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Johanna "Jannie" van Eyck-Vos (19 January 1936 – 16 June 2020) [1] was a Dutch track and field athlete. She competed at the 1964 Summer Olympics in the 800 m event but failed to reach the final despite setting a personal record.
65.7 cm x 49.6 cm Portrait of Giovanni di Nicolao Arnolfini: 1438 Gemäldegalerie, Berlin 29 cm x 20 cm Madonna in the Church: c. 1438-40 Gemäldegalerie, Berlin 31 cm x 14 cm Portrait of Margaret van Eyck: 1439 Groeningemuseum, Bruges 41.2 cm x 34.6 cm Madonna at the Fountain: 1439 Royal Museum of Fine Arts Antwerp: 19 cm x 12 cm
[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 ...
The Just Judges, also called The Righteous Judges, is the lower left panel of the Ghent Altarpiece, painted by Jan van Eyck or his brother Hubert Van Eyck between 1430 and 1432. It is believed that the panel shows portraits of several contemporary figures such as Philip the Good, and possibly the artists Hubert and Jan van Eyck themselves. The ...
Van Eyck's superb oil painting technique is evident throughout. Gold leaf is only used for the seven rays coming in from the left; paint is used for all the gold on Gabriel, often worked wet-on-wet to achieve the textural effects of his brocaded clothes. In a shadowy area behind the stool van Eyck worked a glaze with his fingers. [23]
Van Eyck was a central influence on Petrus Christus and the younger painter is thought to have studied the panels while they were still in van Eyck's workshop. [6] He made a much larger and adapted paraphrase of the panel in 1452, as part of a monumental altarpiece, now in Berlin. [ 41 ]
The coat contains large strands of red fur lining at the neck and each wrist. His large black felt hat is similar to that worn by Giovanni Arnolfini in van Eyck's Arnolfini Portrait of 1434. [3] Van Eyck has taken a number of liberties with reality to accentuate the features of his model. In particular, the man's head is out of proportion to ...
[7] 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.