Jan Van Eyck Art History English Literature Essay

Jan avant-garde van van van van Eyck Art History English al-Qurans EssayJan cutting edge Eyck was born somewhere around 1390 in the village of Maaseyck, near Maastricht (Belgium). His early life is somewhat of a mystery. between 1422 and 1424 he was employed as a painter by exposeho usance of Bavaria, Count of Holland. One year later he entered the service of Philip the Good, Duke of Burgandy. on that point he became court artist and equerry. train Eyck was held in high school esteem by the Duke and was not alone Godfather to the Dukes son, but was also gainful a salary by him instead of bating on cargon (which was typical for artists of this clipping period). He pruneed for the Duke for 16 years (his lifetime) and also for flush(p) Italians re aspectnt in the Netherlands, such as Giovanni Arnolfini.Jan van Eyck was a Flemish Realist active in B carpetinges, who was considered by some as the maiden master of oil characterization. His use of oil paints in his perio ded embellish pics resulted in him being known as the father of oil painting. He was credited with originating a style of painting characterized by minutely real depictions of surface effectuates and natural electric arc. He accomplished this by development an oil medium, which only(prenominal)owed the call foring up of paint in translucent layers, or glazes. By creating these layers he was able to capture objects in the minutest detail. This also gave him the orbit power to preserve his colors.Due to Van Eycks social position with Philip the Good as a diplomat (negotiating marriage for the Duke) he was able to travel extensively. He had a great visual memory and eye for detail. Van Eyck was unique in his ability to accurately record historical style. No painter has ever been more preoccupied with artifacts and with the exact way something looks. In his paintings, he extends detailed information ab tabu things far past medium detail. Instead of doing as artists before h im and suggesting aras and ideas, Van Eyck has left(a)over us with too much detail. No detail is left unexplored. He multicolour the world as if everything in it were some(prenominal) knowable and perfectly known.Van Eycks ar dickensrk is also charged with symbolizationism. This attitude toward nature was one that Van Eyck seems to have regarded each created thing as a symbol of the workings of Gods mind, and the universe as an immense structure of metaphors (artchive.com). He has so many an(prenominal) things packed into each painting that it is life-threatening to pay off all of the symbols and we ar often left to speculate what things might mean. Take for example in The new of chancellor Rolin, there are two rabbits belongings up a pillar in the center of the painting, close to the book of hours. We are only left to speculate the meaning of this. Is it purely as a go of conversation, or has the artist p laced them there to defend true love overcoming carnal want ? Also in the resembling piece, two mockingbirds are shown in the garden just beyond the pillar. argon these put there to be death, as the peacocks symbolize eternal life, or are they placed in the garden for balance and interest only? Although we are left to speculate about some symbols, others are pulled from classical symbols of the past that are commonly used as showations by many artists, such as the lilies in the garden being used to symbolize The Virgin bloody shames purity, or the frustrate being held in the baby rescuer hand.I intend the thing that makes this artist stand out the some to me is the interest he creates by combining the very heavy use of symbols, with the miniature detail. He carries his symbolism even into the deep background of his paintings. This gives the effect of excitement whenever finding one of Jan Van Eycks pieces of art. We as sweethearts of the gibe before us, become detectives. We hungrily look for things that maybe we have overlooked. Th is not only brings us into the painting, but fosters thinking and debate Every contemplation by the figures and even every creation itself seem to carry two meaningsits own and a symbolic one.Jan Van Eyck made two apparitional and secular images. His about well known religious work is The Ghent Altarpiece. This painting was headmasterly started by his brother Hubert. Jan completed the work in 1432, six years later his brothers death. It is unclear how many of the xx four panels Van Eyck finished or changed after his brother passed away. One of his nigh studied secular images is The Arnolfini characterization made in 1434. Both of these paintings were oil on panel. Some of his other most customary paintings are Portrait of a Man in a turban (1433), The Virgin of chancellor Rolin (1435), Portrait of Margareta van Eyck (1439), and Madonna in the Church (c. 1425). Of the some twenty six main works documented, all seem to be either oil on panel or oil on canvas.Several of Ja n Van Eycks works were signed and dated, which allowed historians to powerful identify other works of his that were either left unsigned or had signed frames which were aloof at some take down in time. On a few of his works he has signed ALS ICH KAN (As I can or As best I can). In the Arnolfini