Catalogue of an exhibition held at The Frick Collection (18 September 2018-13 January 2019). This book celebrates the reunion -- for the first time in twenty-four years and only the second time in their history -- of two masterpieces of... more
Catalogue of an exhibition held at The Frick Collection (18 September 2018-13 January 2019).
This book celebrates the reunion -- for the first time in twenty-four years and only the second time in their history -- of two masterpieces of early Netherlandish painting commissioned by the Carthusian monk Jan Vos during his tenure as prior of the Charterhouse of Bruges in the 1440s: The Frick Collection's "Virgin and Child with St. Barbara, St. Elizabeth, and Jan Vos", commissioned from Jan van Eyck and completed by his workshop; and the Gemäldegalerie's "Virgin and Child with St. Barbara and Jan Vos", painted by Petrus Christus. These panels are examined with a selection of objects that place them for the first time in the rich Carthusian context for which they were created. Drawing on recent technical examination and new archival research, this volume explores the panels' creation, patronage, and function in their rich Carthusian context.
The Carthusian order was one of the most austere strands of late medieval monasticism. In apparent contradiction to this asceticism, Carthusian monasteries became remarkable repositories of art, a material accumulation often attributed to lay patronage. However this explanation overlooks the ways in which the Carthusians themselves commissioned and used images for their daily devotions and liturgy, as well as their commemoration. The story of Jan Vos and his patronage of Jan van Eyck and Petrus Christus fundamentally informs our understanding of the role played by images in shaping monastic life and funerary strategies in late medieval Europe.
"In his De visione Dei, Nicholas of Cusa addresses two aspects of divine vision: my desire to see God and God’s capacity to see me. The latter aspect is distinguished by absolute power: God’s gaze is all-seeing. To explain this peculiar... more
"In his De visione Dei, Nicholas of Cusa addresses two aspects of divine vision: my desire to see God and God’s capacity to see
me. The latter aspect is distinguished by absolute power: God’s gaze is all-seeing. To explain this peculiar power Cusa
introduces what he calls the figure of an ‘omnivoyant’. This is a portrait with its eyes turned towards the spectator so that the
gaze of the depicted person appears to follow the spectator. This paper shows how this optical effect determined the choice
of the full-face view as the characteristic way to represent the divine in Renaissance painting, and how inscriptions on the
frames of a series of portraits of Christ attributed to Jan van Eyck reveal that the use of this effect was deliberate and in
accordance with theological doctrine."
This paper presents a brief interpretation of the infrared reflectography of the Ince Hall Virgin and Child housed in the National Gallery of Victoria, Melbourne. In particular, the work's pentimenti, additive painting technique and... more
This paper presents a brief interpretation of the infrared reflectography of the Ince Hall Virgin and Child housed in the National Gallery of Victoria, Melbourne. In particular, the work's pentimenti, additive painting technique and underdrawing are discussed. Comparisons are made with the previous technical analysis of the work and of other works in the Van Eyck group. The analysis of the work in the 1950s which described its technique as unEyckian was limited by the available technology and characterised by an inconsistent interpretation of Eyckian underdrawing style and painting technique. Infrared reflectography (IRR) reveals that aspects of the work's technique are consistent with aspects of Van Eyck's technique revealed by the IRR analysis of a number of his uncontested works. Conclusions regarding the Ince Hall Virgin and Child's much contested attribution are not possible on the basis of IRR alone. However, this analysis presents new findings about the work's technique on which to base a revised assessment of its attribution.
Die Kunst Jan van Eycks markiert mit ihrer neuartigen Öltechnik, ihrer präzisen Beobachtung der sichtbaren Welt und ihrem hohen ästhetischen wie intellektuellen Reflexionsniveau nicht allein die »Geburtsstunde« der niederländischen... more
Die Kunst Jan van Eycks markiert mit ihrer neuartigen Öltechnik, ihrer präzisen Beobachtung der sichtbaren Welt und ihrem hohen ästhetischen wie intellektuellen Reflexionsniveau nicht allein die »Geburtsstunde« der niederländischen Malerei, sondern sogleich deren ersten glanz¬vol-len Höhepunkt. Die vorliegende Studie spürt der außergewöhnlichen, zu Lebzeiten einsetzenden und sich in der Folgezeit weit verbreitenden Fama des burgundischen Hofkünstlers erstmals umfassend nach. Sie fragt nach der Vorbildlichkeit seiner innovativen Bildideen und untersucht deren Rezeption nördlich der Alpen seitens der nachfolgenden Künstlergenerationen. Darüber hinaus nimmt sie die kunstliterarischen Quellen in den Blick, die Jan van Eyck früh als zweiten Apelles und pictor doctus rühmen und im 16. Jahrhundert – als Reaktion auf Giorgio Vasaris Legende der Erfindung der Ölmalerei – zum Gründervater einer autonomen niederländischen Maltradition erheben.
