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The Arnolfini Portrait and the Portrait of Margaret Van Eyck: Comparing and Contrasting
The Arnolfini Portrait and the Portrait of Margaret Van Eyck: Comparing and Contrasting
The Arnolfini Portrait and the Portrait of Margaret Van Eyck: Comparing and Contrasting
The Arnolfini Portrait and the Portrait of Margaret Van Eyck: Comparing and Contrasting
The Arnolfini Portrait and the Portrait of Margaret Van Eyck: Comparing and Contrasting
SAUMYA SAMPATHA comparison and contrast between two of the popular portraits by Jan Van Eyck.
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M. De Mey, M. P. J. Martens, C. Stroo (ed.), Vision and Material: Interaction between Art and Science in Jan van Eyck's time.
Form and Function of Van Eyck's Portraiture2012 •
The series History Bearing, exhibited at Sydney College of the Arts, December 8, 2010, is a body of nine photographic images re-enacting a set of little-known stories about pregnant women; the period covered is from 850 AD to the 1860s. Stylistically the images in the series could be described as a cross between cinematographic documentary tableaux and staged photographic portraiture. The photographs are all interior studio works that include set, lighting, prop and costume design. The accompanying Dissertation explores the visual representation of the pregnant body in Western art from the Middle Ages into the twenty-first century, with emphasis on the lack of representation of the pregnant body and the implications of that history for current practice. Research into the absence of the pregnant form in Western art history is first discussed, and the relationship of this to women’s rights and the role that Western religion has played to encourage the omission of the pregnant body. Moving to an exploration of modernism and the advent of photography highlights the further avoidance of the pregnant body as art. Finally, the paper examines practices of narrative and staged photography, and the relation of these to my work.
Van Eyck's Eye
VAN EYCK'S EYE2019 •
From the early Middle-Ages the use of geometry can be recognized. Classical sources. like Vitruvius and the Elements of Euclid, together with the Greek philosophy and the meaning of mathematics, geometry and numbers, never completely disappeared. In the 15th century the Flemish painters, Van Eyck being one of the first, played a mayor role in the development of the techniques of oil-painting and the use of systematic applied geometry. Their influence was decisive for the 17th century, in the Netherlands as well as in Italy.
THE ART BULLETIN [College Art Association]
THE SELF PICTURED: Manet, The Mirror, and the Occupation of Realist Painting [1998]1998 •
This essay is a hermeneutic investigation into a "mirror mode of looking," which the author defines as a strategy of semiotic representation inherited by Manet from a host of predecessors, including Van Eyck, Titian, Velázquez, Steen, Vermeer, and Watteau. It is proposed that the early historical precedence of a "mirror mode" in realist painting calls for a new, multivalent reading of the praxis of mimesis (and its public reception) in the premodern era. In turn, the subjective visuality of nineteenth-century modernism signals perhaps not so radical a departure from a former "ocularcentric regime" than is commonly presumed. EXCERPT: In 1878, at the age of forty-six, Edouard Manet painted a picture of himself painting a picture [ILLUSTRATION FOR FIGURE 1 OMITTED]. This Self-Portrait with a Palette is one of only two formal self-portraits that Manet conceived in his prolific, if succinct career.(1) As the painter gazes outward, he engages us in no simple standoff; rather, our position is uncertain, perhaps that of a portrait sitter, the painter himself, or a mirror before him. In sum, we serve as a complex foil that returns Manet's gaze to his own body and the canvas itself, in a continuous three-way shuttle. Even Manet's palette takes a critical stance in this tight cloister: at once a common tool and a painter's coat-of-arms, or auto-insignia, it is held at the hip like a heraldic battle shield, as if to steel the painter against his own self-scrutiny. Manet's only other serf-portrait is notably different in conception. Executed about the same time as the portrait with palette, it is a painter's full-length posturing as a pensive scholar [ILLUSTRATION FOR FIGURE 2 OMITTED]. Manet spreads wide his feet, so as to mime a steady, if haunted statue. Both hands thrust into his coat pockets, the painter shifts toward the raking light to train his attention on an urgent problem. This rather troubled image of Manet is unlike any other of him extant. Nobody questions whether its sense of gravity genuinely arises from the artist's nature; the mood is evident, for instance, in Manet's photographic portrait by Nadar of 1865.