Arnolfini Portrait

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especially since he was a cloth merchant. The more cloth a person wore, the more wealthy he or she was assumed to be. Another indication that the woman is not pregnant is that Giovanna Cenami (the identification of the woman according to most earlier scholars) died childless, as did Costanza Trenta (a possible identification according to recent archival evidence); whether a hypothetical unsuccessful pregnancy would have been left recorded in a portrait is questionable, although if it is indeed Costanza Trenta, as Koster proposed, and she died in childbirth, then the oblique reference to pregnancy gains strength. Moreover, the beauty ideal embodied in contemporary female portraits and clothing rest in the first place on the high valuation on the ability of women to bear children. Harbison maintains her gesture is merely an indication of the extreme desire of the couple shown for fertility and progeny.

2181: 627:– the woman stands near the bed and well into the room, symbolic of her role as the caretaker of the house and solidifying her in a domestic role, whereas Giovanni stands near the open window, symbolic of his role in the outside world. Arnolfini looks directly out at the viewer; his wife gazes obediently at her husband. His hand is vertically raised, representing his commanding position of authority, whilst she has her hand in a lower, horizontal, more submissive pose. However, her gaze at her husband can also show her equality to him because she is not looking down at the floor as lower-class women would. They are part of the Burgundian court life and in that system she is his equal, not his lowly subordinate. 424: 522:, arguing that the elaborate signature on the back wall, and other factors, showed that it was painted as a legal record of the occasion of the marriage of the couple, complete with witnesses and a witness signature. Panofsky also argues that the many details of domestic items in the painting each have a disguised symbolism attached to their appearance. While Panofsky's claim that the painting formed a kind of certificate of marriage is not accepted by all art historians, his analysis of the symbolic function of the details is broadly agreed, and has been applied to many other Early Netherlandish paintings, especially a number of depictions of the 651:. A marriage is said to be morganatic if a man marries a woman of unequal rank. However, the subjects originally thought by most scholars to be represented in this painting, Giovanni Arnolfini and Giovanna Cenami, were of equal status and rank in the courtly system, so the theory would not hold true. On the opposite side of the debate are scholars like Margaret Carroll. She suggests that the painting deploys the imagery of a contract between an already married couple giving the wife the authority to act on her husband's behalf in business dealings. Carroll identifies Arnolfini's raised right hand as a gesture of oath-taking known as " 691: 560: 598:'s new suggestion, discussed above and below, that the portrait is a memorial one, of a wife already dead for a year or so, would displace these theories. Art historian Maximiliaan Martens has suggested that the painting was meant as a gift for the Arnolfini family in Italy. It had the purpose of showing the prosperity and wealth of the couple depicted. He feels this might explain oddities in the painting, for example why the couple are standing in typical winter clothing while a cherry tree is in fruit outside, and why the phrase " 40: 215:, was highly utilized by Renaissance painters including Jan van Eyck. The medium of oil paint also permitted van Eyck to capture surface appearance and distinguish textures precisely. He also rendered the effects of both direct and diffuse light by showing the light from the window on the left reflected by various surfaces. It has been suggested that he used a magnifying glass in order to paint the minute details such as the individual highlights on each of the amber beads hanging beside the mirror. 461:

Nicolao's first wife Costanza Trenta, who had died perhaps in childbirth by February 1433. In the latter case, this would make the painting partly an unusual memorial portrait, showing one living and one dead person. Details such as the snuffed candle above the woman, the scenes after Christ's death on her side of the background roundel, and the black garb of the man, support this view. Both Giovanni di Arrigo and Giovanni di Nicolao Arnolfini were Italian merchants, originally from

835: 1923: 886:. The item says (in French): "a large picture which is called Hernoul le Fin with his wife in a chamber, which was given to Madame by Don Diego, whose arms are on the cover of the said picture; done by the painter Johannes." A note in the margin says "It is necessary to put on a lock to close it: which Madame has ordered to be done." In a 1523–4 Mechelen inventory, a similar description is given, although this time the name of the subject is given as "Arnoult Fin". 316: 735: 571:

meanings. Bedaux argues, "if the symbols are disguised to such an extent that they do not clash with reality as conceived at the time ... there will be no means of proving that the painter actually intended such symbolism." He also conjectures that if these disguised symbols were normal parts of the marriage ritual, then one could not say for sure whether the items were part of a "disguised symbolism" or just social reality.

