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Christ on the Cross with the Virgin and Saint John is an oil on panel painting, later transferred to canvas, attributed to the Master of the Grimacing St John, a senior member of the workshop of Jan van Eyck. It was long attributed to Jan's brother Hubert, based on stylistic similarities to portions of the "Adoration of the lamb" passage in the ...
Jan van Eyck, Madonna in the Church (c. 1438–1440). Oil on oak panel, 31 cm × 14 cm (12 in × 5.5 in). Gemäldegalerie, Berlin. Madonna in the Church (or The Virgin in the Church) is a small oil panel by the early Netherlandish painter Jan van Eyck.
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.
The twelve interior panels. This open view measures 5.2 m × 3.75 m (17.1 ft × 12.3 ft). [1] Closed view, back panels. The Ghent Altarpiece, also called the Adoration of the Mystic Lamb (Dutch: De aanbidding van het Lam Gods), [A] is a very large and complex 15th-century polyptych altarpiece in St Bavo's Cathedral, Ghent, Belgium.
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."
Left to right: Saint Barbara, Jan Vos, Virgin and Child, Saint Elizabeth of Hungary. 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 ...
Jan van Eyck, Madonna of Chancellor Rolin (detail), c. 1435 Van Eyck's meticulous setting and landscape were another innovation in iconography. Generally La Verna was depicted with sparse detail, whereas here St Francis kneels in a detailed countryside, perhaps a specific spot around La Verna in the Italian Apennines , where striated sandstone ...
Since the date on the painting is subsequent to Jan van Eyck's death (June 1441), it is likely that the work, left unfinished, had been completed by members of his workshop, or his brother Lambert. It was started in 1436 though.