This is one of the earliest examples of oil painting. A few thoughts, first, to get you looking and thinking.
In it, I discovered an artwork by Cynthia von Buhler that incorporated a figure that looked oh so familiar and I finally figured it out. It appears to have been taken from a famous painting by Jan Van Eyck before c. I remember seeing it for the first time at the National Gallery in London and being surprised at how small it was after seeing slides of it greatly enlarged.
Much of the details I show here eg the Passion of Christ around the convex mirror can barely be seen with the naked eye.
Anyway, here it is. Have a close look at it. Certainly that was the case when I was studying art history. The persons themselves, hand in hand, take the marriage vows. Margaret Koster puts forth arguments for this in an article in the Apollo.
Click here to read it. No one knows for sure who the couple are but the best guess is that it is Giovanni di Nicolao Arnolfini a merchant from Bruges and his bride Costanza Trenta who he married in By the time this portrait was painted however, inConstanza had died.
So the idea that this is a commemoration of Constanza seems to be valid. Because of her apparent bulge, there has been much debate as to whether Constanza is pregnant.
The general consensus nowadays is that Constanza was not pregnant. As proof, some scholars point to the look as fashionable and others compare the pregnant look to other paintings of the time that show for instance, the Virgin Mary at the time of the annunciation ie.
Others add that the look is a symbolic way of suggesting fruitfulness in the marriage rather than an actual pregnancy. Mind you, if Constanza did die in childbirth, she would have been pregnant at some point!
Everything in the painting also has a symbolic meaning. Van Eyck is generally credited with popularizing this new medium of oil painting. This could also be the reading of the cherries outside.
I love this slice of outside life. Look at how Van Eyck paints the detail of wood and brick against the cherries and leaves and sky.For the next century most art historians accepted that the painting was a double portrait of Giovanni di Arrigo Arnolfini and his wife Jeanne Cenami but a chance discovery in established that they were married in , thirteen years after the date on the painting and six years after van Eyck's death.
Giovanni Arnolfini, if that is his name, cannot possibly have been idealised by Jan Van Eyck. His watery, ill-looking face in Van Eyck's Arnolfini Portrait () in the National Gallery must be pretty much what Arnolfini looked like.
This is a real face. Feb 15, · Jan Van Eyck and the Arnolfini Wedding Portrait Giovanni Arnolfini and his wife, Giovanna Cenami, but this has not been confirmed (Scallen 29). Van Eyck’s technique and attention to detail makes the painting a beautiful piece of art, but it is his ability to inject such great symbolism that makes it a masterpiece.
Portrait painting can be considered as public or private art. In ancient Mediterranean civilizations, like those of Egypt, Greece and Rome, and Byzantium, portraiture was mainly a public art form, or a type of funerary art for Gods, Emperors, Kings, and Popes.
Portraits were executed as sculpture in.
The Arnolfini Double Portrait, sometimes referred to as Giovanni Arnolfini and his Bride, by Jan Van Eyck is filled with symbols related to Christianity, love, fertility, and loyalty. Three of the.
The Arnolfini Portrait was originally believed to be a portrait of Giovanni di Arrigo Arnolfini and his wife Giovannna Cenami, but it is now thought that the couple married 13 years after the painting was painted.