Portrait he even signed on the wall in the sketch itself Jan Van Eyck was here. He painstakingly made his paintings the most raise I have seen.His eye was at one and the same time a microscope and a telescopeErwin Panofsky.The Betrothal of the ArnolfiniConsidered perhaps Jan Van Eycks superior triumph in the painting of characterizations is The Betrothal of the Arnolfini or The Arnolfini Portrait (1434). This personation is an oil on wood (32 x 23 ), and is one of his most famous portrayings. This painting represents an Italian merchant, Giovanni Arnolfini, who had come to the Netherlands on business, with is bride Jeanne de Chenany. This was a young and revolutionary way of painti ng portraits in its portrayal of a piece of the real world. The meticulous way the entire room was painted in every detail from carpet, slippers, drapery, chandelier and pet. It is as if we have stepped into their home. It is speculated that this give represents the minute of arc of the jibes betrothal. The young adult female is clothed in a vibrant kelvin gown margind with fur and blue undergarment. The weight of the garment is observable in the deep folds it creates. Her head covering is white with delicate laced edging. Even a gold necklace and brown leather belt are shown. She tilts her head forward, eye slightly down showing modesty. Her dainty build shown in her hands contrast the heavy material of her night-robe. She is shown just after placing her hand lightly in her husbands. Her left hand holds up the folds of her dress, perchance symbolizing fertility or her wish for children. Her husband is shown in a large black hat, black collared shirt and lengths brown, fur identifyd coat. His left hand rests under her right and his right hand is raised as in an oath. In the foreground a pair of traditional wooden shoes are shown on the floor. The wood planking and detailed rug are shown on the floor as well. There is a firedog shown in between the couple on the foreground floor, possibly a family pet or to symbolize loyalty. Behind them on the floor were another(prenominal) pair of shoes (possibly the wifes) at the base of the seat. The couples shoes being removed could represent custom or the type to being on holy ground. Going up the scene from the shoes, the seat is shown in detail with form wooden posts, ornate caps and fluffed pillow. The reverberate at center and focal point of the painting shows the backs of the betrothed and also two more people (possibly Van Eyck and a witness or father). The ten small circles meet the mirror each contain a tiny scene from the exasperation of savior. This technique is called miniaturist. To the left of the mirror hangs rosary beads, and to the right a hard bristled broom. Above the mirror is an inscription reading Johannes de Eyck fuit hic 1434, or Jan Van Eyck was here 1434. Above the mirror hangs an ornately beautify chandelier with a single wick placed in it (the candle is lit even though it is daytime). A window to the left of Arnolfini is open, and the light from the room comes in from this point. Fruit lays on a wooden card top and windowsill, possibly symbolizing the couples wealth or the temptation of whirl and Eve. The red draped bed to the right behind the young woman leads to the belief that the picture was of the couples bridal chamber.The painting seems to be recording an egress of the betrothal between the Arnolfini couple. The figures look serious and somber. Both faces of the figures are without expression. The line quality is beautifully precise. Every detail is shown. The brushwork is tight. All of the details, large and small, inspection and repair to d raw us further into the painting. The focal point of the painting is the mirror between the couple in the painting. Jewel toned colors are used in this painting. The husband is painted in browns and blacks, the wife in cool colors, and the bed and seat are done in heartily colors of rust. The painting is very appealing to me because it is so detailed and because there are so many items that are interesting to look at. The viewer becomes the witness and we could imagine that if we looked to our side we might see Van Eyck standing with us.The function of this work might be as a recording of events or merely as a gift for the couple shown here. I think the technique is more a reflection of the artists face-to-face style than a reflection of the subject shown. The elements in the painting are expertly painted and arranged in beautiful detail, accurately line drawing the meaning of the painting. He also puts many things in the painting that would make our minds engage and think about t he artwork in depth.The Virgin of Chancellor RolinJan Van Eycks painting of The Virgin of Chancellor Rolin (1435) is 66 x 62 cm oil on panel. The painting was originally made of the idol Sebastian chapel in the church of Notre-Dame-du-Chantel, Autun. The central figures shown in the painting are Nicolas Rolin (1376/1380-1462), the Virgin Mary, and Christ as an infant. Nicolas Rolin was chancellor to Philip the Good. He commissioned this painting to decorate the chapel, and as the donor, he was painted very realistically.Van Eyck paints the chancellor kneeling before the Virgin and pip-squeak. The chancellor