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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.
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 ...
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 Arnolfini Portrait (or The Arnolfini Wedding, The Arnolfini Marriage, the Portrait of Giovanni Arnolfini and his Wife, or other titles) is an oil painting on oak panel by the Early Netherlandish painter Jan van Eyck, dated 1434 and now in the National Gallery, London.
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]
Woodcut portrait of van Eyck, by Edme de Boulonois, mid-16th century. Hubert [a] van Eyck (Dutch pronunciation: [ˈɦybərt fɑn ˈɛik]; c. 1385/90 – 18 September 1426) was an Early Netherlandish painter and older brother of Jan van Eyck, [b] as well as Lambert and Margareta, also painters.
The headdress is of a similar but less extravagant type to that seen in van Eyck's c. 1433 Portrait of a Man, and worn by a figure in the distance in his c. 1435 Madonna of Chancellor Rolin. [5] This type of headdress was to go out of fashion by the mid-1430s, conveniently and definitively dating the painting as having been completed before then.
Van Eyck's cool observation of the man's narrow shoulders, pursed lips, and thin eyebrows extends to detailing the moisture on his blue eyes. [15] Unlike Rogier van der Weyden, who paid especially close attention to detail in the rendering of his models' fingers, to van Eyck hands were often something of an afterthought. [18]
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