631: 241: 482: 811:, were a covering for indoor footwear that were made as protection from the outdoor elements. The idea that he has taken his off may imply that he would no longer stray, hinting at his fidelity towards his wife, potentially signifying that, for religious reasons, he would not remarry after her death. This is further used as proof that the female subject was painted posthumously. 643:" which means, "who were contracting their marriage by marital oath". The man is grasping the woman's right hand with his left, which is the basis for the controversy. Some scholars like Jan Baptist Bedaux and Peter Schabacker argue that if this painting does show a marriage ceremony, then the use of the left hand points to the marriage being 556:). The claim is not that the painting had any legal force, but that van Eyck played upon the imagery of legal contract as a pictorial conceit. While the two figures in the mirror could be thought of as witnesses to the oath-taking, the artist himself provides (witty) authentication with his notarial signature on the wall. 602:" is featured so large in the centre of the painting. Herman Colenbrander has proposed that the painting may depict an old German custom of a husband promising a gift to his bride on the morning after their wedding night. He has also suggested that the painting may have been a present from the artist to his friend. 547:, not a marriage. Margaret D. Carroll argues that the painting is a portrait of a married couple that alludes also to the husband's grant of legal authority to his wife. Carroll also proposes that the portrait was meant to affirm Giovanni Arnolfini's good character as a merchant and aspiring member of the 974:

before eventually returning it in 1818. Around 1828, Hay gave it to a friend to look after, not seeing it or the friend for the next thirteen years, until he arranged for it to be included in a public exhibition in 1841. It was bought the following year (1842) by the recently formed National Gallery,

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and purity. The mirror reflects two figures in the doorway, one of whom may be the painter himself. In Panofsky's controversial view, the figures are shown to prove that the two witnesses required to make a wedding legal were present, and Van Eyck's signature on the wall acts as some form of actual

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published a book in which he agreed with this analysis and identified Giovanni's wife as Jeanne (or Giovanna) Cenami. For the next century most art historians accepted that the painting was a double portrait of Giovanni di Arrigo Arnolfini and his wife Jeanne Cenami, but a chance discovery published

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and may represent God's promise of salvation for the figures reflected on the mirror's convex surface. Furthering the Memorial theory, all the scenes on the wife's side are of Christ's death and resurrection. Those on the husband's side concern Christ's life. The mirror itself may represent the eye

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of the painting was remarkable for its time, in part for the rendering of detail, but particularly for the use of light to evoke space in an interior, for "its utterly convincing depiction of a room, as well of the people who inhabit it". Whatever meaning is given to the scene and its details, and

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Van Eyck used the technique of applying several layers of thin translucent glazes to create a painting with an intensity of both tone and colour. The glowing colours also help to highlight the realism, and to show the material wealth and opulence of Arnolfini's world. Van Eyck took advantage of the

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in the National Gallery Catalogue sees no need to find a special meaning in the painting: "... there seems little reason to believe that the portrait has any significant narrative content. Only the unnecessary lighted candle and the strange signature provoke speculation." He suggests that the

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associations", and that there are many possible purposes for the portrait and ways it can be interpreted. He maintains that this portrait cannot be fully interpreted until scholars accept the notion that objects can have multiple associations. Harbison urges the notion that one needs to conduct a

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Craig Harbison takes the middle ground between Panofsky and Bedaux in their debate about "disguised symbolism" and realism. Harbison argues that "Jan van Eyck is there as storyteller ... must have been able to understand that, within the context of people's lives, objects could have multiple

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The symbolism behind the action of the couple's joined hands has also been debated among scholars. Many point to this gesture as proof of the painting's purpose. Is it a marriage contract or something else? Panofsky interprets the gesture as an act of fides, Latin for "marital oath". He calls the

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It is now believed that the subject is either Giovanni di Arrigo or his cousin, Giovanni di Nicolao Arnolfini, and a wife of either one of them. This is either an undocumented first wife of Giovanni di Arrigo or a second wife of Giovanni di Nicolao, or, according to a recent proposal, Giovanni di

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casually placed to the left are a sign of wealth; they were very expensive in Burgundy and may have been one of the items dealt in by Arnolfini. Further signs of luxury are the elaborate bed-hangings and the carvings on the chair and bench against the back wall (to the right, partly hidden by the

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Although many viewers assume the wife to be pregnant, this is not believed to be so. Art historians point to numerous paintings of female virgin saints similarly dressed, and believe that this look was fashionable for women's dresses at the time. Fashion would have been important to Arnolfini,

