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632:, and are both 161 cm × 69.3 cm. Each features a choir; on the left, angels gather behind a wooden carved music stand positioned on a swivel, and to the right, a group with stringed instruments gather around a pipe organ, played by a seated angel, shown full-length. The presence of the two groups on either side of the Deësis reflects a by-then well-established motif in representations of the heavens opening: that of musical accompaniment provided by celestial beings. As was common in the Low Countries in the 15th century, the angels are dressed in liturgical robes, a custom that migrated from Latin
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1077:("This is the fountain of the water of life, proceeding out of the throne of God and of the Lamb", cf. Rev. 22:1), symbolizing the fountain of life is "watered by the blood of the Lamb". The column at the fountain center shows an angel above dragons in bronze, from which streams of water fall into its basin. A vertical axis forms between the fountain, altar and the dove, signifying the agreeing testimony of The Spirit, water and the blood, as cited in 1 John 5:6–8. There is also similarity between the altar, the ring of angels, and the multiple figures arranged around the fountain.
1395:(1385–1433) for Philip. After a storm forced them to spend four weeks in England, the Burgundians arrived in Lisbon in December. In January, they met the King in the castle of Aviz, and van Eyck painted the Infanta's portrait, probably in two versions, to accompany the two separate groups who left by sea and by land on 12 February to report the terms to the Duke. The portraits are untraced, but one is preserved in a drawing (Germany, priv. col., see Sterling, fig.), which indicates that Jan used the princess's Portuguese dress for the Erythrean sibyl on the Ghent Altarpiece.
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window opening onto a view of the street and city square, while that in the right-hand image has a niche. Some art historians have attempted to associate the street with an actual location in Ghent, but it is generally accepted that it is not modelled on any specific place. The sparseness of these narrow panels seems anomalous in the overall context of the altarpiece; a number of art historians have suggested that they were compromises worked out by Jan as he struggled to accommodate his design within the original framework set out by Hubert.
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1059:. The detail and close attention to landscape and nature is at a level previously unseen in Northern European art. The numerous recognisable species of plants are minutely depicted with high levels of botanical accuracy. Similarly, the clouds and rock formations in the distance contain degrees of verisimilitude that evince studied observation. The far landscape contains representations of actual churches, while the depiction of the mountains beyond contain the first known example in art of
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portrayal of the Vijdts; his study of the ailing couple in old age is unflinching and far from flattering. Details that reveal their ageing include Joost's watering eyes, wrinkled hands, warts, bald head and stubble streaked with grey. The folds of both figures' skin are meticulously detailed, as are their protruding veins and fingernails. They are generally thought to be among the final panels completed for the altarpiece and are so dated to 1431 or the early months of 1432.
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figures. Borchert writes that the emphasis on the open mouths is "specifically motivated by the desire to characterize the angel's facial expressions according to the various ranges of polyphonic singing. To that end the position of the angel's tongues is carefully registered, as is that of their teeth." Art historian
Elisabeth Dhanens notes how "One can easily see by their singing who is the soprano, who is the alto, who is the tenor and who is the bass".
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mathematical techniques to both reverse the effects of aging and untangle and remove the effects of past ill-fated conservation efforts. Using highly precise photographs and X-rays of the panels as well as various filtering methods, the team of mathematicians found a way to automatically detect the cracks caused by aging. They were able to decipher the apparent text of the polyptych, which was attributed to Thomas
Aquinas.
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904:. A series of crowds of people stream towards the lamb to worship; four groupings congregate at each corner of the central panel, another four arrive in the two pairs of outer panels – representing the Warriors of Christ and Just Judges on the left-hand side, and the holy hermits and pilgrims on the right. Of the eight groupings only one consists of females. The groupings are segregated by their relationship to the
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are seen gathering; the dove of the Holy Spirit is above. The meadow is framed by trees and bushes; with the spires of
Jerusalem visible in the background. Dhanens says the panel shows "a magnificent display of unequaled color, a rich panorama of late medieval art and the contemporary world-view." The iconography, suggested by the groupings of the figures, appears to follow the
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setting as a device to allow 15th-century viewers to connect with the panel and so reinforce the conceit that the two saints are apparitions occupying the same space and time as the donor or observer. Yet a number of features in the interior suggest that it is not a secular domestic space, most obviously the cool and austere surfaces, the domed windows, and the stone columns.
969:. The lamb has a wound on its breast from which blood gushes into a golden chalice, yet it shows no outward expression of pain, a reference to Christ's sacrifice. The lamb has a human-like face which appears to be looking directly out of the panel, similar to the subjects of Jan van Eyck's single head portraits. The angels have multicoloured wings and hold instruments of
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figures from
Judaism and prophets who have foretold the coming of Christ; to the right are representatives from the Church. The figures directly to the left of the fountain represent witnesses from the Old Testament; dressed in pink robes, kneeling, reading aloud from open copies of the Bible, facing the mid-ground with backs turned to the viewer.
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artist to establish individual traits. Four angels are shown frowning, three have narrowed eyelids which give the appearance of peering, a trait also seen in some of the apostles in the "Adoration of the Lamb". Pächt does not see Jan's hand in the rendering of their expressions and speculates if they are remnants from Hubert's initial design.
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number of iconographic similarities to the Ghent panels, including
Gabriel's multi-colored wings, the upside-down writing, the treatment of light beams, and the separation between angel and virgin by a thin architectural feature. Some of these elements, particularly the spatial separation between the two figures, can be found in
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politically. The situation became tense, and because there was division within the council over the burden, this led to a mistrust that meant council membership was dangerous and precarious. During a power play in 1432, a number of councillors were murdered, seemingly for their loyalty to Philip. Tensions came to with head in a
1774:. The 1550 undertaking was performed with a care and reverence that a contemporary account writes of "such love that they kissed that skilful work in art in many places". The predella was destroyed by fire in the 16th century. Comprising a strip of small square panels and executed in water based paints, it showed hell or
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567:. She wears an open crown adorned with flowers and stars and is dressed as a bride. The inscription above her arched throne reads: "She is more beautiful than the sun and the army of the stars; compared to the light she is superior. She is truly the reflection of eternal light and a spotless mirror of God".
