737:
33:
269:
228:
188:
135:
175:(cross-bearing orb) in his left hand, with his right hand raised in the gesture of a blessing. The perfectionist rendering of details and textures, such as the capitals, the checquered pavement, the goldwork of the angel's crown or the garments is characteristic of Jan van Eyck's work, of which this is one of the finest examples.
127:, Rolin's hometown. A wide range of well detailed palaces, churches, an island, a towered bridge, hills and fields is portrayed, subject to a uniform light. Perhaps some of the Chancellor's many landholdings around Autun are included in the vista. A haze covers a mountain range in the far distance. As in many
178:
As in other van Eycks, the depiction of the space is not as straightforward as it first appears. Comparison of the floor-tiles with other elements shows that the figures are only about six feet from the columned loggia screen, and that Rolin might have to squeeze himself through the opening to get
168:
The interior has complex light sources, typical of van Eyck, with light coming both from the central portico and the side windows. The chancellor, whose strong character is well rendered by the artist, is wearing a fur-lined, elegant garment; the Virgin, the same size as Rolin (rather a novelty in
581:
245:. This painting may have originally hung to the left of Rolin's place at the front of his chapel in his parish church, between him and the altar. To Rolin, or a viewer of the real and painted Rolins together, the Virgin is painted in the position of the altar in the chapel. The
414:
162:
Peacocks were the symbol of Jesus Christ and magpies were regarded as evil. Artists like to oppose the symbolic birds, the dichotomy between good and evil: Van Eyck, in the panel of the
Chancellor Rolin, will also use the peacock and the
264:
of his own day. The setting probably represents at the same time an imaginary building in Autun, and the "Heavenly city of
Jerusalem"; two personages from two worlds are shown, and their surrounding combines the world of each.
206:
was originally pointing at the floor. Old descriptions from Autun tell us that the painting originally had a wooden frame painted illusionistically with inscriptions seemingly carved, like van Eyck's two portraits in London
297:; there is a magnificent cathedral on the Virgin's side of the river. Also, just above Rolin's hands there is a smaller church, perhaps intended to represent a new church dedicated to the Virgin, or his own parish church,
352:
unaccounted for, unless perhaps the human figures of Rolin himself (with his underdrawn purse), and the idlers out on the terrace (perhaps including, as stated above, van Eyck himself) represent the last two vices.
411:
241:, and was often used by Jan van Eyck, who elaborated the meaning in complex allusions. The Virgin's body was often compared to an altar, on which Christ was present as he was believed to be during the
507:
Gelfand, Laura; Gibson, Walter. "Surrogate Selves: The "Rolin
Madonna" and the Late-Medieval Devotional Portrait". Simiolus: Netherlands Quarterly for the History of Art, Volume 29, No. 3/4, 2002.
344:(which they were considered to exemplify in the Middle Ages). All these details are on Rolin's side of the painting; no equivalents are visible on the other, divine, side. However this leaves
160:. Near to them are two magpies and two peacocks, the latter are symbols both of immorality and of pride, to which even a powerful man as Rolin might succumb. However MartĂ DomĂnguez states –
142:
The small garden with many flowers identifiable (including lilies, irises, paeonies and roses), visible just outside the columns, symbolizes Mary's virtues. Beyond, two male figures wearing
179:
out that way. Many van Eycks show an interior space that is actually very small, but the depiction is subtly managed to retain a sense of intimacy, but without feeling constricted.
235:
The Virgin sits with the infant Christ "on her knee" (i.e. on her thighs), which make a platform for the infant. This very traditional motif is known as the
150:
of what looks to be a fortified balcony or bridge. There has been speculation that they may represent van Eyck and an assistant, after the pattern of his
1186:
249:
in front of Rolin is open to a page with a large initial D, which probably indicates "Domine, labia mea aperies" ("Lord, open my lips"), the opening of
1113:
202:. Rolin had a large purse hanging from his belt; since he had grown very rich in public office he probably felt that would be inappropriate. The
1047:
768:
1176:
123:
with a rich decoration of columns and bas-reliefs. In the background is a landscape with a city on a river, probably intended to be Autun in
1181:
981:
231:
Detail showing the church over Rolin's hands, and the cathedral over Christ, the flowers in the garden and the squashed rabbits of lust.