(2) Still, we tend to expect of this "hero" of modern painting the amiable mien of a social aesthete, that is, the congenial if reticent flaneur with top hat and walking stick - as Manet had been figured for posterity by Henri Fantin-Latour in a flattering portrait of 1867 [ILLUSTRATION FOR FIGURE 3 OMITTED]. As if to lionize Manet as Fantin's gregarious and convivial creature, we often explain the Self-Portrait with a Palette as a souvenir of personal achievement, an automemento in which Manet celebrates himself as the "stylish and successful" gentleman painter.(3) That assessment has the merit of economy, for it derives simply from Manet's costume - the suave frock coat, the cravat with pearl clip, the rakish bowler - with which he strikes an impressive, if not exceedingly confident, pose. A divergent reading. arises, however, as one takes note of a telling detail: the painter's gaze itself, at once redoubtable and reflexive, subtly tempers our first impression. In fact, Manet's gaze appears to penetrate his social mien - the self-as-spectacle - so as to plumb deeper leagues of his private identity. Given this circumstance we might say that Manet's costume is a decoy, for while it doubtless attracts us, to read it as an index of this painter's self-image may be to fall for a cunning deception. Indeed, in both of his self-portraits Manet's gaze renders his costume all but beside the point. We might consider, then, how Manet's self-portraits of 1878 are doubly important. While both pictures present the painter reflecting on his success in society, perhaps they are more significant for how they paint Manet as an implacable Peripatetic, a peintre-philosophe of visual cognition. If that would seem to overstate the tenor of these two self-portraits, we should take stock of the remaining instances in which Manet pictured himself. We know of only three such cases, and in each of them Manet poses as only one among other social or political beings. For instance, the painter has been located in the right foreground of the early Fishing of 1861-63 [ILLUSTRATION FOR FIGURE 4 OMITTED]; sited as the figure cropped by the left border of Music in the Tuileries of 1862 [ILLUSTRATION FOR FIGURE 20 OMITTED]; and spied as a bon vivant looking out of the picture in his Ball at the Opera of 1873-74 ([ILLUSTRATION FOR FIGURE 24 OMITTED]; Manet has been identified as the second top-hatted male from the beholder's right, that is, the gentleman who stands in depth behind a discarded dance program in the foreground, which bears his signature). In each of these scenarios the painter dons the mask of the man of leisure, that unencumbered boulevardier whose principal burden is his dogged boredom. When compared with these sociable self-depictions, Manet's image in the Self-Portrait with a Palette is hardly dashing. What is more, it has been figured nervously, and as the viewer explores that quality of the portrait more carefully, it betrays a self that is far less stable than the first impression would have it. This is a self in a continuous flurry of making, or thoughtful refiguring, so that as we look at it, the image is perpetually shifting, in effect, if not kaleidoscopic.(4) For all its hauteur, this portrait harbors a potential for self-erasure. No mere snapshot, it is a slowly additive collage of a self recovered from the mirror and purposefully, if precariously, transcribed by painting. I take that reflexive scrimmage of looking depict...
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in: Nelly de Hommel, Jos Koldeweij, Flemish Apocalypse, Barcelona 2005, p. 11-57.
'Mediaeval Painting in the Netherlands'Κυπριανίδου, Ε. (2018). “Το Πορτρέτο στην Κυπριακή Κουλτούρα”. Στο Κυπριανίδου, Ε. (επιμ.) Πορτρέτα: Αύρα Ζωής και Θανάτου. Λευκωσία: Πολιτιστικές Υπηρεσίες Κύπρου & Κέντρο Ευαγόρα & Καθλήν Λανίτη, σελ.12-39.
Portraiture in Cypriot Culture.pdfJ.Hand, R. Spronk (ed), Essays in contect
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