Arnolfini

Jan van Eyck’s Arnolfini Marriage Portrait of 1434 still poses fundamental questions. An overlooked account explained the groom’s left hand holding his bride’s right hand as a secular, legal morganatic marriage with a bride of lower social rank and wealth. That would explain Van Eyck’s presence as witness in the mirror and through his inscription, and corresponds to the recent identification of the bride and groom as Giovanni di Arrigo Arnolfini and his previously unknown first wife Helene of unknown last name. Van Eyck’s scene can be called the first modern painting, as the earliest autonomous, illusionistic representation of secular reality, provided with the earliest artist’s signature of the modern type, framing his scene as perceived and represented by a particular individual. That is why Jan van Eyck was here.

Keywords
Jan van Eyck. Signature. Arnolfini. Morganatic Marriage. Modern painting.

Wie kann man Bildanalysen strukturieren? Wie kann man Schüler an Kunstgeschichte heranführen? Warum gibt es Kunstwerke aus der Vergangenheit, die immer wieder zitiert werden? Schritt für Schritt gibt es hier eine Unterrichtseinheit mit Arbeitsblatt für eine strukturierte Form-Inhaltsanalyse im Kunstunterricht, sowohl für die Sekundarstufe I als auch II anwendbar.

Curated by Josephine Lanyon, Emotional Archaeology features a number of key works spanning Wright's 30 year career including impressive sculptural works, films, watercolours and prints exhibited across five galleries at the Arnolfini. Wright directs a tender scrutiny toward sensitive and often brutal themes which provoke the viewer to undertake a series of internal excavations; the archaeological dig, in this sense, is one of unrelenting psychological engagement. Lanyon remarks that 'a day in the life of an Emotional Archaeologist must be exhausting' and this is can be said not only of the labour-intensive processes of producing art. Though there are numerous points of access to Wright's work that range from classical sculpture to country music, the clarity of their communication is disrupted by a series of shifts that simultaneously narrow the viewer's focus and broaden the scope of thought and feeling.

Le tableau célèbre qui fait l'objet de cette communication est une œuvre de dimensions modestes (84, 5 x 62, 5 cm), peinte sur trois planches de chêne assemblées verticalement, signée en 1434 par Jan van Eyck et dont on peut suivre la trace dès la fin du XVe siècle. Il ...

This book explores how contemporary art can alter the ways in which we visualise and conceptualise the world and the social relations that shape it. Drawing from the writings of philosopher Jean-Luc Nancy, it spotlights the concept of ‘world-forming’ and the political significance of art-making and viewing.

The central theme of ‘world-forming’ focuses attention on the processes of globalisation. The book explores how artists can facilitate shared creative spaces within and beyond the apparatuses of global capitalism. The book traces a philosophical progression from ontology to the political through a series of participatory practices. It forwards Jean-Luc Nancy’s idea of ‘world-forming’ in order to show how contemporary art sustains critical and creative engagement with social practices. The overall objective of the book is to show, through participatory practices, how contemporary art can facilitate social change.

The book will be of interest to scholars working in art history, contemporary art, philosophy and politics.