The VERONA (Van Eyck Research in OpeN Access) research project gives open access to high resolution scientific image data from the oeuvre of the pioneer of Flemish painting, Jan van Eyck (ca. 1390-1441). The project is carried out by the... more
The VERONA (Van Eyck Research in OpeN Access) research project gives open access to high resolution scientific image data from the oeuvre of the pioneer of Flemish painting, Jan van Eyck (ca. 1390-1441). The project is carried out by the Royal Institute for Cultural Heritage (KIK-IRPA, Brussels) in collaboration with museums that have paintings by Van Eyck in their collections. In each case, the artworks are examined and documented with the same scientific imaging techniques using the same protocol: macrophotography (normal light, raking light, infrared light and ultraviolet fluorescence), infrared reflectography and in some cases radiography. Comparable images are obtained through the use of standardized procedures and the same equipment. The resulting material is publicly released via the website 'Closer to Van Eyck' (closertovaneyck.be). The website user, via comparative windows and zoom features, can actively study for the first time differences and similarities in the artist's technique in various paintings on the basis of the same standardized material. This paper describes the scientific imaging techniques and methodologies used to produce and publish the image material, from the multimodal acquisition to the processing for stitching and multi-modal registration, culminating in web distribution.
Presentation of the famous and impressive Book of Hours/Psalter/Missal originally realised and miniated for the Duke Jean de Berry, and the main questions around it: timeframe, patrons, miniature artists, the role of Jan Van Eyck and his... more
Presentation of the famous and impressive Book of Hours/Psalter/Missal originally realised and miniated for the Duke Jean de Berry, and the main questions around it: timeframe, patrons, miniature artists, the role of Jan Van Eyck and his followers.
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... more
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.
SUMARIO - VALERIA RIEDEMANN L., “Amazonomaquia y Pintura Funeraria. A propósito de dos sarcófagos etruscos de Tarquinia” - SONIA MARTÍNEZ MORENO, “La presencia del espejo en la pintura del Renacimiento y del Barroco: un acercamiento a... more
SUMARIO
- VALERIA RIEDEMANN L., “Amazonomaquia y Pintura Funeraria. A propósito de dos sarcófagos etruscos de Tarquinia”
- SONIA MARTÍNEZ MORENO, “La presencia del espejo en la pintura del Renacimiento y del Barroco: un acercamiento a la ilusión del espacio en las obras de Jan van Eyck y de Diego Velázquez”
- PABLO CASTRO HERNÁNDEZ, “La representación de las ruinas medievales en la pintura romántica: algunas claves discursivas, estéticas e imaginarias (s. XIX)”
- PAULO DONOSO, “Los Tiranicidas. La escultura griega y las alegorías del poder”
- CELIA RAMIRO CHULVI, “Mariana de John Everett Millais”
This is a reassessment of the Ghent altarpiece in the context of the upcoming third edition of The Gospel of John Restored and Translated, to be published in seven or eight volumes by Editores Volcán Barú, as providing clues that the... more
This is a reassessment of the Ghent altarpiece in the context of the upcoming third edition of The Gospel of John Restored and Translated, to be published in seven or eight volumes by Editores Volcán Barú, as providing clues that the figures represent Jesus and the Mary called Magdalene. The analysis includes an analysis of the original version of the work, the underpainting revealed by x-radiography and other means.
Essay comparing the two painting of Saint Francis of Assisi Receiving the Stigmata accredited to Jan van Eyck. Based on my research, and the research of experts in the field, I believe that the painting placed in the Johnson Gallery is... more
Essay comparing the two painting of Saint Francis of Assisi Receiving the Stigmata accredited to Jan van Eyck. Based on my research, and the research of experts in the field, I believe that the painting placed in the Johnson Gallery is the authentic piece done by Eyck.
Het Lam Gods. Kunst, Geschiedenis, Wetenschap en Religie Deel I (KUNST)GESCHIEDENIS De Opdrachtgevers 'Een adellijk altaarstuk. Een sociaal-historische studie van de ontstaanscontext van het Lam Godsretabel' 1. Een uitzonderlijk... more
Het Lam Gods. Kunst, Geschiedenis, Wetenschap en Religie
Deel I (KUNST)GESCHIEDENIS
De Opdrachtgevers
'Een adellijk altaarstuk. Een sociaal-historische studie van de ontstaanscontext van het Lam Godsretabel'
1. Een uitzonderlijk altaarstuk
2. De opkomst van de familie Vijd in de veertiende eeuw
3. De integratie van de familie Vijd in de stad Gent
4. De integratie van de familie Vijd in de Vlaamse adel
5. Het Lam Gods als een adellijk altaarstuk
In bijlage het artikel van 2014 gepubliceerd als een hoofdstuk in het boek "Het Lam Gods - van Eyck', 2019.