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Although the woman's plain gold necklace and the rings that both wear are the only jewellery visible, both outfits would have been enormously expensive, and appreciated as such by a contemporary viewer. There may be an element of restraint in their clothes (especially the man) befitting their

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Jan Baptist Bedaux agrees somewhat with Panofsky that this is a marriage contract portrait in his 1986 article "The reality of symbols: the question of disguised symbolism in Jan van Eyck's Arnolfini Portrait." However, he disagrees with Panofsky's idea of items in the portrait having hidden

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double portrait was very possibly made to commemorate a marriage, but not a legal record and cites examples of miniatures from manuscripts showing similarly elaborate inscriptions on walls as a normal form of decoration at the time. Another portrait in the National Gallery by van Eyck,

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The single candle in the left-front holder of the ornate six-branched chandelier is possibly the candle used in traditional Flemish marriage customs. Lit in full daylight, like the sanctuary lamp in a church, the candle may allude to the presence of the Holy Ghost or the ever-present

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dyed black, as often worn in the summer at the time. His tabard was more purple than it appears now (as the pigments have faded over time) and may be intended to be silk velvet (another very expensive item). Underneath he wears a doublet of patterned material, probably silk

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where beds in reception rooms were used for seating, except, for example, when a mother with a new baby received visitors. The window has six interior wooden shutters, but only the top opening has glass, with clear bulls-eye pieces set in blue, red and green stained glass.

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court. She argues that the painting depicts a couple, already married, now formalizing a subsequent legal arrangement, a mandate, by which the husband "hands over" to his wife the legal authority to conduct business on her own or his behalf (similar to a

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painted behind glass, is shown larger than such mirrors could actually be made at this date – another discreet departure from realism by van Eyck. There is also no sign of a fireplace (including in the mirror), nor anywhere obvious to put one. Even the

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It is thought that the couple are already married because of the woman's headdress. A non-married woman would have her hair down, according to Margaret Carroll. The placement of the two figures suggests conventional 15th century views of marriage and

173:'s work in Italy. A simple corner of the real world had suddenly been fixed on to a panel as if by magic... For the first time in history the artist became the perfect eye-witness in the truest sense of the term". The portrait has been considered by 227:

the painting "is the only fifteenth-century Northern panel to survive in which the artist's contemporaries are shown engaged in some sort of action in a contemporary interior. It is indeed tempting to call this the first

403:" ("Jan van Eyck was here 1434"). The inscription looks as if it were painted in large letters on the wall, as was done with proverbs and other phrases at this period. Other surviving van Eyck signatures are painted in 950:

the previous year, the painting hung in the room where he convalesced in Brussels. He fell in love with it, and persuaded the owner to sell. More relevant to the real facts is no doubt Hay's presence at the

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merchant status – portraits of aristocrats tend to show gold chains and more decorated cloth, although "the restrained colours of the man's clothing correspond to those favoured by Duke Philip of Burgundy".

785:, as the single lit candle on Giovanni's side contrasts with the burnt-out candle whose wax stub can just be seen on his wife's side, in a visual play on a common metaphor: he lives on, she is dead. 792:. The oranges which lie on the window sill and chest may symbolize the purity and innocence that reigned in the Garden of Eden before the Fall of Man. They were uncommon and a sign of wealth in the 919:

painted on the frame: "See that you promise: what harm is there in promises? In promises anyone can be rich." It is very likely that Velázquez knew the painting, which may have influenced his

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style depicts the scene with a high level of detail. The painting is generally in very good condition, though with small losses of original paint and damage, which have mostly been retouched.

898: 754:, a gift from husband to wife. Many wealthy women in the court had lap dogs as companions, reflecting the wealth of the couple and their position in courtly life. The dog appears to be a 595: 959:

with easily portable artworks from the royal collections was first plundered by British troops, before what was left was recovered by their commanders and returned to the Spanish.

267:: to both faces, to the mirror, and to other elements. The couple is shown in an upstairs room with a chest and a bed in it during early summer as indicated by the fruits on the 769:, possibly the hope of becoming a mother. Its intense brightness also indicates wealth, since dyeing fabric such a shade was difficult and expensive. Her white cap could signify 1828: 380:, he does not seem to be painting. Scholars have made this assumption based on the appearance of figures wearing red head-dresses in some other van Eyck works (e.g., the 2615: 678:

prayer-beads (a popular engagement present from the future bridegroom) appearing together on either side of the mirror may also allude to the dual Christian injunctions

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reading of the painting that includes references to the secular and sexual context of the Burgundian court, as well as religious and sacramental references to marriage.

