Jan van Eyck

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Van Eyck

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Van Eyck “Cutting Edge” ∞An Art Conversation-Youtube Notes∞

Antoinette James 1

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Van Eyck

An Art Conversation-Youtube Notes

Van Eyck ------------------ Over View -----------------www.antoinettejames.com Youtube supporting notes Jan van Eyck's early years remain a mystery to us today. Historians have placed his birth as 1390, but this is only an estimation. He was born in Maaseyck, Flanders where he took his name Eyck.

Records first document him, probably in his twenties to early thirties, well into his 'cutting-edge' artistic career as painter for Duke John of Bavaria in 1422. On the Dukes death in 1425 Jan found new employment as painter and equerry to Philip the Good, Duke of Burgundy, where he was soon summoned to court. Although this was initially a one year contract, he stayed with Philip for the remainder of his days.

His duties went well beyond the canvas. Jan was expected to design court costumes, ornamentations for ceremonies and shields and festivities as well as designing 'entremets', extreme food designing; and as many artists of the day, diplomatic

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Van Eyck

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obligations were the norm. This role took him into the world of secrecy and espionage on behalf of the Duke.

Van Eyck is known as the inventor of oil paintings and founder of the early Netherlandish school of painting.

His trademark - posing three-quarter faces which he used in religious as well as portraits to give a softer more natural effect.

In the early 1420's Jan's brother Hubert, was working on a painting for an altarpiece in the Cathedral of St Bavon – The Ghent Altarpiece. He died prematurely in 1426 and the work stopped; Jan picked up the commission sometime after 1430.

Art historians attribute all but a small piece to Jan van Eyck’s hand.

For all the accolades placed on Van Eyck's painting career few of his painting can be found today; all his dated works are from the last decade of his life. Even his famous self-portrait is unconfirmed to be of him - yet by his death in 1441 he had gained worldwide notoriety for his works full of symbolism.

His portrait of his wife Margaret, The Painter's Wife, is his only surviving portrait of a woman.

His silverpoint drawing of Cardinal Albergati is his only surviving preparatory work.

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Van Eyck

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The fifteenth century saw a demand for lifelike works. Jan captured reality, ably realized in such works as St Francis. He experimented with perspective; note the over large feet.

Van Eyck, however, was not fastidious about painting accurate landscapes, but rather drew from his imagination; yet holding true to the familiar.

In the 1430's Jan explored perspective and composition more deeply and this can clearly be seen in works such as St Barbara. To give the illusion of depth, Jan painted the foreground higher than the distance. This was followed up with developing ideas on how to capture interiors and views through windows. St Barbara, a completed brush-drawing is typical of Jan style, full of detail. It was first thought, that this too was a preliminary sketch, but due to its full content many art critics believe it was never meant to be painted.

Van Eyck's high position at court afforded him a prestigious burial place. After his death in 1441 he was interned at the church of St Donat, an ancient burial place of the Counts. Furthermore, Philip endowed Margaret with a gratuity 'in consideration of her husband services and in commiseration with her and her children's loss.'

At the time of his death he was in the middle of The Madonna with Jan Vos. One of Jan's followers completed it in his master’s own style.

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Van Eyck

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------------------ Artist's Gallery Sample -----------------The Madonna with Chancellor Rolin 1435 Louvre, Paris.

Nicolas Rolin, Chancellor of Burgandy and Brabant, now in his sixties and right hand man to Philip the Good, commissioned this painting. Jan van Eyck, true to his usual comprehensive style has placed much detail and symbolism into this piece.

We see to the left Rolin kneeling in prayer; and to the right, The Virgin Mary and child. Christ is sitting on Mary's knee in keeping with Roman Catholic protocol – this makes a platform for Christ known as the Throne of Wisdom.

The left, where we find Rolin is the carnal or mortal half and to the right where Mary and Child are painted, the immortal or divine side.

The divine right-hand side is full of Roman Catholic doctrine, such as the positioning of Christ, the seat of wisdom the scarlet robes Catholic colours, and the angel placing the intricately designed crown on Mary's head The Queen of Heaven.

The mortal left-hand side also full of catholic doctrine displays the seven deadly, or carnal sins – above Rolin’s head we see the expulsion of Adam and Eve from the garden of Eden, symbolizing pride. The killing of Abel – envy, The Drunkenness of Noah – gluttony, The Lions’ Heads – anger, The squashed rabbits between the Romanesque style columns – lust. Greed and slothfulness are difficult to spot – xrays of the painting shows Rolin with a money bag tied around his waist – greed. Lastly, the two figures outside, perhaps Jan himself (wearing the red turban as in his self-portrait) and his assistant taking in the air – slothfulness.

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Van Eyck

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St Francis Receiving the Stigmata 1429 Philadelphia Museum This oil painting is surrounded with as much mystery and intrigue as the artist.

Firstly, there is the mystery of two nearly identical St Francis. This one to the left, that hangs in the USA, and a bigger one hanging in Italy.

The smaller, was painted on a sheet of vellum glued onto wood. The Italian one painted straight onto wood. The question is - are either of them the work of Jan, or a painter holding tightly to Eyckian method and style?

