Jan Van Eyck Analysis

There were many brave women who beleived ine the union cause. One of the most well know female spies was Elizebeth Van Lew. She lived in the South but had northern veiws. Elizabeth R. Varon a reporter at The New york times wrote “As she watched a secessionist procession snake through the streets of Richmond in the wake of Virginia’s vote to join the Confederacy, she knew the time for compromise had passed. “Such a sight!” Van Lew wrote. “The multitude, the mob, the whooping, the tin-pan music, and the fierceness of a surging, swelling revolution. This I witnessed. I thought of France and as the procession passed, I fell upon my knees under the angry heavens, clasped my hands and prayed, ‘Father forgive them, for they know not what they do.’”

It is even speculated that he may have went so far as to use a magnifying glass when working on these small details to ensure that they were as accurate as possible. This attention to detail has not only brought the painting to life, but from a researchers point it illustrated just how important this painting was for van Eyck to paint, and important the Arnolfini wedding may have been to him.

In the article “Sexuality and Social Standing In Jan van Eyck's Arnolfini Double Portrait” the author analyzes the religious and social grammars of marriage. This short paper will be a reflection of Harbison’s article that discusses religious and marital norms throughout, with also analyzing various sections of van Eyck’s piece, for example: implying the piece as a marriage document or contract of the marriage, which immediately makes the viewer look deeper into the double portrait. All of this helped me realize that pieces of art are not simply “pictures,” rather they are narratives like a scene in a documentary. The author starts the article with a clear thesis of analyzing the social religious and marital norms when this piece was made.

Kleiner writes in the textbook, “As many as 500 ships a day passed through Antwerp’s harbor and large trading companies from England, The Hold Roman Empire, Italy, Portugal, and Spain established themselves in the city” (288). This tells us that there were a lot of people from other countries and places coming through the Netherlands port. These people brought their own influences to the art culture in the Netherlands. Just as the need for grace and painting of religious figures was important in the Netherlands, it was also prominent in these other

For My Museum Essay, I have chosen Rogier van der Weyden’s “St. Luke drawing the Virgin” (c. 1435-40). First of all, this painting is an extraordinarily beautiful piece of art, with both meticulous details and true to life emotional state of the figures portrayed. And it intrigued me even more when I found out that there is a very compositionally similar painting by Jan Van Eyck (“Madonna with Chancellor Rolin”).

Jan Van Eyck’s, The Ghent, and Giovanni Bellini’s, San Zaccaria, are both altarpieces. The Ghent altarpiece is located in Saint Bavo’s Cathedral in Ghent and it is a private chapel. The period style of this piece is northern Renaissance and its medium is oil on wood. The San Zaccaria altarpiece is located in Venice and it is also a church. The period style is Italian Renaissance and it is also made out of oil on wood.

In the painting, ‘Virgin and Child’, by Rogier van der Weyden, it can be observed that the artist chose to use the medium of oil on wood. Despite the fact that Rogier van der Weyden created this painting in the Netherlands and was born in Tournai, Belgium, their primary influence appeared to stem from the Italian Renaissance, which had begun to use the technique of oil paintings with increasing frequency by turn of the 15th century. The subject of the painting itself, Madonna and her virgin child, were a common theme in the Renaissance, where religious subjects and topics were the primary choice for any prominent artist during this historical artistic period.

The Lamb is the central piece in Van Eyck’s masterpiece. It is located in the center of the main bottom panel. Everyone is gathered around the Lamb, either on their knees praying or looking reverently at it. The angels form an inner circle around the altar, while the apostles and prophets form an outer half-circle around it. Even the rays of heaven are shining down upon the Lamb. The angels and the sun rays shining upon the Lamb notes how everlasting this worship is. It is not affected by time. The eye is naturally drawn to this center piece of the altar and the lamb.

Two of the most extensively analyzed works of art are Diego Velasquez's Las Meninas and Jan Van Eyck's Arnolfini Double Portrait. Both of these artist's talent won them recognition not only during their lifetime but after as well. Both Velasquez and Van Eyck have a justly earned title as the most talented artists of their respective times. A detailed examination of the details and intricacies of these artist's respective masterpieces, their similarities, and what sets them apart not just from each other but from other paintings from their time period and style, will lead the viewer to a better understanding of the mentalities of these gifted artists and how they transcend their respective genres and contemporaries to create their own

The “Giovanni Arnolfini and his Bride” (1434) by Jan van Eyck is also known as The Arnolfini Marriage, The Arnolfini Wedding among other titles. This painting is referred as one of the more complex and original paintings of the Western art due to the fact of the unusual geometric-orthogonal perspective (in contrast to the case of the Oath of the Horatii), iconography and the use of mirror for reflecting the space. It is essential to put an emphasis on the fact that the art historians consider this portrait as a unique one because it is the form of a painting, which depicts the record of a

This can be seen in examples of Protestant Baroque artists of the time such as Van Dyck and Rembrandt.

Throughout history, people have used paintings and art as a tool to express their religious beliefs and values. Illustrations depicting the Virgin Mary and child, often referred to as Madonna and Child, are one of the most recurring images in Christian and European Art through the ages. Though these paintings and sculptures may have similarities in their iconography and style each work of art varies based on the different artists’ and time periods. Two paintings that portray these features currently reside in the Museum of Fine Arts Houston. The first, Virgin and Child by Rogier van der Wyden, was originally painted after 1454. In the painting, the Virgin Mary is holding Christ against her shoulder as he twists around to face toward the viewers. The second painting is Virgin and Child with a Donor, painted by Antoniazzo Romano and originally painted c. 1480. In this painting, Virgin Mary is supporting Christ who seems to be standing and includes a figure of a man with his hands crossed in prayer. While both paintings depict the mother and child, there are both similarities and differences in style and portrayal. In this paper, I will thoroughly examine these traits, as well as address the similarities and differences associated with the two paintings. This analysis will be done by using information gained from reading Gardner’s Art Through the Ages, in class lectures from ARTH 1381 Art and Society Renaissance to Modern and ARTH 1300 Ways of Seeing Art, and close visual

Jan Vermeer was a Dutch painter who fascinated by the use of light in his paintings. “Unlike Caravaggio and Rembrandt, who used light for dramatic emphasis, Vermeer concentrated on the way light reveals each color, texture, and detail of the physical world” (Preble 307). Vermeer

The present work is focused on undertaking an in-depth analysis of two famous religious paintings: The Virgin and Child by Barnaba da Modena, an Italian painter from the fourteenth century, and The Elevation of the Cross by Peter Paul Rubens, a seventeenth century Flemish artist and diplomat. Following, by comparison, a thorough account of the two works' features, careful observation reveals more than one interpretation.

During the 17th century, especially after their break from Spain, The United Provinces of the Netherlands became the most prosperous nation in Europe by leading the world in trade, science, and art. Through the huge and one of the first art markets, art became a common household possession and allowed artists to freely express themselves, which is one of the evidential factors in three of the most universally admired artists of the baroque art era. Rubens, an influential Flemish artist of the Italian baroque scene, focused more on the works of the counter-reformation while the masters of the Dutch baroque art, such as Rembrandt, were in the heart of the protestant Dutch Republic. These three artists share similar artistic styles but yet have extremely evident differences and influences. The artists’ work also have a great portrayal of the historical and social impacts of the 17th century.