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The couple died childless. Their endowment to the church and the commissioning of the unprecedentedly monumental altarpiece was primarily intended to secure a legacy. But, according to
Borchert, also to "secure his position in the hereafter" and, important to such an ambitious politician, demonstrate
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Art historian Penny Jolly suggests that in the mid to late 1420s Jan may have traveled to Italy at the behest of the Duke of
Burgundy where, in Florence, he probably saw an iconic 14th-century annunciation, and perhaps visited more contemporary annunciation scenes. The Florentine annunciations have a
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Zechariah and Micah look down on the fulfilment of their prophecies contained in the banderoles floating behind them. The
Erythraean Sibyl is shown observing, while the Cumaean Sibyl, wearing a green dress with thick fur sleeves, gazes down at Mary, her hand held in empathy over her own womb. Micah's
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The groups of figures in the mid-ground, to the left and right of the altar, are known as the male and female martyrs. Identifiable biblical figures carry palms. They enter the pictorial space as though through a path in the foliage, males standing to the left, women to the right. The female martyrs,
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The figures are positioned in a wave-like order of body height, with the orientation of each of the eight faces in looking in different directions. A number of scholars have remarked on their physiognomy. Their cherub faces and long, open, curly hair are similar but also show a clear intention by the
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These panels are flanked by two pairs of images on the folding wings. The two panels closest to the Deësis show singers in heaven; the outermost pair show Adam and Eve, naked save for strategically placed leaves. The lower register has a panoramic landscape stretching continuously across five panels.
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The altarpiece was opened on feast days when the richness, colour and complexity of the inner panels was intended to contrast with the relative austerity of the outer panels. As viewed when open, the panels are organised along two registers (levels), and contain depictions of hundreds of figures. The
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Art historians generally agree that the overall structure was designed by Hubert during or before the mid-1420s, probably before 1422, and that the panels were painted by his younger brother Jan. Yet, while generations of art historians have attempted to attribute specific passages to either brother,
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Restoration of the five lower panels took three years, was completed in
January 2020, and they were returned to St Bavo's Cathedral. The uncovering of the original face of the Lamb of God was a notable change; the original Lamb has unusually humanoid features, with forward-facing eyes that appear to
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Ghent prospered through the early 15th century, and a number of local councillors sought to establish a sense of independence from
Burgundian rule. Philip was in financial difficulty and asked the city for revenue, a burden many city councillors felt unreasonable and could ill afford, financially or
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The illumination contrasts with the natural and directional lighting of the four upper interior wings and of each of the outer wings. It has been interpreted as a device to emphasize the presence of the divine and accentuate the paradise of the central landscape. The dove as the Holy Spirit, and the
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Lighting is one of the major innovations of the polyptych. The panels contain complex light effects and subtle plays of shadow, the rendering of which was achieved through new techniques of handling both oil paint and transparent glazes. The figures are mostly cast with short, diagonal shadows which
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Attribution to the van Eyck brothers is supported by the small amount of surviving documentary evidence attached to the commission, and from Jan's signature and dating on a reverse frame. Jan seems to minimize his contribution in favour of his brother, who died six years before the work's completion
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This portion of the panel was restored following damage suffered in an 1822 fire; however the restoration was not complete and some of the passages were abandoned mid-way. The most startling result of this is that a portion of an underdrawing of the lamb was left exposed, leading to it appearing to
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The eight outer panels were restored between 2012 and 2016; some 70% of the outer panels' surface had been overpainted in the 16th century, a subtle discovery made possible by advances in imaging techniques during the 2010s. Mathematician Ingrid Daubechies and a group of collaborators developed new
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in the sibyl's panel has a double meaning, referring not only to the coming of Christ but also to the 1432 birth of Philip's first son and heir to survive infancy. Others reject this idea, given the high rates of infant mortality at the time, and the connotations of bad luck usually associated with
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Measuring 134.3 Ă— 237.5 cm, the center panel has as its centerpiece an altar on which the Lamb of God is positioned, standing in a verdant meadow, while the foreground shows a fountain. Five distinct groups of figures surround altar and fountain. In the mid-ground two further groups of figures
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The left-hand group shows eight fair haired angels wearing crowns and gathered in front of a music stand singing, although none of them looks towards the score on the stand. As in a number of the other panels, here van Eyck used the device of the open mouth to give a sense of life and motion to his
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The donors are painted life-size, and thus to a much larger scale than the saints; this is most noticeable in the relative sizes of their heads and hands. Their bright and warmly coloured clothes contrast sharply with the grey of the lifeless saints. Van Eyck brings a high degree of realism to his
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on the left and the Virgin Mary on the right. Both are dressed in white robes and occupy what appear to be the opposite ends of the same room. Gabriel and Mary's panels are separated by two much narrower images showing unoccupied domestic interior scenes. The back wall in the left-hand image has a
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looking down on the annunciation; the lower tier shows the donors on the far left and right panels flanked by saints. The exterior panels are executed with relative sparseness in comparison to the often fantastical colour and abundance of the interior scenes. Their settings are earthly, pared down
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In 1984, the ecologist Sam Segal counted 81 different plants. In 1996, German biologist Esther Gallwitz published a plant guide to the flora of the Ghent altar, describing their symbolism and in 2018, the latest critical examination after restoration of the Ghent altar piece found 75 plants, 48 of
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is wider, her chest narrower, her waist higher; above all there is the prominence given to her stomach". Clark describes her as "a proof of how minutely 'realistic' a great artist may be in the rendering of details, and yet subordinate the whole to an ideal form. Hers is the supreme example of the
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Art historians broadly agree that the overall structure was designed and built by Hubert in the early 1420s, and that most of the panels paintings were completed by his younger brother Jan between 1430 and 1432. Yet there has been considerable debate, and many art historians, especially in the mid
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found them so disagreeable that he demanded they be removed. The couple's nakedness further offended 19th century sensibilities, when their presence in a church came to be considered unacceptable. The panels were replaced by reproductions in which the figures were dressed in skin cloth; these are
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drew particular attention to this passage, describing it as emblematic of the "disguised" symbolism he saw through the work. Both figures' eyes are downcast and they appear to have forlorn expressions. Their apparent sadness has led many art historians to wonder about van Eyck's intention in this
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It is generally accepted that the majority of the work was completed by Jan based on a design by Hubert, who probably oversaw the original design and construction of the panels. The difficulties are complicated by the fact that there is no surviving work confidently attributed to Hubert and it is