1126:
811:
711:
666:
736:
944:
871:
645:
612:
260:
The architecture of the loggia, as in so many of van Eyck's paintings, is in a rich and delicate
Romanesque style far from the
780:
674:
379:
1166:
994:
560:
519:
1073:
131:, the steepness of the hills and mountains is shown as much greater than that found locally, for dramatic effect.
1060:
1028:
753:
1092:
690:
542:
724:
630:
277:
215:
32:
17:
169:
comparison to the Gothic painting tradition), is instead covered by a red mantle. The Infant Jesus holds a
128:
62:
605:
285:
makes a drawing for his painting of the Virgin. The setting is clearly derived from the Rolin
Madonna.
156:. The figure on the right wears a similar red chaperon to the probable van Eyck self-portrait in the
430:
1211:
1171:
1007:
936:
703:
157:
497:
1216:
1206:
1196:
832:
573:
1191:
957:
246:
1201:
910:
819:
598:
290:
272:
99:
In 2024, following conservation, the painting was the focus of an exhibition at the Louvre.
1020:
268:
8:
534:
282:
261:
143:
840:
682:
349:
227:
152:
69:
44:
1105:
556:
538:
515:
305:
124:
77:
884:
859:
658:
209:
1144:
864:
527:
418:
340:, and the tiny squashed rabbits between column and base in the loggia screen for
294:
171:
93:
81:
529:
The Altar and the
Altarpiece, Sacramental Themes in Early Netherlandish Painting
490:
242:
237:
1160:
803:
254:
73:
621:
203:
199:
147:
92:, where it remained until the church burnt down in 1793. After a period in
65:
58:
40:
108:
502:
Early
Netherlandish Paintings, Volume 1: The van Eycks, Petrus Christus
336:). Then the lion-heads on the capitals behind Rolin may stand for
333:
195:
187:
134:
345:
289:
The painting might be connected with the appointment in 1436 of
590:
309:
250:
120:
380:"A New Look at Jan Van Eyck - The Madonna of Chancellor Rolin"
84:
takes up the left side of the picture, for his parish church,
337:
317:
116:
112:
89:
341:
325:
198:
reflectograms have disclosed a number of changes from the
553:
Van Eyck and the
Founders of Early Netherlandish Painting
304:
There appears to be a series of illustrations of the
308:distributed among the details of the painting. The
1114:Christ on the Cross with the Virgin and Saint John
526:
514:, pp. 100–118, Reaktion Books, London, 1991,
1158:
606:
487:La grande Storia dell'Arte 4. Il Quattrocento
68:, dating from around 1435. It is now in the
574:Louvre website – Interactive exploration of
314:the expulsion of Adam and Eve from Paradise
1187:Paintings in the Louvre by Flemish artists
613:
599:
584:The Virgin and Child with Chancellor Rolin
576:The Virgin and Child with Chancellor Rolin
555:. 1999. London: Harvey Miller Publishers.
812:Virgin and Child with Canon van der Paele
712:Portrait of Giovanni di Nicolao Arnolfini
312:just over Rolin's head show (from left)
267:
226:
186:
133:
31:
14:
1159:
872:Crucifixion and Last Judgement Diptych
667:Portrait of Cardinal Niccolò Albergati
646:Portrait of a Man with a Blue Chaperon
504:. New York: Frederick A. Praeger, 1967
119:to Rolin. It is set within a spacious
96:, it was moved to the Louvre in 1805.
594:
484:
1177:Arts in the court of Philip the Good
945:Study for Cardinal Niccolò Albergati
769:Saint Francis Receiving the Stigmata
524:
586:and Jan van Eyck's journey to Spain
24:
1182:Paintings of the Madonna and Child
675:Portrait of a Man (Self Portrait?)