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The view in the mirror shows two figures just inside the door that the couple are facing. The second figure, wearing red, is presumably the artist although, unlike

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The painting survived the fire in the Alcazar which destroyed some of the Spanish royal collection, and by 1794 had been moved to the "Palacio Nuevo", the present

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of the painting begins in 1435 when it was dated by van Eyck and presumably owned by the sitter(s). At some point before 1516 it came into the possession of Don

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Since then, there has been considerable scholarly argument among art historians on the occasion represented. Edwin Hall considers that the painting depicts a

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82.2 cm × 60 cm (32.4 in × 23.6 in); panel 84.5 cm × 62.5 cm (33.3 in × 24.6 in)

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to achieve subtle variations in light and shade to heighten the illusion of three-dimensional forms. The wet-in-wet (wet-on-wet), technique, also known as

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or her status as married. Behind the pair, the curtains of the marriage bed have been opened; the red curtains might allude to the physical act of love.

308:(cloth folded and sewn together, then cut and frayed decoratively) on the sleeves, and a long train. Her blue underdress is also trimmed with white fur. 1095: 2610: 2557: 726:, the distortion has been correctly portrayed, except for the leftmost part of the window frame, the near edge of the table, and the hem of the dress. 177:

and some other art historians as a unique form of marriage contract, recorded as a painting. Signed and dated by van Eyck in 1434, it is, with the

2491: 2212: 609:, agreed with Koster that the woman is dead, but he suggested that she is appearing to the man as a spectre, asking him to pray for her soul. 750:, signifying the couple's desire to have a child. Unlike the couple, he looks out to meet the gaze of the viewer. The dog could be simply a 500:

of forty years earlier, containing many of the same objects like the convex mirror and in particular the painted inscription on the wall.

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in 1997 established that they were married in 1447, thirteen years after the date on the painting and six years after van Eyck's death.

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It is considered one of the most original and complex paintings in Western art, because of its beauty, complex iconography, geometric

2255: 2155: 893:, who in 1556 went to live in Spain. It is clearly described in an inventory taken after her death in 1558, when it was inherited by 429: 2110: 882:, Habsburg Regent of the Netherlands, when it shows up as the first item in an inventory of her paintings, made in her presence at 346: 2180: 682:(pray and work). According to Jan Baptist Bedaux, the broom could also symbolize proverbial chastity; it "sweeps out impurities". 327:

is large and elaborate by contemporary standards, and would have been very expensive. It would probably have had a mechanism with

2388: 1960:, eds. Bernhard Ridderbos, Henk Th. van Veen, Anne van Buren, pp. 59–77, 2005 (2nd edn), Getty/Amsterdam University Press, 1825: 2315: 2089: 2056: 17: 879: 710:

of God observing the wedding vows. A spotless mirror was also an established symbol of Mary, referring to the Holy Virgin's

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and Philip the Good who sent his court painter Jan van Eyck to portray Arnolfini Double. The relation possibly began with a

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London for £600, as inventory number 186, where it remains. By then the shutters had gone, along with the original frame.

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Bedaux, Jan Baptist, "The reality of symbols: the question of disguised symbolism in Jan van Eyck's Arnolfini portrait",

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in marriage. More simply, the fruit could be a sign of the couple's wealth, since oranges were very expensive imports.

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Ward, John L. "On the Mathematics of the Perspective of the "Arnolfini Portrait" and similar works of Jan van Eyck",

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and chains above, to lower it for managing the candles (possibly omitted from the painting for lack of room). The

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Elkins, James, "On the Arnolfini Portrait and the Lucca Madonna: Did Jan van Eyck Have a Perspectival System?".

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on the floor by the bed; many owners of such expensive objects placed them on tables, as they still do in the

2650: 2640: 2168: 2074: 1087: 523: 388: 1926: 252: 131: 927:, which shows a room in the same palace. In 1700 the painting appeared in an inventory after the death of 875:). He lived most of his life in the Netherlands, and may have known the Arnolfinis in their later years. 452:. They suggested that the painting showed portraits of Giovanni Arnolfini and his wife. Four years later 423: 271:

outside the window. The room probably functioned as a reception room, as it was the fashion in France and

2239: 907:), commissioned by Philip clearly copies the pose of the figures. In 1599 a German visitor saw it in the 890: 2049: 469:

since at least 1419. The man in this painting is the subject of a further portrait by van Eyck in the

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Harbison, Craig, "Sexuality and social standing in Jan van Eyck's Arnolfini double portrait",

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and her dress, are trimmed and fully lined with fur. The furs may be the especially expensive

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Painting and Politics in Northern Europe: Van Eyck, Bruegel, Rubens, and their Contemporaries

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1520), a Spanish career courtier of the Habsburgs (himself the subject of a fine portrait by

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on the wooden frame of his paintings, so that they appear to have been carved in the wood.