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Since the 19th century, art historians have debated which passages are attributable to the unknown Hubert or internationally renowned Jan. In the 17th and 18th centuries, it was often assumed that Jan had found unfinished panels left behind after Hubert's death and assembled them into the current
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The polyptych differs in a number of aspects from the other paintings attributed to Jan van Eyck, not least in scale. It is the only one of his works intended for public, rather than private, worship and display. Van Eyck pays as much attention to the beauty of earthly things as to the religious
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Eight of its twelve panel paintings are doubled-hinged shutters, allowing two distinct views depending on whether they are opened or closed; except for Sundays and festive holidays, the outer wings were closed off and covered with cloth. The outer panels contain two vertically stacked registers
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salt mines, which greatly damaged the paint and varnish. Belgian and French authorities protested the seizing of the painting, and the head of the German army's Art Protection Unit was dismissed after he disagreed with the seizure. Following the war, in 1945, the altarpiece was recovered by the
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The style of the furnishings of the room and the modernity of the town visible through the arched window set the panels in a contemporary 15th century setting. The interiors have been cited as one of the first representations of medieval "bourgeois domestic culture". Borchert sees this familiar
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in the upper register. The rays seem to have been painted by van Eyck over the finished landscape and serve to illuminate the scene in a celestial, supernatural light. This is especially true with the light falling on the saints positioned directly in front of the altar. The light does not give
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The representations of figures gathering on each side of the fountain are drawn from biblical, pagan and contemporary ecclesiastical sources. Some are crowded around the fountain in what Pächt describes as two "processions of figures have crowded to a halt". To the left are representatives of
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by showing saints, especially Mary, in a much larger scale than their surroundings. In this instance their size is probably a device to convey the idea that they are heavenly apparitions who have come momentarily before the donors who are in the lower register. Van Eyck used this conceit most
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themes. The clothes and jewels, the fountain, nature surrounding the scene, the churches and landscape in the background – are all painted with remarkable detail. The landscape is rich with vegetation, which is observed with an almost scientific accuracy, and much of it non-European.
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In the right-hand panel, the only angel fully visible is the organist around whom the others gather. Although a larger group is suggested, only another four angel's faces can be seen in the closely cropped huddle. These other angels carry stringed instruments, including a small
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A larger group of pagan philosophers and writers stand behind them. These men seem to have travelled from all over the world, given the Oriental faces of some and their different styles of headdresses. The figure in white, holding a laurel wreath, is generally accepted to be
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statues of the saints. Lighting is used to great effect to create the impression of depth; van Eyck handles the fall of light and casting of shadow to make the viewer feel as if the pictorial space is influenced or lit by light entering from the chapel in which he stands.
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upper level consists of seven monumental panels, each almost six feet high, and includes a large central image of Christ flanked by frames showing Mary (left) and John the Baptist (right), which contain over twenty inscriptions each referring to the figures in the central
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transfers, in 1920 Germany returned the pilfered panels, along with the original panels that had been legitimately bought by Solly, to help compensate for other German "acts of destruction" during the war. The Germans "bitterly resented the loss of the panels". In 1934,
1602:(not to be confused with the prophet of the same name shown on the upper register), holds a lamb in his left arm and is turned towards Joost Vijdt. His right hand is raised and his finger extended to point towards the lamb, a gesture that implies that he is reciting the
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scene, shadows imply that they emanate from the daylight within the chapel in which they are housed. Further innovations can be found in the detailing of surface textures, especially in the reflections of light. These are best seen in light falling on the armour in the
1233:, generally thought to be a self-portrait. The second, closer, figure is thought to be Hubert because of his facial similarity to Jan. Although the judge in the Ghent panel appears to be younger than the sitter in the London painting, they wear similar
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indicate that parts of the wing panels were felled around 1421. Allowing a seasoning time of at least 10 years, art historians assume a completion date well after Hubert's death in 1426, thus ruling out his hand from large portions of the wings.
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Gabriel has blond hair and multicoloured wings. His right hand is raised and in his left he holds lilies, traditionally found in paintings of the annunciation as symbols of Mary's virginity. His words to Mary are written alongside him in Latin:
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The wing panels to the left of the "Adoration of the Mystic Lamb" show groups of approaching knights and judges. Their biblical source can be identified from inscriptions on the panel frames. The far left-hand panels contain lettering reading
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faces, which contrast with the realistic depictions of the other full-sized non-divine females in the work; Eve in the same register and Lysbette Borluut in the outer panels. The angels are dressed in elaborately brocaded ecclesiastical
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bulb-like body. The weight-bearing leg is concealed, and the body is so contrived that on one side is the long curve of the stomach, on the other the downward sweep of the thigh, uninterrupted by any articulation of bone or muscle."
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amalgamated into a single person. The figure looks directly towards the viewer with his hand raised in blessing, in a panel filled with inscriptions and symbols. There are Greek inscriptions decorated with pearls on the hem of his
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from the New Testament kneel, and behind them is a group of male saints. These are dressed in red vestments symbolizing martyrs, the Popes and other clergy representing the church hierarchy. A number are recognizable, including
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Adam's foot appears to protrude out of the niche into the viewer's space. Similarly, Eve's arm, shoulder and hip appear to extend beyond her architectural setting. These elements give the panel a three-dimensional aspect. These
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giving the illusion of sculpture. As with most of the other panels on these wings, they are lit from the right. Shadows thrown by the figures establish depth and bring realism to both the faux statues and their painted niches.
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argues that van Eyck was already leading toward this development, and it was something he was "perfectly capable of producing without such models", and argues the technique represents "a shared interest a case of influence."
674:("Praise him with stringed instruments and organs"). A number of art historians have defined the figures as angels based on their positioning and role within the overall context of the registers. They are sexless and possess
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of c. 1434–6, the letters of Mary's reply are inscribed in reverse and upside-down; as if for God to read from heaven, or for the holy spirit, as represented by the dove, to read as he hovers directly above her. She answers
2014:(KIK-IRPA). Only the panels being worked on were in the museum at any one time, with the others remained on display in the cathedral. At the museum the public could see the work in progress from behind a glass screen.