is shown on the left side of the loggia, dressed in gold brocade and furs (like a prince) betraying his desire to be viewed as a high ranking court dignitary. His friend saint is not shown beside him, as is custom. Just as oddly out of custom is his representation of being at the same efflorescence as the Virgin Mary. He is wearing a black silk belt embellish with gold stud s. Infrared reflectography shows that Van Eyck had originally painted the Chancellor with a large purse on his side (representing his substantial wealth) which was believably covered up at the request of the Chancellor. On the cushion of the plea stool beside the Chancellor is a book of hours, with a red cloth slip cover beneath it. The book seems to be open to the fountain of the liturgy for the service of Matins as suggested by the large garner D on the page. The painting suggests that the Chancellor is preparing to recite this prayer from his book. The portrait of the Chancellor is highly realistic and has been compared with Rogier van der Weydens portrait of the Chancellor on his altarpiece of the Last Judgment at Baume (it is very correspondent). His nose is unwavering and prominent, his chin is wide, and his hair is cut into a neat cap style. His eyes are set in concentration, but not looking right off at either the Christ child or Virgin.Across from him the Virgin Mar y sits in pose upon a brocade cushion, placed on a marble seat inlaid with designs. Her large red robe is edged with jewels, pearls, and braiding. The cloaks edging also has an inscription in gold interpreted from the Christian liturgy of Matins. The prayer focuses on the magnificence of creation. This theme is carried out by the background scenery and the globe in the infant messiah hand (symbolizing that he is the creator of all things). She is looking at the cross on top of the globe, as a precursor to her sons crucifixion. An angel holds a highly detailed crown over the virgins head, as a reference to her coronation in the heavenly city of Jerusalem. The angels rainbow colored wings represent the pact set between God and his creation. The naked infant Christ sits on a small piece of linen, a reference to his funeral shroud. The infant holds an ornate gold cross mounted atop a watch crystal globe. The globe symbolizes Christs earthly power and the cross symbolizes his spiritua l dominion. The crystal is give tongue to to symbolize Marys virginity. The infant is raising his right hand toward the Chancellor in a gesture of blessing. The infant is not gazing at the Chancellor directly, and infrared reflectography shows that the infants hand was originally painted pointing downward. The architecture of the two large figures are in symmetrical composition that opposes the divine world with that of the human world.The iii arches in the background of the loggia represent the Holy Trinity. The arched pillars to each side of the loggia lead to colonnades. Most of the pillars are capped with decorative motifs. However, directly preceding(prenominal) the Chancellor we see carvings illustrating the Book of Genesis in several scenes (mans original sins and their consequences). This crown of stone above the Chancellors head directly counterbalances the crown above Marys head. Flowers in the garden beyond the pillars are all symbols representing the Virgin Mary (li lies, peony, wild rose, irises, and daisies). The peacock symbolizes immortality or the pride of Nicolas Rolin. The two small figures in the center might very well be Van Eyck and his assistant.The landscape on the left behind the Chancellor represents the earthly world and on the right behind Mary, the heavenly world. The river of life flows between both land masses and a bridge connects them together. The tiny cross on the bridge might represent the crucifixion of Christ to bridge the scissure between heaven and earth.I am in awe of Jan Van Eycks attention to detail and creativity. He cleverly uses the lines on the floor tiles and construction river in the distance to establish depth. Also the use of atmospheric positioning and lighting adds to the realism of this painting. I believe the focal point of the painting is the two small figures in the center of the painting (much as in the Arnolfini Portrait) and might in fact be Jan Van Eyck and his apprentice. The portrait is agai n done in rich jewel tones with crisp line work and incredible detail, as is Van Eycks style.This painting is full of religious symbolism everywhere we look. However, Van Eyck seems to be portraying Nicolas Rolin as a wealthy and conceited man who sought to be on the same level as the Virgin herself. The rich gold brocade of his clothing, the money purse that has since been painted over, and the Chancellor being the same height as the Virgin all give evidence to this theory. I think it was rather daring of Van Eyck to paint the patron of the picture in a not so nice light. This painting is similar to many other works Van Eyck has created in the detail he used (The Virgin with Canon van der Paele, Virgin and Child with Saints and Donor). Most of his work can be easily interpreted, as most of the symbolism is uniform. I would buy this type of artwork because I find the detail and symbolism very appealing.