25:
1228:
567:
512:Jan van Eyck, The Play of Realism
412:Louvre page, section "The garden"
1074:Portrait of a Man with Carnation
982:Portrait of Isabella of Portugal
735:
620:
72:, Paris. It was commissioned by
43:on panel, c. 1435. 66cm x 62cm.
1029:Madonna of Nicolas van Maelbeke
691:Portrait of Baudouin de Lannoy
464:
455:
446:
437:
423:
405:
396:
372:
363:
222:
182:
115:while she presents the infant
102:
13:
1:
1117:
1096:
1064:
1051:
1011:
998:
985:
961:
948:
915:
888:
875:
823:
786:
772:
759:
725:Portrait of Margaret van Eyck
715:
694:
649:
477:
278:Saint Luke Drawing the Virgin
216:Portrait of a Man in a Turban
129:Early Netherlandish paintings
533:. Harper & Row. p.
80:, then aged about 60, whose
7:
1048:The Three Marys at the Tomb
796:Madonna of Chancellor Rolin
301:which he greatly enriched.
63:Early Netherlandish painter
54:Madonna of Chancellor Rolin
37:Madonna of Chancellor Rolin
10:
1233:
1021:Vera Icon (Head of Christ)
431:"Renaissance Ornithofauna"
1167:Paintings by Jan van Eyck
1137:
1127:Saint Jerome in His Study
1084:
1039:
973:
928:
900:
851:
744:
733:
637:
628:
525:Lane, Barbara G. (1984).
704:Portrait of Jan de Leeuw
485:Bucci, Cristina (2005).
356:
158:National Gallery, London
146:are looking through the
27:Painting by Jan van Eyck
958:Study for a Crucifixion
833:Madonna at the Fountain
322:Killing of Abel by Cain
498:Friedländer, Max Jakob
286:
253:; this is therefore a
247:illuminated manuscript
232:
192:
139:
111:crowned by a hovering
107:The scene depicts the
48:
820:Madonna in the Church
402:Harbison, pp. 100–118
299:Notre-Dame-du-Chastel
273:Rogier van der Weyden
271:
230:
190:
137:
86:Notre-Dame-du-Chastel
35:
1061:The Fountain of Life
191:Carvings above Rolin
138:Detail of the angel.
582:New theories about
493:. pp. 194–198.
433:. 14 November 2014.
330:Drunkenness of Noah
841:Madonna of Jan Vos
683:Arnolfini Portrait
417:2009-07-13 at the
287:
233:
193:
153:Arnolfini Portrait
140:
76:chancellor of the
49:
1154:
1153:
1106:Ince Hall Madonna
995:Saint Christopher
911:Turin–Milan Hours
867:, completed 1432)
510:Harbison, Craig.
306:Seven deadly sins
78:Duchy of Burgundy
16:(Redirected from
1224:
1122:
1119:
1101:
1100: 1430–1432
1098:
1069:
1066:
1056:
1053:
1016:
1013:
1003:
1000:
990:
987:
966:
963:
953:
950:
920:
917:
893:
890:
885:Dresden Triptych
880:
879: 1430–1440
877:
860:Ghent Altarpiece
828:
827: 1438–1440
825:
791:
790: 1434–1436
788:
777:
776: 1432–1440
774:
764:
763: 1432–1434
761:
745:Single religious
739:
720:
717:
699:
696:
654:
651:
615:
608:
601:
592:
591:
548:
532:
494:
471:
470:Harbison, p. 114
468:
462:
461:Harbison, p. 112
459:
453:
450:
444:
443:Harbison, p. 100
441:
435:
434:
427:
421:
409:
403:
400:
394:
393:
391:
390:
376:
370:
367:
291:Rolin's son Jean