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20th century, attempted to attribute specific passages to either brother. However, no convincing separation of their contributions has been established. A now lost inscription on the frame stated that Hubert van Eyck
1212:). The presence of the Judges, none of whom were canonised saints, is an anomaly which art historians have long sought to explain. The most likely explanation is that they refer to Jodocus Vijd's position as a city
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to create an unusually large and complex polyptych altarpiece. He was recorded as a donor on an inscription on the original, but now lost, frame. The chapel was dedicated to St. John the Baptist, whose traditional
1551:, finished before his death in 1424, and one that Jan may have seen. In Monaco's painting the angel and Mary are separated by two small spaces, one external and one internal, similar to the city-scape and domestic
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1388:(c.1446), wherein the sense of the boundary between the painting, frame and viewer's space becomes blurred. In this instance, the prophet knowingly places his hand outwards on the lower border of the frame.
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A dove, representing the Holy Spirit, hovers low in the sky directly above the lamb, surrounded by concentric semicircles of white and yellow hues of varying luminosity, the outermost of which appear like
274:. Ramsay Homa notes lettering in the central panel of the lower register that might be read as an early formation of what was to become van Eyck's well-known signature, built around various formations of
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and cypresses, rose bushes and vines as well as lilies, iris, peonies, lily of the valley, woodruff, daisies, can be identified. This has received scholarly attention for at least two centuries. In 1822
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thus impossible to detect his style. Instead, art historians compare individual passages to known works by Jan, looking for stylistic differences that may indicate the work of another hand. Advances in
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his social prestige, revealing, according to Borchert, a desire to "show off and ... outstrip by far all other endowments to St John's, if not each and every other church and monastery in Ghent."
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Joost Vijdt and his wife Lysbette Borluut, kneeling and gazing into the distance with their hands clasped together in veneration. The inner panels contain paintings of Saint John the Baptist and Saint
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was introduced, music-playing angels were typically winged, depicted holding stringed or wind instruments as they hovered "on the wing" around on the edges of images of saints and deities. In French
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serve to, in the words of art historian Till-Holger Borchert, "not only heighten their spatial presence, but also tell us that the primary light source is located beyond the picture itself." In the
282:), a pun on his full name; and lettering is found on the headdress of one of the prophets standing at the back of the grouping. It is written in Hebrew script that roughly translates into French as
183:(second best in the art)—completed it in 1432. The altarpiece is in its original location, while its original, very ornate, carved outer frame and surround, presumably harmonizing with the painted
80:. The altarpiece is a prominent example of the transition from Middle Age to Renaissance art and is considered a masterpiece of European art, identified by some as "the first major oil painting."
87:, each with double sets of foldable wings containing inner and outer panel paintings. The upper register of the inner panels represents the heavenly redemption, and includes the central classical
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for the duration of the war, with French, Belgian and German military representatives signing an agreement which required the consent of all three before the masterpiece could be moved. In 1942,
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Jodocus (known as Joos) Vijd was a wealthy merchant and came from a family that had been influential in Ghent for several generations. His father, Vijd Nikolaas (d. 1412), had been close to
857:. In comparison to contemporary depictions of Adam and Eve, this version is very spare and omits the usual motifs associated with the theme; there is no serpent, tree or any trace of the
1566:. Shadows falling on the tiling at the lower right-hand corner of each panel can only have been cast by the moulding on the frames, that is, from an area outside of the pictorial space.
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chapel. The installation of the altarpiece was officially celebrated on 6 May 1432; it was much later moved for security reasons to the principal cathedral chapel, where it remains.
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become more pronounced when the wings are turned slightly inwards, and contract to the fact that the polyptych was wider than the original setting and could never be opened fully.
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and aided by officials in France, was ostensibly to protect the altarpiece from war. After Allied air raids made the castle too dangerous for the painting, it was stored in the
1497:("Hail who art full of grace, the Lord is with you"). The horizontal inscription extends out of the panel and halfway across the neighbouring image. As in van Eyck's Washington
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Een wonderbaarlijke tuin : Flora op het Lam Gods = Un jardin miraculeux : la flore sur L'Agneau mystique = A miraculous garden : flora on the Ghent Altarpiece
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The Ghent altar shows depictions of herbs, shrubs, (mainly Mediterranean) trees, lichens, mosses and ferns, many of which are so lifelike that orange and pomegranate trees,
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format. This view has been discounted by more recent scholarship on the basis of the overall design of the work and given the obvious gaps in quality between many passages.
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1726:) reflects this; the church was favoured by the Burgundians for official ceremonies held in Ghent. On the day of the altarpiece's consecration, 6 May 1432, Philip's and
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Like his aunt Mary, John the Baptist also holds a holy book – an unusual attribute; these are two of the 18 books in the entire piece. He wears a green mantle over a
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chapel. Its installation was officially celebrated on 6 May 1432. Much later, for security reasons, it was moved to the principal cathedral chapel, where it remains.
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Mary and Gabriel are disproportionately large in relation to the scale of the rooms they occupy. Art historians agree that this follows the conventions of both the
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panel. The groupings of figures are, from top left anti-clockwise: the male martyrs, the pagan writers and Jewish prophets, the male saints, and the female martyrs.
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Royal Institute for Cultural Heritage (Belgium). Zoomable 100 billion pixels high-resolution macro photography, infrared reflectography and X-radiography of the
2055:"Altar" on the beach at Ostend In 1972 Kris Martin, a Belgian conceptual artist who lives and works in Ghent, made For the exhibition "The Sea - Salut d'honneur
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may contain portraits of Jan and Hubert as the third and fourth Judges on horseback. The evidence is based on the similarity of one of the figures to Jan's 1433
578:, his usual attribute. He looks towards the Almighty in the centre panel, his hand also raised in blessing, uttering the words most typically attributed to him,
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798:, c. 1425). They face inwards towards the angels and the Deësis, separating them. They self-consciously attempt to cover their nakedness with a leaf as in the
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and relatively simple. Yet there is the same striking use of illusionism which also characterises the inner panels; this is especially true of the faux stone
2129:, and the manner of depicting the aged in such a way is characteristic of a number of works produced by the workshop after his death. See Borchert (2011), 30
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to the right and a central figure who may be either God or Christ – a distinction much debated amongst art historians. Theories include that the panel shows
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describes the altarpiece as one of the more coveted and desired pieces of art, the victim of 13 crimes since its installation, and seven thefts. After the
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of the first two decades of the 15th century, winged angels often seemingly floated on the margins of the page, as illustrations to the accompanying text.