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The two figures are very richly dressed; despite the season both their outer garments, his

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Carroll, Margaret D., "In the name of God and profit: Jan van Eyck's Arnolfini portrait",

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According to one author "The painting is often referenced for its immaculate depiction of

690: 559: 532: 8: 1735:'In promises anyone can be rich!' Jan van Eyck's Arnolfini double portrait: a 'Morgengave 667: 518: 493: 492:, a miniature with an unusual variant of the presentation portrait, probably alluding to 441: 362: 648: 161:

perspective, and expansion of the picture space with the use of a mirror. According to

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The Arnolfini Betrothal: Medieval Marriage and the Enigma of Van Eyck's Double Portrait

1538: 1236: 1223: 947: 928: 894: 755: 418: 354: 245: 143: 142:, London. It is a full-length double portrait, believed to depict the Italian merchant 448:

were the first to link the double portrait with the early 16th century inventories of

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longer drying time of oil paint, compared to tempera, to blend colours by painting

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The orange blossom remains the traditional flower for a bride to wear in her hair.

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Ward, John. "Disguised Symbolism as Enactive Symbolism in Van Eyck's Paintings".

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Panofsky, Erwin, "Jan van Eyck's Arnolfini portrait", in Creighton, Gilbert,

1586: 946:, a Scottish soldier. He claimed that after he was seriously wounded at the 759: 702: 695: 537: 393: 332: 1618: 834: 2065: 1939: 1930: 1148:

Campbell 1998, 186–191 for all this section, except as otherwise indicated.

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The painting is signed, inscribed and dated on the wall above the mirror: "

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Seidel, Linda. "Jan van Eyck's Arnolfini Portrait": Business as Usual?".

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How the Universe Got Its Spots: Diary of a Finite Time in a Finite Space

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Girl in a Green Gown: The History and Mystery of the Arnolfini Portrait

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Giotto to Dürer: Early Renaissance Painting in the National Gallery

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http://www.mnemosyne.org/iconography/practice/arnolfini-1 Archived

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Early Netherlandish Paintings: Rediscovery, Reception and Research

1721:, University Park, PA: Pennsylvania State University Press, 2008, 1070:. "Sexuality and Social Standing in Arnolfini's Double Portrait". 788:

The cherries present on the tree outside the window may symbolize

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There is a carved figure as a finial on the bedpost, probably of

292: 192: 187:, the oldest very famous panel painting to have been executed in 2034: 912: 781:. Alternatively, Margaret Koster posits that the painting is a 770: 466: 328: 301: 280: 151: 323:

The interior of the room has other signs of wealth; the brass

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reflectograms of the painting show many small alterations, or

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Infantas Isabella Clara Eugenia and Catalina Micaela of Spain

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The Early Flemish Painters: Notices of their Lives and Works

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In 2016, French physician Jean-Philippe Postel, in his book

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represent the start (in terms of surviving works at least).

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set in richly detailed interiors, a tradition for which the

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documentation of an event at which he was himself present.

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In January 2018 the woman's dress was the subject of the

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Blog essay on theories around the painting by John Haber

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Reflections of Reality in Jan van Eyck and Robert Campin

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Early Netherlandish Painting, its Origins and Character

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In 1530 the painting was inherited by Margaret's niece

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Van Eyck's Portrait of Giovanni Arnolfini and his Wife

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Panofsky, Erwin, "Jan van Eyck's Arnolfini Portrait",

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Simiolus: Netherlands Quarterly for the History of Art

1880:(Volume 1), Cambridge: Harvard University Press, 1953 962:

Hay offered the painting to the Prince Regent, later

955:(1813) in Spain, where a large coach loaded by King 1839:, volume 158, issue 499, pages 3–14, September 2003 1156: 1154: 319:

Detail showing the female subject and convex mirror

165:"in its own way it was as new and revolutionary as 146:and his wife, presumably in their residence at the 2616:Paintings formerly in the Spanish royal collection 2558:Christ on the Cross with the Virgin and Saint John 1797:, volume 43, issue 2, pages 249–291, Summer 1990, 1771:, Berkeley: University of California Press, 1994, 1619:"BBC Four - A Stitch in Time, Series 1, Arnolfini" 970:. The Prince had it on approval for two years at 705:at the back of the room show tiny scenes from the 232:– a painting of everyday life – of modern times". 2030:Press interview with art historian Craig Harbison 1119:, page 258. National Gallery Publications, 1991. 1074:, Vol. 43, No. 2 (Summer, 1990), pp. 249–291 223:there has been much debate on this, according to 2602: 1982:, volume 16, issue 1, pages 54–86, Autumn 1989, 1978:'Jan van Eyck's Portrait': business as usual?", 1826:The Arnolfini double portrait: a simple solution 1756:Crowe, Joseph A. and Cavalcaselle, Giovanni B., 1649: 1647: 1645: 1643: 1151: 1033:, Vol. 16, No. 1 (Autumn, 1989), pp. 54–86 701:The small medallions set into the frame of the 612: 1903:, London: Barthès and Lowell, 1861 (In French) 1497:as the art historian Craig Harbison has argued 1470:A. Criminisi, M. Kempz and S. B. Kang (2004). 742:The little dog may symbolize fidelity (fido), 335:at the back, in a wooden frame with scenes of 2050: 1688:The Fifteenth Century Netherlandish Paintings 1640: 1358: 1356: 1007:, Vol. 73, No. 1 (March 1991), pp. 53–62 920: 897:. A painting of two of his young daughters, 841:, who gave the painting to the Habsburgs, by 373: 208: 1887:, New York: Harper and Row, pages 1–20, 1970 1743:, volume 68, issue 3, pages 413–424, 2005, 1653:Campbell 1998, 175–178 for all this section 1421: 1419: 1417: 1415: 1413: 1183:Hall 1994, 4; Crowe and Cavalcaselle 1857, 120:Portrait of Giovanni Arnolfini and his Wife 2057: 2043: 1353: 765:The green of the woman's dress symbolizes 244:Detail showing the male subject, probably 38: 2611:Paintings in the National Gallery, London 2256:Virgin and Child with Canon van der Paele 2156:Portrait of Giovanni di Nicolao Arnolfini 1566: 1218: 1216: 1214: 1144: 1142: 1140: 1138: 1136: 1134: 1132: 634:Detail showing the couple's joined hands. 430:Portrait of Giovanni di Nicolao Arnolfini 123:, or other titles) is an oil painting on 1861:The Burlington Magazine for Connoisseurs 1704:, volume 44, pages 96–132, Autumn 1993, 1670:, volume 16, issue 1, pages 5–28, 1986, 1531:The Burlington Magazine for Connoisseurs 1524: 1410: 1088:"The Arnolfini Portrait by Jan van Eyck" 833: 733: 689: 629: 558: 480: 422: 386:and the figure in the background of the 314: 239: 1560: 994:, Vol. 15, No. 29 (1994), pp. 9–53 617: 412: 14: 2603: 2316:Crucifixion and Last Judgement Diptych 2111:Portrait of Cardinal Niccolò Albergati 2090:Portrait of a Man with a Blue Chaperon 1779:. The text is also available from the 1211: 1129: 807:The male subject's over-shoes, called 592:, has a legalistic form of signature. 2038: 1170: 1168: 1166: 878:By 1516 he had given the portrait to 353:. There existed a friendship between 2389:Study for Cardinal Niccolò Albergati 2213:Saint Francis Receiving the Stigmata 1571:. London: John Murray. p. 214. 1226:for a fuller discussion of the issue 1082: 1080: 1527:"Jan van Eyck's Arnolfini Portrait" 1051:, p. 180, Phaidon, 13th edn. 1982. 