709:
76:
36:
196:
216:
surviving religious paintings, two more known only from copies, and the portrait of his wife. In none of these is it as prominent as here, a primary reason, along with the very direct but bloodshot gaze, why the work is usually viewed as a self-portrait. Some art historians view the work as a form of calling card for prospective clients, where van Eyck may be saying "look at what I can do with paint, how lifelike I can make my figures".
192:
piercing gaze, looking directly at the viewer—possibly being the first portrait in a millennium to do so. His weary facial expression is achieved through a combination of his strong nose, tightly pursed wide mouth and the framing of his face by the headdress. The overall expression is of a man, who one scholar says "see things – himself included – in close-up, but without losing track of the bigger picture."
140:, although her only known portrait is both dated 1439 and larger. It has been proposed that van Eyck created the portrait to store in his workshop so that he could use it to display his abilities (and social status, given the fine clothes evident in the portrait) to potential clients. However, his reputation was such in 1433 that he was already highly sought after for commissioned work.
255:
black flecks near the circumference and the pupil is painted in black over the blue of the iris. The principal catchlights are four spots of lead white applied as final touches, one on the iris and three on the white, where they register with the four secondary lights to create the glistening effect."
215:
The sitter is often thought to be van Eyck himself, though there is no direct evidence for this. His direct gaze may be after the artist studying himself in a mirror. The costume is appropriate for a man of van Eyck's social position, and the motto is his personal one, otherwise only appearing on two
182:
appears in many of van Eyck's other works, it is believed that he is challenging other artists to do better than him. Although written in Greek letters, the phrase is originally
Flemish. Having a Flemish phrase in Greek writing implies van Eyck saw himself in "competition with the ancients as well as
249:
Typically for van Eyck, the head is a little large in relation to the torso. The technique shows the "skill, economy and speed" of van Eyck's best work. Campbell describes the painting of the left eye as follows: "The white of the eye is laid in white mixed with minute quantities of red and blue. A
254:
of red is brought over the underlayer, which is, however, left exposed in four places to create the secondary highlights. The veins are painted in vermilion into the wet scumble. The iris is ultra-marine, fairly pure at its circumference but mixed with white and black towards the pupil. There are
174:
Autographing and dating panel paintings in the early 15th century was unusual. Even when dates were added they tended to be for the year only, whereas here van Eyck spells out the specific date, October 21. As too few of his paintings survive (the extant works number somewhere in the low 20s) to
191:
Like all van Eyck's portraits, it shows a sharp and detailed analysis of the subject. The painting is a third life-size with the sitter sitting in three-quarters profile. His stubbled face is heavily lined with the onset of middle age, and his eyes are semi-bloodshot. He looks outwards with a
239:
may directly refer to his occupation as a painter—it is rolled up, perhaps to keep it out of way as he freely applies paint. The emphasis on the sitter's sharp and keenly intelligent bloodshot eyes is a further subtle clue, one found again later in
Albrecht DĂĽrer's 1500
127:(intended as "as I/Eyck can") was a common autograph for van Eyck, but here is unusually large and prominent. This fact, along with the man's unusually direct and confrontational gaze, have been taken as an indication that the work is a self-portrait.
175:
judge his prolificacy, the degree of detail and skill indicates that they took months rather than days to complete. Thus, the date may have served as a boast to potential commissioners rather than as a matter of fact.
183:
with his contemporaries". Regardless of his reasoning behind including the motto in many of his works, it can be implied the phrase is a sign of van Eyck's self-consciousness about his work as a painter.
171:" ("As Well As I Can"), which appears on other van Eyck paintings, always written in Greek letters, and includes a pun on his name. As on other van Eyck frames, the letters are painted to appear carved.
227:
with the ends that normally hang down tied up over the top, which would be a sensible precaution if it was worn whilst painting. A similar chaperon is worn by a figure in the background of van Eyck's
233:, and it has been suggested that this is also a self-portrait. Depicting the lines and folds of a chaperon would allow an artist to overtly display his skill. More so, the positioning of its long
53:
1148:
1085:
1019:
740:
285:
This creates the illusion that the subject is looking directly at the viewer no matter their angle of observation—as in the later portrait of
163:
The original frame survives (the vertical sides are in fact a single piece of wood with the central panel), and has the painted inscription "
17:
1158:
953:
1098:
783:
683:
69:
638:
708:
916:
276:
It was noted in
Arundel's collection in Antwerp by a Flemish visitor, as a portrait of the "Duke of Barlaumont". (Campbell, 212)
843:
617:
584:
482:
536:
752:
148:
1143:
966:
501:
Janson, Horst W., and
Penelope J. E. Davies. Janson's History of Art: the Western Tradition. Pearson Education, 2016.