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for the equivalent of ÂŁ240. When the diocese failed to redeem them, many of them were sold by the dealer Nieuwenhuys in 1816 to the English collector
784:. They are one of the earliest and direct treatments of the nude in Western art, and almost contemporary with the equally ground-breaking figures in
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tradition gives way to an exacting observation of nature and human representation. A now lost inscription on the frame stated that Hubert van Eyck
258:(second best in the art)—completed it in 1432. The original, very ornate carved outer frame and surround, presumably harmonizing with the painted
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2827:(Dissertation in Mathematics and Natural Sciences Würzburg 1994) Königshausen & Neumann, Würzburg 1998 (= 'Würzburg medical history research.
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1745:, which took his family name and was regularly to hold masses in his and his ancestors' memory. It was for this new chapel that he commissioned
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While the individual panels of the upper tier clearly contain separate—albeit paired—pictorial spaces, the lower tier is presented as a unified
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The portrait is known today from a 17th-century pencil copy. Other art historians have suggested that the Virgin in van Eyck's Washington
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141:, and at the very top are the prophets and sibyls. The altarpiece is one of the most renowned and important artworks in European history.
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which could be determined with certainty and 44 of which appear on the panel of the adoration of the lamb, as per exhibition catalogue.
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1958:
1345:", while the identities of the figures are carved on the lower border of each panel. Zechariah's text, taken from Zechariah 9:9, reads
848:
The precision and detail with which their nakedness is recorded offended many over the years. During a visit to the cathedral in 1781,
1843:. The panels still in Ghent were damaged by fire in 1822, and the separately hinged Adam and Eve panels sent to a museum in Brussels.
113:. The central panel of the lower register shows a gathering of saints, sinners, clergy, and soldiers attendant at an adoration of the
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portrayal. Some have questioned if they are ashamed of their committal of original sin, or dismayed at the world they now look upon.
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1610:, a reference to the early medieval tradition that he had ability with cures; he could drink poison from a cup without ill effects.
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A continuous panoramic landscape unifies the five panels of the lower register. The large central panel shows the adoration of the
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sometimes known as the holy virgins, are gathered by an abundant meadow, a symbol of fertility. A number are identified by their
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the altarpiece was among a number of art works plundered in today's Belgium and taken to Paris where they were exhibited at the
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In the mid-20th century, art historian Volker Herzner noted the facial similarity between the Cumaean Sibyl and Philip's wife
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consists of a large stream of water, ending with a jewel-laden bed. In the distance, a minutely detailed cityscape recalls
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lamb as Jesus, are positioned on the same axis as that of God The Father in the panel directly above; a reference to the
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1680:'s most trusted local councilmen. Around 1398 Jodocus married Lysbette Borluut, also from an established city family.
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In October 1428 van Eyck was a member of a Burgundian embassy sent to secure the hand of Isabella, eldest daughter of
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carries an arrow. The men on the left include confessors, popes, cardinals, abbots and monks who are dressed in blue.
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Beneath the lunettes are the four panels of the upper register. The two outer panels of the middle register show the
790:
1245:. The judges in the Ghent panel became the basis for a number of later portraits of the brothers, including that of
1032:
which in 21:23, had "no need of the sun, neither of the moon, to shine in it; for the glory of God did Lighten it".
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In 1940, at the start of another invasion by Germany, a decision was made in Belgium to send the altarpiece to the
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1832:
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The lamb stands on an altar, and is surrounded by 14 angels arranged in a circle, some holding symbols of Christ's
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crown is at his feet, and on either side the step is lined with two levels of text. The left hand upper line reads
3790:
Jolly, Penny. "Jan van Eyck's Italian Pilgrimage: A Miraculous Florentine Annunciation and the Ghent Altarpiece".
171:
traditions, the altarpiece represented a significant advancement in Western art, in which the idealisation of the
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1824:
1351:("Rejoice greatly, O daughter of Zion ... behold, your king comes"), while the Erythraean Sibyl's words are
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The figures in the lunettes refer to prophecies of the coming of Christ. The far left lunette shows the prophet
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109:. They are flanked in the next panels by angels playing music and, on the far outermost panels, the figures of
1146:. Dhanens suggests the positioning of popes standing beside antipope shows "an atmosphere of reconciliation".
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The painter's unflinching realism is especially evident in these two panels. The depiction of Eve exemplifies
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seen in the representation of God the Father indicates that the artist was familiar with the Italian painters
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The story of the recovery of the altarpiece, and many other great works, was at the heart of the 2014 film
1991:
Another restoration began in 1950–51, due to damage sustained during the altarpiece's stay in the Austrian
1357:("Sounding nothing mortal you are inspired by power from on high"). To the right the Cumaean Sibyl's reads
512:("Youth without age on his forehead"). These are placed above—on the left and right respectively—the words
215:
69:
1998:
687:, mostly painted in reds and greens. Their robes indicate that they are intended as representative of the
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4193:
2030:
The search for the stolen altarpiece near the end of World War II is a major plot point of the 2014 film
1737:) of St. John's, Vijd between 1410 and 1420 not only financed the construction of the principal chapel's
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2007:
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439:. Pelicans were at the time believed to spill their own blood to feed their young. The vines allude to
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stands to his side holding a twig, a symbol of his own prophecy of Christ as recorded in Isaiah 11:1.
524:("Safety without fear on his left side"). On his head is another jewel-encrusted crown similar to the
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in 1432. A less explicit indicator is their seeming portraits as the third and fourth horsemen in the
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4569:
2806:
1722:
Throughout Vijd stayed loyal to Philip. His position as warden at St. John the Baptist's church (now
1342:
1995:. In this period, newly developed restoration technology, such as x-ray, was applied to the panels.