One single old document of dubious origins claims these two oils are Van Eyck's, backed up by X-rays showing the Italian St Francis with preparatory sketches convincingly in Eyck's style.

This early piece shows the ever-forging of boundaries of naturism, detail and perspective Van Eyck was legendary for. St Francis, a twelfth Century Saint, and his sleeping companion, known from Franciscan legend as Brother Leo, look oddly proportioned. Leo seems petit while St Francis' body form gets disproportionately larger as one's eyes follow down from his head to his feet.

Detail of the rocky landscape the pair tarry in, is spectacular in colour and gives more clues to the atmosphere, which oddly contrasts to the passive, impersonal expression on St Francis' face. St Francis’ face appears more as a portrait and seems ill-fitting in the scene.

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Van Eyck

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The Arnolfini Wedding 1434 national Gallery, London What a fascinating painting. It is known as a wedding portrait and certainly has the

vows

embedded;

however,

art

historians are not all in agreement that this is indeed a nuptial record.

Reasoning aside, we can appreciate the balance of tones – Giovanna Cenami's green dress contrasting with the red bedcoverings, Giovanni Arnolfini's purple garb complimenting the gold chandelier, and the oranges on the table under the window with the blue dress.

Here Van Eyck is pioneering slower drying oils. This allows for careful, considered blending, gaining delicate tones, using multiple thin glazes to bring a translucency to the surface of the painting, gaining a 3- dimensional effect and an amazing play of light and shade from the light entering the window.

This painting is brimming with excessive uninhibited symbolism, that would suit entry on marriage Jan van Eyck, being well thought of by Philip the Good, coupled with, I perceive, an easy likeable manner would have been trusted by his patrons to put reality, life and personality into commissions. This oil on oak is no exception.

Giovanni, like all good decent males, is surrounded by logical symbolism. In contrast Giovanna is surrounded and bathed in emotional symbolism:-

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Van Eyck

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The dog represents Fidelity to each other and faithfulness to God.

The couple's shoes are removed – They are standing before God, this is holy ground.

The single candle in the chandelier symbolizes Christ as centre of their union.

Giovanni's vertical hand – authority Giovanna's horizontal hand - submission Their hands meet in conformation Her green dress – hope and fertility Her white cap - purity The appearance of being with child symbolizes the holy function of matrimony to bring issue into the world.

Giovanna takes this symbolism further. Her drawn up dress declares she is embracing future motherhood.

Blossoming cherry tree – love The oranges – fertility Red and green colours speak of Life.

All this witnessed by Van Eyck himself as he has given testament on the wall “Van Eyck was here.”

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Van Eyck

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The Ghent Altarpiece 1425-32 Cathedral of St Bavon, Ghent This

ambitiously

large

altar

piece

spans

138"x181" and is one of the most acclaimed works from any school or period in history. It is the oldest Franco-Flemish

signed

polyptych panel painting – tempera and oil on wood.

Here, the wings are open, showing the inner paintings, arranged in two tiers. Above depicts heaven; the below earth. Together they all focus on the adoration of the Lamb as in the Roman Catholic calendar. The Lamb of course, is Christ. Here we see His blood flowing into a chalice. The Holy Spirit, in form of a dove descends and in the fore-ground, the fountain of Life, per Roman Catholic doctrine.

Across the top from the left we see Adam. The next panel is a group of singing angels; notice they all exhibit long noses and similar likeness. The following panel we see Mary, crowned in-line with Roman Catholic doctrine as reigning Queen of Heaven. The next and central panel sits God the Father, or Christ Jesus, depending on the viewer's standpoint. In the panel to the right, St John the Baptist is seated; followed by musical Angels and the last panel is Eve. A long the bottom, The Just Judges and The Knights of Christ – those who took up the command to join Papal crusades through Europe and Middle East.

The central focal point is The Adoration of the Lamb- The angels around the altar hold instruments of passion, again in line with teaching from the Vatican – the 9

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Van Eyck

An Art Conversation-Youtube Notes

column from Christ's flogging, cross and nails from the crucifixion, the lance that pierced His side, and the sponge that was offered to Him on the cross.

The crowd to the left is a group of pagans. Included here is the poet Virgil, wearing a white robe and laurel crown. The twelve disciples are numbered in the group to the right. The second to last panel are monks, and the last panel, pilgrims.

The exterior wings of these panels, right, have a different feel. They focus on the annunciation, Christ predicted coming, in soft earthy pastels.

The Ghent Altarpiece, as with many early Catholic works, is full of papal doctrine to teach the laity. The Bible was not accessible to the people during the centuries of Papal rule. It was a heresy to have it written in the common, unholy language of the populace. It was written in Latin only.

We see clearly in this altarpiece the politic use of paintings. Most people of this time were illiterate; therefore, illustrations were a very powerful media.

-----------------Research and discussion Topics----------------People and events at this time in history *Philip the Good 1396-1467 *Joan of Arc 1412-1431 *Sir John Falstolf (fictional and non-fictional) *King Henry VI 1421-1471 *Hanseatic merchants *Medieval architecture *Foxes Book of Martyrs *Publius Vergilius Marco (Virgil) 70-12BC *Reformation and counter-reformation

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