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The Arnolfini Portrait, oil on oak, 1434. National Gallery, London. Jan van Eyck (/ v æ n ˈ aɪ k / van EYEK; Dutch: [ˈjɑɱ vɑn ˈɛik]; c. before 1390 – 9 July 1441) was a Flemish painter active in Bruges who was one of the early innovators of what became known as Early Netherlandish painting, and one of the most significant representatives of Early Northern Renaissance art.
Two authorities have considered the painting to belong to Jan's brother Hubert van Eyck, who died in 1426. It is thought that the recent cleaning or technical investigation has tended to confirm the majority view that it is an autograph work by Jan. [30] Detail with the lily, the stool and the floor.
The Madonna of Jan Vos (also known as Virgin and Child, with Saints and Donor) is a small oil panel painting begun by the Early Netherlandish artist Jan van Eyck c. 1441 and finished by his workshop after his death in 1442. As he died during the period of its completion, it is generally considered to be his last work.
Petrus Christus (Dutch: [ˈpeːtrʏs ˈkrɪstʏs,-ˈxrɪs-]; c. 1410/1420 – c. 1475/1476) was an Early Netherlandish painter active in Bruges from 1444, where, along with Hans Memling, he became the leading painter after the death of Jan van Eyck. He was influenced by van Eyck and Rogier van der Weyden and is noted for his innovations with ...
John the Pitiless was known for the rich culture of his court; Jan van Eyck was among the artists he engaged, from at least 1422 until 1424. John the Pitiless died of poison in 1425 in The Hague. His Court Marshal Jan van Vliet had allegedly poisoned the pages of the ducal prayer-book, and had already been executed in 1424.
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Vos became prior of the Charterhouse of Val-de-Grace in 1441, around when he probably commissioned Jan van Eyck's Madonna of Jan Vos. Van Eyck died in 1441 and various theories have been put forth in regards to Petrus Christus's hand in that painting. The art historian Erwin Panofsky speculated that Christus finished the van Eyck. [4]
Johannes de eyck fuit hic 1434 (Jan van Eyck was here. 1434). Jan Baptist Bedaux agrees somewhat with Panofsky that this is a marriage contract portrait in his 1986 article "The reality of symbols: the question of disguised symbolism in Jan van Eyck's Arnolfini Portrait."