Jan Van Eyck

Besides conceiving standard realistic portraits, painters also engineered representations in which different identities were merged into single composite characters. This intelectualized expedient was actually appreciated by several commissioners, who were humanists themselves.

The use of reflection as a sign of the painters’ presence  seems to be characteristic of Jan van Eyck. We find this in "The Arnolfini Portrait" and also in "The Virgin and Child with Canon Van der Paele". In both cases the painter is outside the represented space but his reflection demonstrates his presence in the real physical space where he is making the picture. These two examples are relatively well-known. The aim of the present paper is to suggest a third example, which till now has never been an object of attention. It seems that one can observe a similar phenomenon in the Ghent Altarpiece, in the scene of the Adoration of the Mystical Lamb. Two figures are reflected on the spherical surface of the Fontaine of Life. Who are these figures? Obviously they do not belong to the depicted scene, they are outside the pictorial space. We can guess that they are a reflection of the master (Jan van Eyck) and his assistance, as in the "Arnolfini Portrait". It is not excluded, however, that the reflection refers to the brothers Jan and Hubert van Eyck.

L’Agneau mystique des freres Van Eyck (1432) est unanimement reconnu comme oeuvre picturale sublime, avec un rayonnement et une influence exceptionnels. Ce fut la premiere peinture a l’huile de grande taille et le mysticisme religieux s’en degage avec force. Le retable se lit presque comme un ABC du christianisme, allant de l’Annonciation au sacrifice symbolique du Christ : « l’agneau mystique » represente sur un autel dans un paysage paradisiaque, versant son sang dans le Saint Graal. Ce livre regroupe pour la premiere fois un grand nombre de savoirs lie a l’Agneau mystique – soit le monumental polyptyque realise par les freres Hubert et Jan Van Eyck en collaboration avec un atelier de renom et un ensemble de conseillers sur le plan du contenu. Ce livre nourrit une ambition similaire : reunir des experts des disciplines les plus diverses. Ce n’est qu’en combinant les points de vue des specialistes en histoire de l’art, des historiens, des philosophes, des scientifiques du religieux...

This article examines the monuments with which some of the most celebrated musicians and composers of the Burgundian Netherlands were commemorated. Perhaps best known is Guillaume Du Fay’s wall-mounted memorial; thanks to musicologists’ research, his sculpted tablet is also one of the best documented of its kind and thus can be situated within the context of the composer’s various provisions – musical and otherwise – to secure his posthumous commemoration. Du Fay’s memorial is considered in relation to selected artworks commemorating his contemporaries and successors, including Gilles Binchois, Jacob Obrecht, Josquin des Prez, and Marbrianus de Orto. These include not only tombs and memorial tablets but also panel paintings – like Hans Memling’s portrait of Gilles Joye – and, in one case, a brass reliquary coffer. Of particular concern are the ways in which these monuments reflect their patrons’ wealth, status, personal relationships and devotional priorities, as well as their identities as musicians and clerics.

Le Faussaire de Valls Marín peut être considéré comme l’un des imitateurs de la peinture des anciens Pays-Bas ayant connu le plus grand succès, une sorte de Joseph Van der Veken ibérique. Il semble avoir travaillé durant la première moitié du XXe siècle, principalement pour le marché d’art espagnol. Il réussit à vendre des peintures de sa main comme des œuvres flamandes authentiques à des collectionneurs renommés, tels l’éditeur José Lázaro Galdiano, le médecin Carmelo Valls Marín et l’historien d’art José Camón Aznar. Ses sources principales furent probablement des photographies de tableaux de Jan van Eyck, Rogier van der Weyden et Hans Memling. À l’occasion, il prit aussi pour modèles des œuvres allemandes. Comme de nombreux faussaires de son époque, il eut une activité de restaurateur. Parfois, il alla bien au-delà de la simple restauration d’une peinture ancienne et chercha à augmenter sa valeur marchande en y ajoutant des visages et des détails d’architecture dans le style des ...