523:
506:
496:
439:
251:
1045:
242:
1153:
1032:
1000:
725:
75:
1064:
662:
427:
377:
696:
602:
200:
132:
116:
47:
767:
577:
979:
908:
675:
1138:
804:
929:
369:
362:
882:
791:
570:
992:
511:
8:
224:
167:" ("Jan van Eyck Made Me on October 21, 1433") at the bottom, and at the top, the motto "
812:
654:
1077:
519:
502:
492:
478:
459:
451:
435:
373:
856:
831:
540:
144:
137:
83:
630:
1116:
836:
443:
205:
545:
68:
For another portrait of a man wearing a red chaperon painted by Van Eyck, see
1132:
775:
229:
593:
553:
120:
447:
147:, London, since 1851, and it has been in England since its acquisition by
455:
311:
The title now used by the
National Gallery; see: Campbell (1998), 212–17
287:
195:
463:
360:
De La Croix, Horst; Tansey, Richard G.; Kirkpatrick, Diane (1991).
235:
557:
152:
562:
220:
209:
359:
434:. London: National Gallery Catalogues (new series), 1998.
123:, from 1433. The inscription at the top of the panel,
219:
The man is not, as it is commonly thought, wearing a
44:
A request that this article title be changed to
368:(9th ed.). Harcourt Brace Jovanovich. p.
1086:Christ on the Cross with the Virgin and Saint John
361:
165:JOHES DE EYCK ME FECIT ANO MCCCC.33. 21. OCTOBRIS
92:JOHES DE EYCK ME FECIT ANO MCCCC.33. 21. OCTOBRIS
1130:
94:" are painted on the frame to resemble carving.
409:
407:
578:
432:The Fifteenth Century Netherlandish Paintings
61:this article until the discussion is closed.
468:The Fifteenth Century Netherlandish Schools
404:
585:
571:
1149:Paintings in the National Gallery, London
784:Virgin and Child with Canon van der Paele
684:Portrait of Giovanni di Nicolao Arnolfini
491:. Oxford: Oxford University Press, 2008.
70:Portrait of Giovanni di Nicolao Arnolfini
194:
158:
74:
14:
1131:
844:Crucifixion and Last Judgement Diptych
639:Portrait of Cardinal Niccolò Albergati
618:Portrait of a Man with a Blue Chaperon
355:
353:
351:
566:
477:. London: Thames & Hudson, 2014.
475:The Self-portrait: A Cultural History
323:
321:
319:
317:
917:Study for Cardinal Niccolò Albergati
741:Saint Francis Receiving the Stigmata
29:
1159:Works believed to be self-portraits
348:
149:Thomas Howard, 14th Earl of Arundel
24:
647:Portrait of a Man (Self Portrait?)
537:Portrait of a Man (Self Portrait?)
330:
314:
100:Portrait of a Man (Self Portrait?)
80:Portrait of a Man (Self Portrait?)
25:
1170:
548:Portrait of a Man in a Red Turban
530:
112:Portrait of a Man in a Red Turban
48:Portrait of a Man in a Red Turban
1046:Portrait of a Man with Carnation
954:Portrait of Isabella of Portugal
707:
592:
34:
1001:Madonna of Nicolas van Maelbeke
151:, probably during his exile in
663:Portrait of Baudouin de Lannoy
395:
386:
364:Gardner's Art Through the Ages
339:
305:
279:
270:
186:
13:
1:
1089:
1068:
1036:
1023:
983:
970:
957:
933:
920:
887:
860:
847:
795:
758:
744:
731:
697:Portrait of Margaret van Eyck
687:
666:
621:
258:
201:Portrait of Margaret van Eyck
133:Portrait of Margaret van Eyck
106:Portrait of a Man in a Turban
18:Portrait of a Man in a Turban
298:
263:
115:) is an oil painting by the
7:
1020:The Three Marys at the Tomb
768:Madonna of Chancellor Rolin
10:
1175:
993:Vera Icon (Head of Christ)
420:
143:The panel has been in the
67:
1144:Portraits by Jan van Eyck
1109:
1099:Saint Jerome in His Study
1056:
1011:
945:
900:
872:
823:
716:
705:
609:
600:
518:. London: Taschen, 2008.
676:Portrait of Jan de Leeuw
489:Northern Renaissance art
204:, 41.2 Ă— 34.6 cm, 1439.
27:Painting by Jan van Eyck
930:Study for a Crucifixion
805:Madonna at the Fountain
1154:15th-century portraits
550:(Self-Portrait?), 1433
212:
95:
792:Madonna in the Church
512:Borchert, Till-Holger
198:
159:Frame and inscription
82:, 25.5 Ă— 19cm, 1433.