641:qui desponsari videbantur per fidem 514:Jan van Eyck's 'Arnolfini' Portrait 476: 183:by the same artist and his brother 24: 2119:Portrait of a Man (Self Portrait?) 1908: 1690:, London: National Gallery, 1998, 1260: 1163: 931:with shutters and the verses from 383:Portrait of a Man (Self Portrait?) 25: 2667: 1989: 1812:Jan van Eyck, The Play of Realism 1077: 589:Portrait of a Man (Leal Souvenir) 440:In their book published in 1857, 195:. The painting was bought by the 2518:Portrait of a Man with Carnation 2426:Portrait of Isabella of Portugal 2179: 2064: 1921: 1814:, Reaktion Books, London, 1991, 729: 2473:Madonna of Nicolas van Maelbeke 1999:on the National Gallery website 1741:Zeitschrift für Kunstgeschichte 1629:from the original on 2019-10-29 1611: 1602: 1593: 1549:from the original on 2022-08-13 1518: 1509: 1500: 1491: 1464: 1455: 1446: 1437: 1428: 1401: 1392: 1383: 1374: 1365: 1344: 1335: 1326: 1317: 1308: 1299: 1290: 1269: 1251: 1242: 1229: 1202: 1189: 1177: 1098:from the original on 2020-06-27 966:of the United Kingdom, via Sir 2135:Portrait of Baudouin de Lannoy 1946:, London: Random House, 2011, 1525:Panofsky, Erwin (March 1934). 1109: 1061: 1036: 1023: 1010: 997: 984: 639:representation of the couple " 600:Johannes de eyck fuit hic 1434 566:(Jan van Eyck was here. 1434). 564:Johannes de eyck fuit hic 1434 512:published an article entitled 401:Johannes de eyck fuit hic 1434 361:order including the images of 251:Jan van Eyck's characteristic 235: 13: 1: 2561: 2540: 2508: 2495: 2455: 2442: 2429: 2405: 2392: 2359: 2332: 2319: 2267: 2230: 2216: 2203: 2169:Portrait of Margaret van Eyck 2159: 2138: 2093: 1659: 1020:, Vol. 65, No. 4 (1983) p.680 846: 829: 389:Madonna with Chancellor Rolin 365:in return of a good payment. 246:Giovanni di Nicolao Arnolfini 144:Giovanni di Nicolao Arnolfini 27:1434 painting by Jan van Eyck 613:Interpretation and symbolism 138:, dated 1434 and now in the 7: 2492:The Three Marys at the Tomb 2240:Madonna of Chancellor Rolin 1762:, London: John Murray, 1857 295:for her. He wears a hat of 10: 2672: 2465:Vera Icon (Head of Christ) 1781:California Digital Library 1731:Colenbrander, Herman Th., 1569:The Secret Lives of Colour 1567:St. Clair, Kassia (2016). 915:. Now it had verses from 416: 304:. Her dress has elaborate 75:panel of 3 vertical boards 2626:Portraits by Jan van Eyck 2581: 2571:Saint Jerome in His Study 2528: 2483: 2417: 2372: 2344: 2295: 2188: 2177: 2081: 2072: 2006:– Open University program 1920: 1915: 1239:article for the portrait. 1115:Dunkerton, Jill, et al., 685: 87: 79: 64: 56: 46: 37: 32: 2148:Portrait of Jan de Leeuw 1956:Ridderbos, Bernhard, in 1894:, Arles: Actes Sud, 2016 978: 2402:Study for a Crucifixion 2277:Madonna at the Fountain 2004:Mystery of the Marriage 1900:Notes sur Jean van Eyck 1890:Postel, Jean-Philippe, 873:National Gallery of Art 822:with fashion historian 2631:15th-century portraits 2012:The Arnolfini Portrait 1997:The Arnolfini Portrait 1824:Koster, Margaret L., " 1717:Carroll, Margaret D., 1425:Panofsky 1953, 202–203 1296:Harbison 1990, 288–289 1222:Koster 2003. Also see 1174:Campbell 1998, 174–211 940:Royal Palace of Madrid 921: 852: 739: 720:non-Euclidean geometry 698: 635: 567: 505: 471:Gemäldegalerie, Berlin 437: 435:Gemäldegalerie, Berlin 374: 320: 248: 209: 114:The Arnolfini Marriage 102:The Arnolfini Portrait 33:The Arnolfini Portrait 18:The Arnolfini Portrait 2264:Madonna in the Church 1795:Renaissance Quarterly 1072:Renaissance Quarterly 837: 737: 712:Immaculate Conception 693: 633: 562: 484: 426: 345:bed), also the