L'exposition ouverte cet été à Bruges lut une véritable évocation. Aux lieux mêmes où s'écoula leur existence d'im- perturbable labeur, des maîtres, grands parmi les plus grands, dont la gloire illi;- inina le moyen âge, semblaient renaître
1 la vie pour protester contre l'injuste mé- onnaissance de leurs droits à l'admiration (le la postérité.

This call for papers is for a postgraduate panel discussion that constitutes part of the conference 'Arnolfini Histories: Jan van Eyck's Arnolfini Portrait and its Receptions,' organised in conjunction with the exhibition 'Reflections: Van Eyck and the Pre-Raphaelites,' organised by the National Gallery, London in collaboration with Tate (Sunley Room, National Gallery 2 October 2017 - 2 April 2018).

We invite proposals from postgraduate students for papers (5-10 minutes) in the panel 'Arnolfini Things,' which will explore the materiality of things in Jan van Eyck's 'Arnolfini Portrait.' We welcome proposals for papers on any object depicted in the painting except the mirror (although presenters may wish to explore the relationship between their chosen object and the mirror) and hope to include a wide range of approaches.

Deadline for proposals: 30 September 2017

Please see the attached CFP for more details.
Conference website: https://arnolfinihistoriesconference.com

In this essay, I propose that the great seal of the city of Ghent provided a thematic foundation for the iconographic plan governing both the internal and external panels of the Ghent Altarpiece. The reproduction of the Ghent Altarpiece as a staged Tableau Vivant for the entry of Philip the Good provides corroborating evidence.

Jan van Eyck's van der Paele Virgin, commissioned to mark his patron's chaplaincies at St. Donatian's church, Bruges, can be situated within the visual culture of commemoration in the Netherlands, and specifically within the tradition of erecting a wall-mounted memorial to mark one's burial place or the site of a pious foundation. Scrutiny of written sources—both archival documents and the inscriptions on the picture's frame—together with comparisons with contemporary memorials clarify not only the circumstances of the painting's commission but also the question of its original setting and the precise nature of its memorializing function.

http://www.archivesaudiovisuelles.fr/339/liste_conf.asp?id=339

Director of the international conference
„Le portrait individuel. Réflexions autour d’une forme de représentation, XIIIe au XVe siècle“, EHESS, Paris, 6.-7. Feb. http://calenda.revues.org/nouvelle3780.html

Reviews:
Maddalena Parise, in: Les Nouvelles de l’INHA, April 2004, p. 8-9.
Idem, for Fabula:
http://www.fabula.org/actualites/article8248.php.
Florence Chantoury for Arthist:
http://www.h-net.org/mmreviews/showrev.cgi?path=650.

        Video archive:
http://www.archivesaudiovisuelles.fr/339/liste_conf.asp?id=339

SPEAKERS

Dominic  OLARIU and Jean-Claude  SCHMITT:  Présentation

Jean-Claude  SCHMITT: Les obstacles à l'émergence du portrait dans la culture chrétienne du Moyen Âge

Dominic  OLARIU: Une hypothèse sur la genèse du portrait individuel

Agostino  PARAVICINI BAGLIANI: Les portraits de Boniface VIII

Beate  FRICKE: Unmasking the Holy Face and Confronting the Sacred. The Invention of a new Type of Head Reliquary under the Angevins

Hans  BELTING : Le portrait médiéval et le portrait autonome. Une question

Gerhard  WOLF: Aspects du portrait et de l'autoportrait chez Dante

Enrico  CASTELNUOVO: Les portraits individuels de Giotto

Anika  DISSE : Figures de l'auteur : Boccace dans son oeuvre

Albert  CHATELET: Portrait et dévotion

Eberhard  KONIG: Le réalisme des portraits dans les manuscrits

Norbert  SCHNEIDER : Aequalitas. Zu Jan van Eycks Porträts

Danièle  COHN: Ressemblance, identité, individualité : remarques sur le portrait

Gregor  WEDEKIND: Mimesis. Jan van Eycks sogenanntes Bildnis der Arnolfini

Paul T.  WERNER: Katerina l'Africaine ou la ruse du dessin

VIDEOS OF THE CORRESPONDING CONFERENCE

Dominic Olariu and Jean-Claude Schmitt: Introduction
http://www.archivesaudiovisuelles.fr/DE/_video.asp?id=339&ress=1162&video=6321&format=68