78:
1033:The Fountain of Life
413:Campbell (1998), 216
155:from 1642 to 1644.
117:Early Netherlandish
813:Madonna of Jan Vos
655:Arnolfini Portrait
345:Janson (2016), 483
213:
96:
1126:
1125:
1078:Ince Hall Madonna
967:Saint Christopher
883:Turin–Milan Hours
839:, completed 1432)
483:978-0-5002-3910-0
66:
65:
16:(Redirected from
1166:
1094:
1091:
1073:
1072: 1430–1432
1070:
1041:
1038:
1028:
1025:
988:
985:
975:
972:
962:
959:
938:
935:
925:
922:
892:
889:
865:
862:
857:Dresden Triptych
852:
851: 1430–1440
849:
832:Ghent Altarpiece
800:
799: 1438–1440
797:
763:
762: 1434–1436
760:
749:
748: 1432–1440
746:
736:
735: 1432–1434
733:
717:Single religious
711:
692:
689:
671:
668:
626:
623:
587:
580:
573:
564:
563:
541:National Gallery
414:
411:
402:
401:Nash (2008), 154
399:
393:
392:Nash (2008), 153
390:
384:
383:
367:
357:
346:
343:
337:
334:
328:
325:
312:
309:
292:
283:
277:
274:
178:Since the motto
170:
166:
145:National Gallery
93:
89:
84:National Gallery
54:under discussion
50:
38:
37:
30:
21:
1174:
1173:
1169:
1168:
1167:
1165:
1164:
1163:
1129:
1128:
1127:
1122:
1117:Hubert van Eyck
1105:
1092:
1071:
1052:
1039:
1026:
1007:
986:
973:
960:
941:
936:
923:
896:
890:
874:
868:
863:
850:
837:Hubert van Eyck
819:
798:
761:
747:
734:
718:
712:
703:
690:
669:
624:
605:
596:
591:
533:
528:
466:. (also titled
428:Campbell, Lorne
423:
418:
417:
412:
405:
400:
396:
391:
387:
380:
358:
349:
344:
340:
335:
331:
327:Hall (2014), 43
326:
315:
310:
306:
301:
296:
295:
284:
280:
275:
271:
266:
261:
206:Groeningemuseum
189:
168:
164:
161:
91:
87:
73:
62:
46:
39:
35:
28:
23:
22:
15:
12:
11:
5:
1172:
1162:
1161:
1156:
1151:
1146:
1141:
1139:1433 paintings
1124:
1123:
1121:
1120:
1113:
1111:
1107:
1106:
1104:
1103:
1095:
1082:
1074:
1060:
1058:
1054:
1053:
1051:
1050:
1042:
1029:
1015:
1013:
1009:
1008:
1006:
1005:
997:
989:
976:
963:
961: 1428–29
949:
947:
943:
942:
940:
939:
926:
913:
909:Saint Barbara
904:
902:
898:
897:
895:
894:
878:
876:
870:
869:
867:
866:
853:
840:
827:
825:
821:
820:
818:
817:
809:
801:
788:
780:
772:
764:
750:
737:
722:
720:
714:
713:
706:
704:
702:
701:
693:
680:
672:
659:
651:
643:
635:
627:
613:
611:
607:
606:
601:
598:
597:
590:
589:
582:
575:
567:
561:
560:
546:Jan van Eyck,
543:
532:
531:External links
529:
527:
526:
509:
499:
485:
471:
424:
422:
419:
416:
415:
403:
394:
385:
378:
347:
338:
329:
313:
303:
302:
300:
297:
294:
293:
278:
268:
267:
265:
262:
260:
257:
188:
185:
160:
157:
64:
63:
60:
42:
40:
33:
26:
9:
6:
4:
3:
2:
1171:
1160:
1157:
1155:
1152:
1150:
1147:
1145:
1142:
1140:
1137:
1136:
1134:
1118:
1115:
1114:
1112:
1108:
1101:
1100:
1096:
1088:
1087:
1083:
1080:
1079:
1075:
1067:
1066:
1062:
1061:
1059:
1055:
1048:
1047:
1043:
1035:
1034:
1030:
1022:
1021:
1017:
1016:
1014:
1010:
1003:
1002:
998:
996:(before 1438)
995:
994:
990:
982:
981:
980:Woman Bathing
977:
969:
968:
964:
956:
955:
951:
950:
948:
944:
932:
931:
927:
919:
918:
914:
911:
910:
906:
905:
903:
899:
885:
884:
880:
879:
877:
871:
859:
858:
854:
846:
845:
841:
838:
834:
833:
829:
828:
826:
822:
815:
814:
810:
807:
806:
802:
794:
793:
789:
786:
785:
781:
778:
777:
776:Lucca Madonna
773:
770:
769:
765:
757:
755:
751:
743:
742:
738:
730:
728:
724:
723:
721:
715:
710:
699:
698:
694:
686:
685:
681:
678:
677:
673:
665:
664:
660:
657:
656:
652:
649:
648:
644:
641:
640:
636:
633:
632:
631:LĂ©al Souvenir
628:
620:
619:
615:
614:
612:
608:
604:
603:List of works
599:
595:
588:
583:
581:
576:
574:
569:
568:
565:
559:
555:
551:
549:
544:
542:
538:
535:
534:
525:
524:3-8228-5687-8
521:
517:
513:
510:
508:
507:0-13-387829-5
504:
500:
498:
497:0-19-284269-2
494:
490:
487:Nash, Susie.