small 318: 243: 108:The Arnolfini Wedding 2651:Paintings of couples 2641:Works about weddings 2505:The Fountain of Life 1849:, Random House 2002 1506:Harbison 1991, 33–34 1434:Harbison 1991, 36–37 1257:Harbison 1991, 36–39 1199:; Campbell 1998, 193 992:Artibus et Historiae 618:Figures and marriage 413:Identity of subjects 363:Notre Dame Cathedral 2010:Erwin Panofsky and 1897:Weale, W.H. James, 1892:L'Affaire Arnolfini 1371:Carroll 2008, 12–15 1275:Carroll 2008, 13–15 880:Margaret of Austria 746:, or alternatively 607:L'Affaire Arnolfini 519:Burlington Magazine 494:Alexander the Great 450:Margaret of Austria 253:Early Netherlandish 199:in London in 1842. 132:Early Netherlandish 2285:Madonna of Jan Vos 2127:Arnolfini Portrait 2018:2005-05-19 at the 1870:2022-08-13 at the 1831:2022-07-09 at the 1804:2024-04-12 at the 1786:2023-04-07 at the 1750:2022-08-13 at the 1711:2022-08-13 at the 1677:2024-04-12 at the 1556:– via JSTOR. 1515:Harbison 1990, 270 1483:Historical Methods 1477:2016-03-03 at the 1407:Harbison 1990, 265 1398:Harbison 1990, 267 1389:Hall 1994, 105–106 1341:Harbison 1990, 282 1305:Campbell 1998, 200 1237:Giovanni Arnolfini 1224:Giovanni Arnolfini 1208:Campbell 1998, 195 948:Battle of Waterloo 895:Philip II of Spain 853: 740: 699: 636: 568: 528:Arnolfini Portrait 506: 498:Arnolfini Portrait 465:, but resident in 438: 419:Giovanni Arnolfini 355:Giovanni Arnolfini 321: 249: 2598: 2597: 2550:Ince Hall Madonna 2439:Saint Christopher 2355:Turin–Milan Hours 2311:, completed 1432) 1936: 1935: 1876:Panofsky, Erwin, 1810:Harbison, Craig, 1452:Harbison 1991, 36 1332:Carroll 1993, 101 1314:Colenbrander 2005 1160:Harbison 1991, 37 953:Battle of Vitoria 944:Colonel James Hay 800:were a symbol of 783:memorial portrait 738:Detail of the dog 707:Passion of Christ 554:power of attorney 533:Mérode Altarpiece 98: 97: 16:(Redirected from 2663: 2646:Gothic paintings 2566: 2563: 2545: 2544: 1430–1432 2542: 2513: 2510: 2500: 2497: 2460: 2457: 2447: 2444: 2434: 2431: 2410: 2407: 2397: 2394: 2364: 2361: 2337: 2334: 2329:Dresden Triptych 2324: 2323: 1430–1440 2321: 2304:Ghent Altarpiece 2272: 2271: 1438–1440 2269: 2235: 2234: 1434–1436 2232: 2221: 2220: 1432–1440 2218: 2208: 2207: 1432–1434 2205: 2189:Single religious 2183: 2164: 2161: 2143: 2140: 2098: 2095: 2059: 2052: 2045: 2036: 2035: 1980:Critical Inquiry 1977: 1925: 1924: 1913: 1912: 1738: 1734: 1654: 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869:Michael Sittow 843:Michael Sittow 831: 828: 824:Amber Butchart 731: 728: 694:Detail of the 687: 684: 668:Saint Margaret 657:fides manualis 619: 616: 614: 611: 583:Lorne Campbell 510:Erwin Panofsky 504:, before 1472. 478: 475: 427:Jan van Eyck, 417:Main article: 414: 411: 237: 234: 230:genre painting 225:Craig Harbison 175:Erwin Panofsky 163:Ernst Gombrich 96: 95: 89: 85: 84: 81: 77: 76: 66: 62: 61: 58: 54: 53: 48: 44: 43: 35: 34: 26: 9: 6: 4: 3: 2: 2668: 2657: 2654: 2652: 2649: 2647: 2644: 2642: 2639: 2637: 2634: 2632: 2629: 2627: 2624: 2622: 2619: 2617: 2614: 2612: 2609: 2608: 2606: 2590: 2587: 2586: 2584: 2580: 2573: 2572: 2568: 2560: 2559: 2555: 2552: 2551: 2547: 2539: 2538: 2534: 2533: 2531: 2527: 2520: 2519: 2515: 2507: 2506: 2502: 2494: 2493: 2489: 2488: 2486: 2482: 2475: 2474: 2470: 2468:(before 1438) 2467: 2466: 2462: 2454: 2453: 2452:Woman Bathing 2449: 2441: 2440: 2436: 2428: 2427: 2423: 2422: 2420: 2416: 2404: 2403: 2399: 2391: 2390: 2386: 2383: 2382: 2378: 2377: 2375: 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