1949:
1840:
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sits is detailed with such precision that, in places, its metal surfaces show reflections of light.
203:, and his wife Lysbette commissioned the altarpiece as part of a larger development project for the
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1962:
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no convincing separation has been established; it may be that Jan finished panels begun by Hubert.
1770:, following the earlier and poorly executed cleaning by Jan van Scorel, that led to damage to the
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reflection or throw shadow, and has traditionally been read by art historians as representing the
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4230:
1945:
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The altarpiece measures 375 Ă— 260 cm when the shutters are closed. The upper panels contain
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on the upper portion of the front of the altar is inscribed with the words taken from John 1:29;
592:
364:. Of the 12 panels, eight have paintings on their reverse visible when the altarpiece is closed.
286:, or more likely as "Yod, Feh, Aleph", which when transliterated represents Jan's initials, JvE.
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LIGHTS ON VAN EYCK - a light and sound experience and tribute to the Flemish Master Jan Van Eyck
191:; it may have included clockwork mechanisms for moving the shutters and even for playing music.
68:, Belgium. It was begun around the mid-1420s and completed by 1432, and it is attributed to the
4654:
4639:
4355:
3780:
Honour, Hugh; Fleming, John. "A World History of Art". London: Laurence King Publishing, 2005.
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have four ears until the 2020 restoration which removed the overpainting. See Pächt (1999), 123
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1954:
1937:
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1661:. Jodocus was one of the most senior and politically powerful citizens of Ghent. He was titled
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4634:
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3496:"Ghent Altarpiece: latest phase of restoration unmasks the humanised face of the Lamb of God"
1965:, where the 17 panels were displayed for the press. French officials were not invited as the
1793:
1703:
1479:
1442:
381:
of monumental and enthroned figures, each with a halo. They are the Virgin Mary to the left,
307:
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McNamee, W.B. "The Origin of the Vested Angel as a Eucharistic Symbol in Flemish Painting".
1130:
who carries the rocks with which he was stoned. Three popes in the foreground represent the
802:
account (although apparently not a figleaf), indicating that they are depicted as after the
726:
Modern musicologists have been able to recreate a working copy of the instrument. Until the
266:; it may have included clockwork mechanisms for moving the shutters and even playing music.
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3620:
Van Eyck to Durer: The Influence of Early Netherlandish painting on European Art, 1430–1530
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2059:", Ostende, Oct 23rd, 2014—Apr 19th, 2015 an art installation that resembles the painting
919:, patron saint of travellers. At the rear of the hermits on the inner right-hand panel is
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8:
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2010:
began in October 2012. With a budget of €2.2 million, the project was carried out by the
1603:
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ideal of beauty as developed from around the start of the 14th century, pioneered by the
126:
102:
3589:
From Van Eyck to Bruegel: Early Netherlandish painting in the Metropolitan Museum of Art
1823:
The painting's wings (not including the Adam and Eve panels) were pawned in 1815 by the
1644:
4238:
4080:
3832:
Meiss, Millard. "'Nicholas Albergati' and the Chronology of Jan van Eyck's Portraits".
2938:
1817:
1738:
1599:
1451:
1392:
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Three of the figures in the grouping to the right of the fountain can be identified as
1060:
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2036:. The burning of the twelfth panel "Just Judges" is part of the plot of the 2022 book
1850:, other panels were taken from the cathedral by German forces. Under the terms of the
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1973:
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lunette employs one of the first instances of an illusionistic motif best known from
1203:
937:
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483:
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254:(greater than anyone) started the altarpiece, but that Jan van Eyck—calling himself
179:(greater than anyone) started the altarpiece, but that Jan van Eyck—calling himself
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121:. The four lower panels of the closed altar are divided into two pairs; sculptural
106:
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3906:: Special Issue: "Contexts: Style and Values in Medieval Art and Literature", 1991
1632:
360:
4542:
4262:
3763:. "The Art of the Northern Renaissance". London: Laurence King Publishing, 1995.
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1691:
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testaments, with those from the older books positioned to the left of the altar.
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271:
130:
73:
3813:
The Altar and the Altarpiece, Sacramental Themes in Early Netherlandish Painting
3719:, Contributions to the Study of the Flemish Primitives, 15, Brussels, 2019, 96p.
1976:
produced a copy of 'The Just Judges', as part of an overall restoration effort.
1888:
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1767:
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1961:
and returned to Belgium in a ceremony presided over by Belgian royalty at the
1885:
imagines it is kept by the protagonist, Clamence, in his Amsterdam apartment.
1804:
The altarpiece has been moved several times over the centuries. Art historian
1574:
The figures in the panels on the lower register are positioned within uniform
4558:
4201:
3684:
2919:
1936:
ordered the painting to be seized and brought to Germany to be stored in the
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1371:
1338:
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164:
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mayor Jodocus Vijd and his wife Lysbette as part of a larger project for the
3869:
The Economics of Taste, Vol I: The Rise and Fall of Picture Prices 1760–1960
2873:
1522:
1363:("The Highest King shall come and shall be in the flesh through the ages").
1341:
on the right. Each panel includes a text inscribed on a floating ribbon or "
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2526:
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1966:
1933:
1909:
1905:
1876:
1828:
1805:
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Le chapeau ... orne de trois lettres herbraiques formant le mot Saboth
172:
110:
77:
2899:
1979:
In addition to war damage, the panels were threatened during outbreaks of
1762:
The first significant restoration was carried out in 1550 by the painters
3978:
3902:
Seidel, Linda. "The Value of Verisimilitude in the Art of Jan van Eyck".
2853:
1925:
1847:
1673:, and in a difficult and rebellious political climate, became one of the
1266:
identified many of the plants in the flora of the Ghent altar, including
978:
893:
803:
544:
525:
118:
114:
3701:
Deam, Lisa. "Flemish versus Netherlandish: A Discourse of Nationalism".