486:
484:
480:
476:
473:Hall, James.
472:
469:
465:
461:
457:
453:
449:
445:
441:
440:1-85709-171-X
437:
433:
429:
426:
425:
410:
408:
398:
389:
381:
375:
371:
366:
365:
356:
354:
352:
342:
333:
324:
322:
320:
318:
308:
304:
290:
289:
282:
273:
269:
256:
253:
247:
245:
244:
243:Self-Portrait
238:
237:
232:
231:
230:Rolin Madonna
226:
222:
217:
211:
207:
203:
202:
197:
193:
184:
181:
176:
172:
156:
154:
150:
146:
141:
139:
135:
134:
130:Probably his
128:
126:
122:
118:
114:
113:
108:
107:
102:
101:
85:
81:
77:
71:
58:
56:
55:
51:
49:
41:
32:
31:
19:
1097:
1084:
1081:(after 1434)
1076:
1063:
1044:
1031:
1027: 1420s
1018:
1004:(after 1440)
999:
991:
978:
965:
952:
928:
915:
907:
881:
855:
842:
830:
811:
803:
790:
782:
774:
766:
756:(Washington)
754:Annunciation
753:
739:
727:Annunciation
726:
695:
682:
674:
661:
653:
646:
645:
637:
629:
616:
594:Jan van Eyck
554:Smarthistory
547:
515:
488:
474:
467:
431:
397:
388:
363:
341:
336:Borchert, 36
332:
307:
286:
281:
272:
248:
241:
234:
228:
218:
214:
199:
190:
179:
177:
173:
162:
142:
131:
129:
124:
121:Jan van Eyck
111:
110:
105:
104:
99:
98:
97:
79:
45:
43:
1093: 1435
1065:Crucifixion
1040: 1432
987: 1434
974: 1460
937: 1440
924: 1432
891: 1420
886:("Hand G",
875:manuscripts
873:Illuminated
864: 1437
816:(1441–1443)
691: 1438
670: 1435
625: 1430
187:Description
180:Als Ich Can
169:AlC IXH XAN
125:Als Ich Can
88:AlC IXH XAN
86:, London. "
59:do not move
1133:Categories
824:Polyptychs
379:0155037692
259:References
250:very thin
1119:(brother)
1012:Contested
610:Portraits
299:Citations
288:Mona Lisa
264:Footnotes
57:. Please
1057:Workshop
901:Drawings
729:(Madrid)
516:Van Eyck
464:98-66510
456:40732051
236:cornette
225:chaperon
223:, but a
119:painter
1110:Related
558:YouTube
448:392219M
421:Sources
252:scumble
153:Antwerp
138:pendant
90:" and "
1102:(1442)
1049:(1435)
912:(1437)
835:(with
808:(1439)
787:(1436)
779:(1436)
771:(1435)
700:(1439)
679:(1436)
658:(1434)
650:(1433)
642:(1432)
634:(1432)
522:
505:
495:
481:
462:
454:
446:
438:
376:
221:turban
210:Bruges
136:was a
103:(also
719:works
946:Lost
556:via
520:ISBN
503:ISBN
493:ISBN
479:ISBN
460:LCCN
452:OCLC
436:ISBN
374:ISBN
539:at
370:705
109:or
52:is
1135::
1090:c.
1069:c.
1037:c.
1024:c.
984:c.
971:c.
958:c.
934:c.
921:c.
888:c.
861:c.
848:c.
796:c.
759:c.
745:c.
732:c.
688:c.
667:c.
622:c.
552:,
514:.
458:.
450:.
444:OL
442:.
430:.
406:^
372:.
350:^
316:^
246:.
208:,
893:)
586:e
579:t
572:v
470:)
382:.
291:.
72:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