Jean-Claude Schmitt
http://www.archivesaudiovisuelles.fr/DE/_video.asp?id=339&ress=1163&video=89144&format=68

Beate Fricke
http://www.archivesaudiovisuelles.fr/DE/_video.asp?id=339&ress=1166&video=89044&format=68

Agostino Paravicini Bagliani
http://www.archivesaudiovisuelles.fr/DE/_video.asp?id=339&ress=1165&video=89092&format=68

Dominic Olariu
http://www.archivesaudiovisuelles.fr/DE/_video.asp?id=339&ress=1164&video=89080&format=68

Enrico Castelnuovo
http://www.archivesaudiovisuelles.fr/DE/_video.asp?id=339&ress=1169&video=89132&format=68

Hans Belting
http://www.archivesaudiovisuelles.fr/DE/_video.asp?id=339&ress=1167&video=89064&format=68

Anika Disse
http://www.archivesaudiovisuelles.fr/DE/_video.asp?id=339&ress=1170&video=89120&format=68

Albert Chatelet
http://www.archivesaudiovisuelles.fr/DE/_video.asp?id=339&ress=1171&video=89104&format=68

Eberhard König
http://www.archivesaudiovisuelles.fr/DE/_video.asp?id=339&ress=1172&video=89060&format=68

Norbert Schneider
http://www.archivesaudiovisuelles.fr/DE/_video.asp?id=339&ress=1173&video=89100&format=68

Gregor Wedekind
http://www.archivesaudiovisuelles.fr/DE/_video.asp?id=339&ress=1175&video=89076&format=68

Paul Werner
http://www.archivesaudiovisuelles.fr/DE/_video.asp?id=339&ress=1176&video=89136&format=68

Danièle Cohn
http://www.archivesaudiovisuelles.fr/DE/_video.asp?id=339&ress=1174&video=89052&format=68

Gerhard Wolf: Aspects du portrait et de l'autoportrait chez Dante
http://www.archivesaudiovisuelles.fr/DE/_video.asp?id=339&ress=1168&video=89116&format=68

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This is the first in-depth historical study of Jan Gossart (ca. 1478-1532), one of the most important painters of the Renaissance in northern Europe. Providing a richly illustrated narrative of the Netherlandish artist's life and art, Marisa Anne Bass shows how Gossart's paintings were part of a larger cultural effort in the Netherlands to assert the region's ancient heritage as distinct from the antiquity and presumed cultural hegemony of Rome. Focusing on Gossart's vibrant, monumental mythological nudes, the book challenges previous interpretations by arguing that Gossart and his patrons did not slavishly imitate Italian Renaissance models but instead sought to contest the idea that the Roman past gave the Italians a monopoly on antiquity. Drawing on many previously unused primary sources in Latin, Dutch, and French, Jan Gossart and the Invention of Netherlandish Antiquity offers a fascinating new understanding of both the painter and the history of northern European art at large.