The unusual representation of the patron of this painting, chancellor Nicolas Rolin, draws attention to the position of Rolin in society, the image he held of himself as a man of state as well as the image he aimed to put forward.
A bibliography of the Ghent Altarpiece, painted by Hubert and Jan van Eyck
Dominique Deneffe and Jeroen Reyniers, The Ghent Altarpiece. A Bibliography, Contributions to the Study of the Flemish Primitives, 15, Brussels (KIK-IRPA), 2020.
This book explores in depth the painting in the Netherlands throughout the ages, up to the present day. It offers a complete panorama extending from the early Middle Ages to the most recent trends, reflecting the growth and development of... more
This book explores in depth the painting in the Netherlands throughout the ages, up to the present day. It offers a complete panorama extending from the early Middle Ages to the most recent trends, reflecting the growth and development of the Dutch artistic identity, poised between tradition and experiment. This is an ambitious work, involving several internationally renowned art historians.
What happens when we look at a canonical painting from the perspective of its non-human occupant? This article explores that question through the case of the dog in Jan van Eyck's "Arnolfini Portrait." Not only is the dog in The Arnolfini... more
What happens when we look at a canonical painting from the perspective of its non-human occupant? This article explores that question through the case of the dog in Jan van Eyck's "Arnolfini Portrait." Not only is the dog in The Arnolfini Portrait fundamental to the fellowship that Van Eyck invites us to feel both with himself and with his work; consideration of his presence also offers an opportunity to reconsider the limitations of traditional art-historical method.
The extant works of Hugo van der Goes frustrated attempts among early historians of Netherlandish painting to organize the artist's career according to a chronology. The survival of a biographical document attesting to his madness... more
The extant works of Hugo van der Goes frustrated attempts among early historians of Netherlandish painting to organize the artist's career according to a chronology. The survival of a biographical document attesting to his madness additionally troubled the expectation of artistic progression. Goes earned the reputation of the first modern artist whose genius was connected to his aberrant psychology. This essay critically examines the impulse in art history toward temporal sequencing, arguing that such a practice is most profitably applied in the case of Goes not to his oeuvre as a whole but to a study of his process within an individual work. The alterations over time to the surface of The Fall of Man, which has often (but not unanimously) been deemed the artist's “first work,” afford consideration of how Goes thought about revision and how historians of early Netherlandish painting might engage disciplinary change by rethinking the impulse toward prioritization.
This article offers the first analysis of the Rolin Madonna (ca. 1435) in relation to Jan van Eyck’s trip to Castile and Granada (1429). The space and the architectural typology in the painting reveal Hispanic influences which are only... more
This article offers the first analysis of the Rolin Madonna (ca. 1435) in relation to Jan van Eyck’s trip to Castile and Granada (1429). The space and the architectural typology in the painting reveal Hispanic influences which are only explicable through first-hand experience by the artist. These elements were not fully understood by his Flemish peers, who adapted them to local use. This study allows us to re-position Van Eyck and Chancellor Rolin’s interests in line with the plurality of artistic models and the tensions between the existing hegemonies and the multiculturalism of the major global powers during the Early Modern period. //
Este artículo analiza por primera vez la Madonna Rolin (ca. 1435) en relación con el viaje de Jan van Eyck a Castilla y Granada (1429). El espacio y la tipología arquitectónica del cuadro denotan influencias hispanas explicables únicamente a través de la experiencia in situ del artista, elementos que sus colegas flamencos no comprendieron y readaptaron a sus usos locales. Como consecuencia, esta investigación permite resituar los intereses de Van Eyck y del canciller Rolin en línea con la pluralidad de modelos y con las tensiones entre hegemonías y multiculturalidad de las grandes potencias europeas en la temprana Edad Moderna.
Susan Frances Jones, Bart Fransen, Christina Currie and Geert van der Snickt, ‘Jan van Eyck’s Portrait of Margaret van Eyck: new imaging by the VERONA Project (Van Eyck Research in OpeN Access)’, La Ciencia y el Arte VII. Ciencias... more
Susan Frances Jones, Bart Fransen, Christina Currie and Geert van der Snickt, ‘Jan van Eyck’s Portrait of Margaret van Eyck: new imaging by the VERONA Project (Van Eyck Research in OpeN Access)’, La Ciencia y el Arte VII. Ciencias experimentales y conservación del patrimonio/ Science and Art VII, Experimental Sciences and Heritage Conservation (Madrid, October 24, 25 and 26, 2018), Ministerio de Cultura y Deporte, 2021, pp. 85-95
-La Virgen del Canciller Rolin, Jan Van Eyck -Madonna Sixtina, Rafael Sanzio -La Sagrada Familia con Santa Catalina, San Sebastián y un donante, Sebastiano del Piombo -Virgen de Port Lligat, Salvador Dali