238:Throne of Wisdom
21:
1232:
1231:
1227:
1226:
1225:
1223:
1222:
1221:
1212:Churches in art
1172:1430s paintings
1157:
1156:
1155:
1150:
1145:Hubert van Eyck
1133:
1120:
1099:
1080:
1067:
1054:
1035:
1014:
1001:
988:
969:
964:
951:
924:
918:
902:
896:
891:
878:
865:Hubert van Eyck
847:
826:
789:
775:
762:
746:
740:
731:
718:
697:
652:
633:
624:
619:
570:
565:
545:
480:
475:
474:
469:
465:
460:
456:
451:
447:
442:
438:
429:
428:
424:
419:Wayback Machine
410:
406:
401:
397:
388:
386:
378:
377:
373:
369:Friedländer, 60
368:
364:
359:
295:Bishop of Autun
225:
185:
172:globus cruciger
105:
94:Autun Cathedral
82:votive portrait
70:Musée du Louvre
45:Musée du Louvre
28:
23:
22:
15:
12:
11:
5:
1230:
1220:
1219:
1217:Corvids in art
1214:
1209:
1207:Bridges in art
1204:
1199:
1197:Peafowl in art
1194:
1189:
1184:
1179:
1174:
1169:
1152:
1151:
1149:
1148:
1141:
1139:
1135:
1134:
1132:
1131:
1123:
1110:
1102:
1088:
1086:
1082:
1081:
1079:
1078:
1070:
1057:
1043:
1041:
1037:
1036:
1034:
1033:
1025:
1017:
1004:
991:
989: 1428–29
977:
975:
971:
970:
968:
967:
954:
941:
937:Saint Barbara
932:
930:
926:
925:
923:
922:
906:
904:
898:
897:
895:
894:
881:
868:
855:
853:
849:
848:
846:
845:
837:
829:
816:
808:
800:
792:
778:
765:
750:
748:
742:
741:
734:
732:
730:
729:
721:
708:
700:
687:
679:
671:
663:
655:
641:
639:
635:
634:
629:
626:
625:
618:
617:
610:
603:
595:
589:
588:
579:
569:
568:External links
566:
564:
563:
549:
543:
522:
508:
505:
495:
491:Il Sole 24 Ore
481:
479:
476:
473:
472:
463:
454:
445:
436:
422:
404:
395:
371:
361:
360:
358:
355:
224:
221:
184:
181:
104:
101:
26:
9:
6:
4:
3:
2:
1229:
1218:
1215:
1213:
1210:
1208:
1205:
1203:
1200:
1198:
1195:
1193:
1192:Angels in art
1190:
1188:
1185:
1183:
1180:
1178:
1175:
1173:
1170:
1168:
1165:
1164:
1162:
1146:
1143:
1142:
1140:
1136:
1129:
1128:
1124:
1116:
1115:
1111:
1108:
1107:
1103:
1095:
1094:
1090:
1089:
1087:
1083:
1076:
1075:
1071:
1063:
1062:
1058:
1050:
1049:
1045:
1044:
1042:
1038:
1031:
1030:
1026:
1024:(before 1438)
1023:
1022:
1018:
1010:
1009:
1008:Woman Bathing
1005:
997:
996:
992:
984:
983:
979:
978:
976:
972:
960:
959:
955:
947:
946:
942:
939:
938:
934:
933:
931:
927:
913:
912:
908:
907:
905:
899:
887:
886:
882:
874:
873:
869:
866:
862:
861:
857:
856:
854:
850:
843:
842:
838:
835:
834:
830:
822:
821:
817:
814:
813:
809:
806:
805:
804:Lucca Madonna
801:
798:
797:
793:
785:
783:
779:
771:
770:
766:
758:
756:
752:
751:
749:
743:
738:
727:
726:
722:
714:
713:
709:
706:
705:
701:
693:
692:
688:
685:
684:
680:
677:
676:
672:
669:
668:
664:
661:
660:
659:LĂ©al Souvenir
656:
648:
647:
643:
642:
640:
636:
632:
631:List of works
627:
623:
616:
611:
609:
604:
602:
597:
596:
593:
587:
585:
580:
578:
577:
572:
571:
562:
561:1-872501-28-1
558:
554:
551:Pächt, Otto.