2020: Μια δύσκολη χρονιά για τα μουσεία όλου του κόσμου Το 2020 ανέτειλε με αισιοδοξία για τα μουσεία όλου του κόσμου. Πολύ γρήγορα όμως η πανδη-μία του κορωνοϊού COVID-19 ανέτρεψε όλους τους προγραμματισμούς. Τα μουσεία έκλεισαν τον Μάρτιο με την έκρηξη του πρώτου κύματος της πανδημίας και όταν άνοιξαν-όσα άνοιξαν-και πάλι στο κοινό, μετά από τρεις περίπου μήνες, συνειδητοποίησαν ότι είχαν πλέον να αντιμε-τωπίσουν μια νέα, διαφορετική πραγματικότητα. Έπρεπε όχι μόνο να ξανακερδίσουν το κοινό, αλλά να ξανασχεδιάσουν την πορεία τους και να σκεφθούν το μέλλον με διαφορετικούς όρους. Η πανδημία δεν είναι όμως η μοναδική πρόκληση. Η κλιματική αλλαγή και οι φυσικές κατα-στροφές, οι ένοπλες συρράξεις, το προσφυγικό και το μεταναστευτικό πρόβλημα, οι κοινωνικές εκρήξεις και ανακατατάξεις είναι ζητήματα που απαιτούν επαναπροσδιορισμό του κοινω-νικού ρόλου των μουσείων, ευαισθητοποίηση των πολιτών, συνεχή εκπαίδευση και ανάπτυξη δεξιοτήτων. Παράλληλα, γίνεται εμφανής η ανάγκη κατάρτισης σχεδίων έκτακτης ανάγκης σε τοπικό, περιφερειακό και εθνικό επίπεδο. Το ICOM, επιθυμώντας να καταγράψει τις επιπτώσεις της πανδημίας στα μουσεία, πραγματο-ποίησε δύο έρευνες, τα αποτελέσματα των οποίων εκπέμπουν σήμα κινδύνου για το μέλλον των μουσειακών οργανισμών (πρώτη και δεύτερη έρευνα). Κοινή είναι η διαπίστωση ότι το μουσείο του αύριο δεν θα είναι το ίδιο με εκείνο του χθες. Η ψηφιακή στροφή είναι γεγονός, καθώς τα μουσεία αναζητούν μια διέξοδο για να συνεχίσουν να επικοινωνούν με το ευρύτερο κοινό. Ζη-τούμενο είναι τώρα η επίτευξη της αναγκαίας ισορροπίας μεταξύ πραγματικού και ψηφιακού. Εξαιτίας της πανδημίας, ο εορτασμός της Διεθνούς Ημέρας Μουσείων 2020, στις 18 Μαΐου, βρή-κε τα μουσεία κλειστά, αλλά όχι σιωπηλά, καθώς συνέχισαν το έργο τους μέσα από ψηφιακές εφαρμογές και δράσεις. Απέδειξαν έτσι ότι είναι ζωντανοί οργανισμοί που ανταποκρίνονται στις ανάγκες του σύγχρονου ανθρώπου συμβάλλοντας ουσιαστικά, ώστε ο φετινός εορτασμός να πραγματοποιηθεί «ψηφιακά». Το Ελληνικό Τμήμα του ICOM αποτέλεσε τον κόμβο προβολής των πρωτοβουλιών των ελληνι-κών μουσείων, αναδεικνύοντας τις ψηφιακές δράσεις που πραγματοποιήθηκαν στο πλαίσιο του εορτασμού με θέμα «Μουσεία για την Ισότητα: Ποικιλομορφία και Κοινωνική Συνοχή». Εξήντα και πλέον φορείς από όλη την Ελλάδα διοργάνωσαν πλήθος εκδηλώσεων, τόσο στις ιστοσελί-δες τους όσο και στα μέσα κοινωνικής δικτύωσης που αναρτήθηκαν στην ιστοσελίδα μας. Το παρόν τεύχος του Ενημερωτικού Δελτίου, που βρίσκει τα μουσεία και πάλι κλειστά λόγω του δεύτερου κύματος της πανδημίας, αφιερώνεται στη μνήμη του καθηγητή Νίκου Ζία που διετέ-λεσε επί μία οκταετία Πρόεδρος του Ελληνικού Τμήματος του ICOM προσφέροντας σημαντικό έργο και συμβάλλοντας καθοριστικά στην καθιέρωση και την ανάπτυξή του. Παράλληλα, έχο-ντας πάντοτε ως μέτρο τον άνθρωπο, βοήθησε πολλούς νέους επιστήμονες που επιθυμούσαν να εργαστούν στον χώρο των μουσείων, μεριμνώντας επίσης για την εισαγωγή της μουσειο-λογίας στην πανεπιστημιακή διδασκαλία. Κυρίως όμως συνέβαλε ώστε να δημιουργηθεί στο ICOM μια κοινότητα ανθρώπων που εργάστηκε-και συνεχίζει να εργάζεται-με αφοσίωση και όραμα, αφήνοντας έτσι μια σημαντική παρακαταθήκη για το μέλλον. ΤΕΤΗ ΧΑΤΖΗΝΙΚΟΛΑΟΥ