840:
221:
Woodcut portrait of Hubert van Eyck, Edme de Boulonois, mid-16th century
2533:, 1988 (English translation), p. 582, Belknap Press, Harvard University
1980:
1666:
1258:
1134:—a dispute that festered and lingered in Ghent—and are identifiable as
719:. Their instruments are shown in remarkable detail. The organ at which
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575:
133:
of Joost Vijdt and his wife Lysbette Borluut; in the upper row are the
61:
3973:
1366:
1314:
763:
751:
117:. There are several groupings of figures, overseen by the dove of the
3927:. National Gallery of Art Washington; Oxford University Press, 1987.
2829:
Volume 65). 191-198 ('The Ghent Altar'), here: 191, 193-198 and 210.
1897:
1831:
for ÂŁ4,000 in Berlin. They were sold in 1821 to the King of Prussia,
1587:
1562:
The four panels are most obviously connected by the floor tiling and
1407:
1307:
1242:
987:("Behold the Lamb of God who takes away the sins of the world"). The
684:
596:
585:
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168:
122:
58:
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presenting crops to the Lord. Above them Eve is a representation of
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The two musical panels are commonly known by variants of the titles
351:
89:
3368:"Monuments Men sought to return the most desired object in history"
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2049:
1778:
with Christ arriving to redeem those about to be saved. During the
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1670:
1298:
1238:
1213:
924:
795:
785:
727:
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3876:
Early Netherlandish paintings: Rediscovery, Reception and Research
2531:
A History of Private Life, Vol 2 Revelations of the Medieval World
1816:. It was returned to Ghent in 1815 after the French defeat at the
3974:
The Just Judges Without a Trace, The Historical - Correct - Facts
1941:
1730:'s son was baptised there, indicating Vijd's status at the time.
1607:
1598:
inscribed with his name. John the Baptist, the son of the priest
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1291:
1037:
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Female martyrs (with palms) and saints gathered to worship Christ
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428:
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259:
184:
29:
25:
The twelve interior panels. This open view measures 5.2 x 3.75 m.
3988:
1917:
1792:, where it remained for two decades. In 1662 the Ghent painter
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the piece was moved out of the chapel to prevent damage in the
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1302:
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1115:
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988:
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833:
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21:
2496:
Borchert (2011), 31–2, see also Golaqki-Voutrira (1998), 65–74
1270:
A number of them have a connection to the Christian symbolism
2973:
Virgil, Aeneid, 6:50 "nec mortale sonans, adflata est numine"
1921:
1775:
537:
200:
149:
94:
3435:
2855:
Ein wunderbarer Garten : die Pflanzen des Genter Altars
1839:
at the time and for many decades they were exhibited in the
1360:
REX ALTISSIMUS ADVENIET PER SECULA FUTURUS SCILICET IN CARNE
3969:
on BALaT – Belgian Art Links and Tools (KIK-IRPA, Brussels)
3918:
Die Altniederländische Malerei von Jan van Eyck bis Memling
1969:
government had allowed the Germans to remove the painting.
1473:
1114:, who is said to have predicted the coming of the Saviour.
877:
873:
828:. Comparing the Limbourg's Eve to a classical female nude,
716:
712:
680:
668:("Music in Praise of God"), the frame of to the right with
651:
Christogram, representations of the lamb and other images.
432:
403:
2807:
Johanna Schopenhauer: 'Johann van Eyck and his successors'
1928:
alongside Germany. The painting was stored in a museum in
406:, fastened by a bejewelled morse or clasp) which are from
3855:
Van Eyck and the Founders of Early Netherlandish Painting
1871:
was returned by the thief as a goodwill gesture, but the
1694:
presented with a History of Hainault, flanked by his son
876:
sacrificing the first lamb of his flock, and his brother
477:
The central figure, usually referred to as "The Almighty"
3773:
Homa, Ramsay. "Jan van Eyck and the Ghent Altar-Piece".
1483:(c. 1438–40), which is likely a panel from a dismantled
1178:
662:
The left-hand panel's frame is inscribed with the words
2202:
2079:
The central painting is "Adoration of the Mystic Lamb".
3874:
Ridderbos, Bernhard; van Buren, Anne; van Veen, Henk.
506:("Life without death on his head"), that on the right
435:, probable references to the blood spilled during the
2195:
2193:
1080:
3329:
3327:
2227:
2225:
2123:
The panels resemble passages from van Eyck's c 1436
1402:, especially as she is portrayed in van Eyck's lost
148:
The altarpiece was commissioned by the merchant and
3946:
The authorized images of the Saint-Bavo's Cathedral
3646:Burroughs, Bryson. "A Diptych by Hubert van Eyck".
3555:"Art restored with 'alarmingly humanoid' lamb face"
1074:
HIC EST FONS AQUE VITE PROCEDENS DE SEDE DEI + AGNI
776:The two outer panels show near life-sized nudes of
4512:Christ on the Cross with the Virgin and Saint John
3291:
3289:
3287:
3285:
3283:
3281:
2816:. Vol 1 Frankfurt (Main), 1822, S. 61 f.
2190:
1944:. The seizure, led by senior museum administrator
1348:EXULTA SATIS FILIA SYON JUBILA ECCE REX TUUS VENIT
3634:Studies in the Performance of Late Medieval Music
3436:"Museum voor Schone Kunsten Gent | MSK Gent"
3390:
3324:
2838:Sam Segal: "The Genter Plants in the Altar." In:
2222:
2114:bears Isabella's face. See Wolff, Hand (1987), 81
1719:of the councillors who had acted as ringleaders.
559:" and this image might be based on the figure in
4556:
3909:Snyder, James. "Jan van Eyck and Adam's Apple".
3493:
1796:was commissioned to clean the Ghent Altarpiece.
3878:. Amsterdam: Amsterdam University Press, 2004.
3801:. Cambridge: Cambridge University Press, 2004.
3636:. Cambridge: Cambridge University Press, 1983.
3463:
3278:
2435:
2433:
2431:
2429:
2173:"The Most Stolen Work of Art | Britannica"
2044:. It is also mentioned briefly near the end of
930:
3591:. New York: Metropolitan Museum of Art, 1999.
2858:(1. Aufl ed.). Frankfurt am Main: Insel.
1333:. The two much taller inner shutters show the
547:draped with a green cloth. A book is a normal
4004:
2825:Christina Becela-Deller: 'Ruta olegravens L.