550:
546:
540:
536:
531:
530:
523:
521:
520:0-948462-18-3
517:
513:
509:
506:
503:
499:
496:
492:
488:
483:
482:
467:
458:
449:
440:
432:
426:
420:
416:
413:
408:
399:
385:
381:
375:
366:
362:
354:
351:
347:
343:
339:
335:
331:
327:
323:
319:
315:
311:
307:
302:
300:
296:
292:
284:
280:
279:
274:
270:
266:
263:
262:Gothic styles
258:
256:
255:Book of Hours
252:
248:
244:
240:
239:
229:
220:
218:
217:
212:
211:
210:LĂ©al Souvenir
205:
204:infant Christ
201:
197:
189:
180:
176:
174:
173:
166:
164:
159:
155:
154:
149:
148:crenellations
145:
136:
132:
130:
126:
122:
118:
114:
110:
100:
97:
95:
91:
87:
83:
79:
75:
74:Nicolas Rolin
71:
67:
64:
60:
56:
55:
46:
42:
38:
34:
30:
19:
18:Rolin Madonna
1202:Books in art
1125:
1112:
1109:(after 1434)
1104:
1091:
1072:
1059:
1055: 1420s
1046:
1032:(after 1440)
1027:
1019:
1006:
993:
980:
956:
943:
935:
909:
883:
870:
858:
839:
831:
818:
810:
802:
795:
794:
784:(Washington)
782:Annunciation
781:
767:
755:Annunciation
754:
723:
710:
702:
689:
681:
673:
665:
657:
644:
622:Jan van Eyck
583:
575:
552:
528:
511:
501:
486:
466:
457:
452:Lane, p. 18.
448:
439:
425:
407:
398:
387:. Retrieved
383:
374:
365:
329:
321:
313:
303:
298:
288:
276:
259:
236:
234:
214:
208:
200:underdrawing
194:
177:
170:
167:
161:
151:
141:
106:
98:
85:
66:Jan van Eyck
59:oil painting
53:
52:
50:
36:
29:
1121: 1435
1093:Crucifixion
1068: 1432
1015: 1434
1002: 1460
965: 1440
952: 1432
919: 1420
914:("Hand G",
903:manuscripts
901:Illuminated
892: 1437
844:(1441–1443)
719: 1438
698: 1435
653: 1430
223:Iconography
183:Alterations
109:Virgin Mary
103:Description
1161:Categories
852:Polyptychs
544:0064301338
478:References
389:2024-09-04
328:) and the
283:Saint Luke
281:c. 1440.
1147:(brother)
1040:Contested
638:Portraits
384:Le Louvre
144:chaperons
1085:Workshop
929:Drawings
757:(Madrid)
415:Archived
334:Gluttony
196:Infrared
125:Burgundy
1138:Related
346:Avarice
320:), the
310:reliefs
61:by the
47:, Paris
1130:(1442)
1077:(1435)
940:(1437)
863:(with
836:(1439)
815:(1436)
807:(1436)
799:(1435)
728:(1439)
707:(1436)
686:(1434)
678:(1433)
670:(1432)
662:(1432)
559:
541:
518:
251:Matins
163:magpie
121:loggia
57:is an
747:works
357:Notes
350:Sloth
338:Anger
318:Pride
117:Jesus
113:angel
90:Autun
974:Lost
557:ISBN
539:ISBN
516:ISBN
348:and
342:Lust
326:Envy
243:Mass
213:and
51:The
293:as
219:).
88:in
41:Oil
1163::
1118:c.
1097:c.
1065:c.
1052:c.
1012:c.
999:c.
986:c.
962:c.
949:c.
916:c.
889:c.
876:c.
824:c.
787:c.
773:c.
760:c.
716:c.
695:c.
650:c.
537:.
535:18
500:.
489:.
382:.
275:,
257:.
165:.
39:,
921:)
614:e
607:t
600:v
547:.
392:.
332:(
324:(
316:(
207:(
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
.webp)