Masaccio e Jan van Eyck come casi esemplari e rappresentativi di due atteggiamenti culturali differenti, sviluppatisi all'incirca nello stesso periodo (i primi decenni del Quattrocento) e volti alla riscoperta della realtà: a Firenze, culla del Rinascimento italiano, la sintesi plastica e volumetrica, la prospettiva scientifica e lo studio dell'antico (Masaccio), dall'altra, nelle Fiandre dell'ars nova, la limpida e luminosa minuziosità, l'attenzione al microcosmo e l'importanza della natura e del paesaggio (Van Eyck), in un contesto in cui la religiosità rinnovata dalla 'devotio moderna' si sposa con l'interesse per la vita quotidiana, spesso intriso di simbolismi, a volte mascherati. Il lavoro indaga i contesti storico-culturali in cui si svilupparono le ricerche di questi due grandi artisti e propone metodi didattici per l'esposizione del tema nell'ambito della scuola secondaria, con esempi concreti derivati dall'esperienza dello stage effettuato presso un istituto d'arte statale della città di Torino, nell'anno scolastico 2005-2006, comprensiva anche di un'uscita didattica alla Galleria Sabauda, per visionare con gli allievi alcune opere tardogotiche, del primo Rinascimento toscano e dei primitivi fiamminghi.

Beauty and memory in the neapolitan court of Alfonso V de Aragón (1442-1458)
Rather than a preference for any specific aesthetic model, the defining characteristics of the concept of beauty in the court of Alfonso the Magnanimous were luxury and sumptuousness. To a large extent, these two principles underlie the works that the monarch commissioned
from his agents and ambassadors. Other criteria equally notable were strangeness and exceptionality. Alfonso and his courtesans always demonstrated a great fascination towards works that contained curious and surprising details, many of them being the fruit of the special skills
that their creators deployed in a series of visual devices. This is the case with the spectacular effects in the paintings by Jan van Eyck or in the ability of Dello Delli to design compositions based on geometric perspective, an interest in the strange and the exceptional that also fed the monarch’s interest ni natural curiosities and antiquities in certain cases such as the Grotta by Virgilio, which brought together memory and magic legend.
The search for magnificence and splendour added another dimension to the concept of beauty in Alfonso’s court. Here the most paradigmatic expressions are to be found in the multiple spectacles organised by the king, in particular, the banquets, which were occasions for a sophisticated and sumptuous display of all types lavish objects, from tapestries and profane pieces of silver and gold work to the rich clothing of the participants. It was a climate of opulence that was accented still further with the introduction of a series of effects and resources (music, food, floral decorations, etc.) that gave them a strong and clear synaesthetic dimension. This resulted in ephemeral manifestations that, thanks to the accounts of chroniclers and historians, survived in the memory of the history of worship in Naples and helped to make Aragonese rule a golden period for the city.

In the age of hedonism and full of doubts in belief, if Love and Art are still justifiable to believe and pursue?
The article interprets the famous painting by Jan van Eyck, and questions the history of sexuality in the West. From Ovid to Pierre Abelard, from Gothe to Sartre, the concept of Love in literature and art has both changed and persisted. 
The painting from 1434 AD has remained in public as a symbol that commemorates a problematic relationship; meanwhile, it has witnessed many changing views throughout history.
Is Love materialistic? Yes. Is Love spiritual? Yes. Is Love a trade? Perhaps. May Love be eternal? Affirmative. Even if the interpretations of love can be misunderstandings, but for the eternally floating emotions, why not maintain such misconceptions?

