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The Virgin and Child with Canon van der Paele, 1434–1436.Oil on wood, 141 x 176.5 cm (including frame), 122 x 157 cm (excluding frame). Groeningemuseum, Bruges.. The Virgin and Child with Canon van der Paele is a large oil-on-oak panel painting completed around 1434–1436 by the Early Netherlandish painter Jan van Eyck.
Vos' pose and modeling closely resembles the donors in both van Eyck's portraits of Nicolas Rolin in the Madonna of Chancellor Rolin and Joris van der Paele in the Virgin and Child with Canon van der Paele (the latter also contains a depiction of Saint Barbara). This fact, and the similarity of the landscape to that in a number of his earlier ...
Virgin and Child Enthroned (van der Weyden) Virgin and Child from the Sainte-Chapelle, an ivory sculpture; The Virgin and Child Surrounded by the Holy Innocents by Peter Paul Rubens; Virgin and Child with Canon van der Paele; Virgin and Child with a Cat by Rembrandt van Rijn; Virgin and Child with an Angel (Botticelli, Florence) Virgin and ...
The idea of a saint appearing before laity was common in Northern art of the period, [45] and is also represented in van Eyck's Virgin and Child with Canon van der Paele (1434–1436). There, the Canon is portrayed as if having just momentarily paused to reflect on a passage from his hand-held bible as the Virgin and Child with two saints ...
Detail of Jan van Eyck, Virgin and Child with Canon van der Paele, now in the Groeningemuseum, Bruges. Joris van der Paele or Georgius de Pala (ca. 1370–1443) was a scribe in the papal chancery, a successful ecclesiastic, and a patron of the painter Jan van Eyck.
The letter formation in the signature does not correspond to the confirmed signatures on the Virgin and Child with Canon van der Paele or the Dresden Triptych. The signature also appears in the scene itself, rather than van Eyck's more usual practice of signing on the frame - some art historians argue that the work was originally in just such a ...
Art historian Guy Bauman considers Virgin and Child with Canon van der Paele (1434–36) by Jan van Eyck (1434–36) the most evocative and realistic of these. He writes van Eyck perfectly captures an "encounter [of] mortal and divine beings in another world". [13]
Like van Eyck's two other late Madonna portraits (Virgin and Child with Canon van der Paele of 1436 and Madonna in the Church of c. 1438–40), Mary is unrealistically large and out of proportion to her surroundings.