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He was born in Driebergen, Utrecht, a son of poet, critic, essayist and philosopher Pieter Nicolaas van Eyck or van Eijk and wife Nelly Estelle Benjamins, a woman of Sephardic origin born and raised in Suriname. [2] [3] [4] His brother was poet, artist and art restorer Robert Floris van Eyck or van Eijk.
The architect Aldo van Eyck was commissioned to shape the exhibition. The works of art as well as the way they were presented give rise to harsh critique from press and public. A critic from Het Vrije Volk wrote: "Geklad, geklets en geklodder in het Stedelijk Museum" ("Smirch, twaddle and mess in the Municipal Museum"). The CoBrA artists were ...
When it first opened in 1971, this protected landmark by Dutch architect Aldo van Eyck was home to the Galerie Alfred Schmela [1] and was the first building to be erected in the Federal Republic of Germany expressly as an art gallery. Since spring of 2011, the Schmela Haus is also used again for exhibitions.
He attributed the work to Hubert van Eyck, and thought the Turin version a copy. [47] His removal of a section at the top revealed a red border; he wrote that van Eyck had "conceived it as a miniature in oil on panel, and that it might indicate a date not very far removed from the drawings of the Turin Book of Hours" (Milan-Turin Hours). [47]
[7] [8] Art historian Till-Holger Borchert praises van Eyck's recording of the man's stubble "with painstaking precision; nothing is idealised." [ 2 ] Yet it is interesting to consider such an idealised portrait in the context of a betrothal portrait, where the intended bride's family most likely had not met the man and are dependent solely on ...
Typically for van Eyck, the head is a little large in relation to the torso. The technique shows the "skill, economy and speed" of van Eyck's best work. [8] Campbell describes the painting of the left eye as follows: "The white of the eye is laid in white mixed with minute quantities of red and blue.
The drawing, along with the Saint Barbara in the Royal Museum of Fine Arts Antwerp and Crucifixion in the Museum Boijmans van Beuningen are the only surviving drawings by van Eyck. [4] The work is especially valuable to art historians as it includes notes made to indicate the colours intended for the final oil portrait.
Van Eyck was the first major European artist to utilize oil painting. Though the use of oil paint preceded Van Eyck by many centuries, his virtuosic handling and manipulation of oil paint, use of multiple half-transparent layers of paint, glazes, wet-on-wet and other techniques was such that Giorgio Vasari started the myth that Van Eyck had ...