Jeroen Reyniers, 'The Representation of Emperor Augustus and the Tiburtine Sibyl in the Low Countries during the Middle Ages and the Renaissance. An Overview', in: Augustus through the Ages: receptions, readings and appropriations of the historical figure of the first Roman emperor, Louvain-la-Neuve, 2017.

The use of reflection as a sign of the painters’ presence seems to be characteristic of Jan van Eyck. We find this in "The Arnolfini Portrait" and also in "The Virgin and Child with Canon Van der Paele". In both cases the painter is outside the represented space but his reflection demonstrates his presence in the real physical space where he is making the picture. These two examples are relatively well-known. The aim of the present paper is to suggest a third example, which till now has never been an object of attention. It seems that one can observe a similar phenomenon in the Ghent Altarpiece, in the scene of the Adoration of the Mystical Lamb. Two figures are reflected on the spherical surface of the Fontaine of Life. Who are these figures? Obviously they do not belong to the depicted scene, they are outside the pictorial space. We can guess that they are a reflection of the master (Jan van Eyck) and his assistance, as in the "Arnolfini Portrait". It is not excluded, however, that the reflection refers to the brothers Jan and Hubert van Eyck.

In this article I argue that Jan van Eyck visited Valencia as part of the ducal embassy to Aragon in the autumn/winter of 1426, which was the first of two embassies sent by Philip the Good to negotiate his marriage to Eleanor of Aragon, sister of Alfonso V of Aragon. This visit probably enabled a number of Valencian painters to contact the Burgundian court painter and gain direct access to his technical and pictorial innovations. Within a small network of Valencian artists, some even acquired a painting and a drawing attributed to him. Exceptionally, tracings after Eyckian works were imported and literally taken over, as is evidenced by the study of Dalmau’s Virgin of the Consellers. Dalmau made his tracings after the Ghent Altarpiece in Van Eyck’s workshop, before the work was installed in the Vijd Chapel. The duration of Dalmau’s stay in Van Eyck’s workshop should therefore be taken into account when studying the genesis of the Ghent Altarpiece.

Pittore e funzionario molto vicino al duca di Borgogna. ✓ Anche lui come Masaccio si pone il problema della realtà. Mentre Masaccio, però, coglie la struttura sintetica di uomini e oggetti, Van Eyck analizza e riproduce in tutte le sue caratteristiche qualsiasi oggetto/soggetto (confronto fra Adamo di Masaccio e Adamo di Van Eyck).

This thesis analyses the phenomenon of the exact copy in the dutch panel painting in the 15th and 16th century based on nine groups of copies. It could be confirmed that the development of the exact copy took place before the mid-15th century. This could be associated with the Ars Nova and the realism in painting which was characterized by Jan van Eyck. The commissions in the 15th century for the exact copies that are preserved, came particularly from private clients, and were used as devotional images in private use or for commemorational reasons within the families. Exact copies were also produced for the art market, in one case the commissioner came from the House of Valois-Burgundy, while the functions of the paintings stayed in private spheres of devotion. In the 16th century all the commissioners of the here examined copies were monarchs, whose court painters produced exact copied of certain paintings. In addition to the traditional intentions of devotion, appeared other functions such as representation, legitimacy and of articulation of counter-reformationist convictions, which were interlocked with ideas of leadership. The understanding of art and a certain admiration for particular artists can be demonstrated especially in the 16th century but may have existed already in the 15th century. In not a single case it is to confirm that a particular name of an artist has been the decisive factor for a commission of an exact copy in the 15th and 16th century, The motives as well as the contents of the paintings, and later also the historical and local connections were determining for the desire for an exact copy.