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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
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 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 ...
Family members included: Hubert van Eyck (1380s – 1426), Jan van Eyck (c.1390 – 1441), their brother Lambert van Eyck, and sister Margareta van Eyck, Jan's wife, also Margaretha (1405/06 – aft.1441), and probably Barthélemy d'Eyck (c.1420 – aft.1470) from the next generation. Jan van Eyck, active in Bruges, is probably the best known ...
Artists like to oppose the symbolic birds, the dichotomy between good and evil: Van Eyck, in the panel of the Chancellor Rolin, will also use the peacock and the magpie. [5] The interior has complex light sources, typical of van Eyck, with light coming both from the central portico and the side windows.
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 ]
[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.
Saint Barbara is a small 1437 drawing on oak panel, signed and dated 1437 by the Netherlandish artist Jan van Eyck. It is unknown if the work is a chalk ground study in pencil for a planned oil painting, an unfinished underdrawing or a completed work in of itself, [ 1 ] although the latter is deemed more likely.