oil based paint dries slowly allowing the painter more time to make revisions and to add detail, and it has a luminous quality that allows the artist. Van Eyck was not the inventor of oil-based paint, but he is recognized as being one of the first to perfect its use
Form
- Jan van Eyck
- 1434
- Oil paint on oak panel
- 82.2 cm x 60 cm (32.4 in x 23.6 in)
Function
- Art historians differ in their interpretations of the function of this painting
- Documentation of a wedding (why it's sometimes called "The Arnolfini Wedding Portrait")
- Evidence of a sacred event taking place
- their shoes have been removed
- hands joined together
- man raises one hand as if swearing an oath
- one candle in the chandelier is a symbol of God's presence
- dog is a symbol of fidelity
- serves to bless the marriage with this symbolism
- significant amount of religious imagery
- candle in chandelier (God's presence)
- prayer beads on the wall, next to the mirror
- roundels on the mirror show biblical scenes
- Significance of Van Eyck's signature
- "Jan van Eyck was here"
- makes it seem like he was acting as a witness, rather than just signing a work of art
- in the mirror's reflection of the room, there are several figures standing in the doorway, looking in on the scene of man and wife
- these figures could be witnesses to the wedding ceremony
- This was the leading interpretation of the Arnolfini portrait for a while, but now art historians generally agree that this is likely NOT a wedding portrait
- Double portrait of an already married couple
- Showing off their wealth
- Arnolfini was a wealthy merchant from Bruges, a "thriving economic town in the early 15th century"
- high fashion
- wearing furs, heavy clothing, despite warm weather
- wife is wearing gathered skirt to make her appear pregnant
- she is not actually pregnant, this was the style during this time
- oranges
- had to be imported
- expensive
- receiving guests in their lavish bedroom
- bedrooms were where people received guests, rather than living rooms
- they are welcoming the guests shown in the mirror reflection
- husband's hand may be raised in greeting rather than oath/prayer
- carpet
- sign of wealth and taste
- Showing off their piety, status as good christians
- prayer beads
- roundels around mirror
- shoes removed
Content
- Portrait of a husband and wife
- Possibly Giovanni Arnolfini (?)
- art historians are not positive which Arnolfini this is
- but definitely a wealthy merchant who worked in Bruges
- prosperous economic town in the 15th century
- surrounded by token symbols of their life that give evidence of what may be happening (see various interpretations in "Function" section)
- dog
- oranges
- removed shoes
- prayer beads
- biblical imagery in the decorative roundels surrounding the mirror
- lavish drapery, carpets, clothing
- light streaming in from window
- shows Van Eyck's mastery of light and shadow, soft texture
Context
- The Northern Renaissance
- Both Northern Renaissance and Italian Renaissance are concerned with realism, but in different ways
- Northern lacks perspective and obsession with human anatomy, but boasts greater attention to minute detail and softer gradations of color and light
- because of GLAZING
- layer upon layer of translucent oil paint
- creates softer colors, more realistic because translucent and smooth blending and gradations
- the Italian painters still used tempera and fresco
- The size of the detailed roundels (half a fingernail!) shows mastery of fine detail in even the smallest of scenes
- The dog's hair and the texture of the wife's gown/coat/cape are also great examples of this fine detail and texture
Cross-Cultural Comparisons: Couples in Art
- Menkaura and His Queen
- Veranda post
- Justinian and Attendants and Theodora and Attendants