2002:The Lamb of God, before and after restoration
1835:for ÂŁ16,000, an enormous sum at the time and
691:before the altar in the lower central panel.
518:("Joy without sorrow on his right side") and
3457:
2426:
1071:The inscription on the fountain's rim reads
57:), is a very large and complex 15th-century
3658:The Fifteenth-Century Netherlandish Schools
3465:"Using Mathematics to Repair a Masterpiece"
2266:
2264:
4011:
3997:
3857:. 1999. London: Harvey Miller Publishers.
3708:Deneffe, Dominique & Jeroen Reyniers,
3105:
2943:: CS1 maint: location missing publisher (
2897:
2022:look directly at the viewer of the panel.
1959:Monuments, Fine Arts, and Archives program
1757:
1406:. Herzner speculated that the text in the
861:normally found in contemporary paintings.
333:panel, and the ripple of the water in the
4210:Virgin and Child with Canon van der Paele
4110:Portrait of Giovanni di Nicolao Arnolfini
3843:. Oxford: Oxford University Press, 2008.
3799:America and the Return of Nazi Contraband
3339:America and the Return of Nazi Contraband
3205:
3203:
3201:
3199:
3197:
3195:
3132:
2791:
2126:Virgin and Child with Canon van der Paele
1354:NIL MORTALE SONAS AFFLATA ES NUMINE CELSO
1149:
769:Eve: contemporary ideal for female figure
199:The merchant Jodocus Vijd, then Mayor of
93:arrangement of God (identified either as
83:The panels are organised in two vertical
3892:. Leuven: Uitgeverij Davidsfonds, 2005.
3526:"The restoration that shocked the world"
3271:
3269:
2851:
2543:
2541:
2539:
2278:
2276:
2261:
1997:
1887:
1754:is the Lamb of God, a symbol of Christ.
1686:
1512:
1365:
1313:
1281:
1088:
1042:
1005:
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839:
697:
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615:
532:with its white body, three tiers, green
306:
125:paintings of St John the Baptist and St
28:
20:
3648:The Metropolitan Museum of Art Bulletin
3565:from the original on September 27, 2023
3365:
3098:
3096:
3047:
3045:
3043:
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2755:
2753:
2751:
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2621:
2619:
2504:
2502:
2401:
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2336:
1510:("Behold the handmaiden of the Lord").
984:ECCE AGNUS DEI QUI TOLLIT PECCATA MUNDI
900:) arranged in a scene derived from the
884:with what appears as an ass's jawbone.
822:, especially their Adam and Eve in the
806:. Eve holds a fruit in her right hand.
4557:
4270:Crucifixion and Last Judgement Diptych
4065:Portrait of Cardinal Niccolò Albergati
4044:Portrait of a Man with a Blue Chaperon
3952:Closer to Van Eyck: Rediscovering the
3750:. London: Stacey International, 2010.
3475:from the original on 22 September 2023
3192:
3077:
3075:
3033:
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3021:
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2313:
2311:
2301:
2299:
2297:
1788:, first to the attic and later to the
377:The three central upper panels show a
302:
3992:
3622:. London: Thames & Hudson, 2011.
3494:McGivern, Hannah (18 December 2019).
3333:
3266:
2536:
2273:
2025:
2012:Royal Institute for Cultural Heritage
1179:Just Judges and the Knights of Christ
4600:Cultural depictions of Cain and Abel
4343:Study for Cardinal Niccolò Albergati
4167:Saint Francis Receiving the Stigmata
3871:. London: Barrie and Rockliffe, 1961
3710:The Ghent Altarpiece. A Bibliography
3691:. Princeton University Press, 1972.
3114:
3093:
3060:Ridderbos et al. (2004), 19 & 77
3040:
3000:The Oxford Art Online – Jan van Eyck
2985:
2782:
2748:
2739:
2723:
2646:
2616:
2511:
2499:
2396:
2333:
1900:salt mine at the end of World War II
1741:, but endowed a new chapel near the
1569:
1494:AVE GRACIA PLENA D(OMI)N(U)S TECU(M)
1411:acclaiming a son before he is born.
16:Polyptych by Jan and Hubert van Eyck
3378:from the original on April 28, 2019
3366:Charney, Noah (February 15, 2014).
3315:"The Theft of the Ghent Altarpiece"
3176:The Infant Saint John with the Lamb
3159:
3150:
3141:
3084:
3072:
3028:
3012:
3003:
2976:
2951:
2842:Erasmus 1934-1984, Amsterdam 1984.
2714:
2687:
2673:
2655:
2628:
2577:
2481:
2469:
2308:
2294:
1066:
13:
4073:Portrait of a Man (Self Portrait?)
3923:Wolff, Martha; Hand, John Oliver.
3815:. London: Harper & Row, 1984.
3674:. New York: Public Affairs. 2010.
3660:. London, National Gallery, 1998.
1555:panels in the Ghent annunciation.
1081:Prophets, Apostles, church figures
825:Très Riches Heures du Duc de Berry
235:Portrait of a Man (Self Portrait?)
14:
4671:
3939:
3920:. Poeschel & Kippenberg, 1906
3523:
1983:, and have suffered fire damage.
1867:panels were stolen. The panel of
887:
791:Expulsion from the Garden of Eden
611:
521:SECURITAS SINE TIMORE A SINISTRIS
509:IUVENTUS SINE SENECTUTE IN FRONTE
367:
4472:Portrait of a Man with Carnation
4380:Portrait of Isabella of Portugal
4133:
4018:
3736:. New York: Tabard Press. 1980.
3547:
3517:
3487:
3428:
3399:
3359:
3307:
3189:, London. Retrieved 5 April 2021
2132:
2006:A program of restoration at the
1799:
1643:
1631:
1544:Bartolini Salimbeni Annunciation
1450:
1435:
762:
750:
482:
470:
458:
413:REX REGUM ET DOMINUS DOMINANTIUM
226:
214:
4427:Madonna of Nicolas van Maelbeke
3792:Zeitschrift fĂĽr Kunstgeschichte
3705:, Volume 51, No. 1, Spring 1998
3689:The Nude: A Study in Ideal Form
3650:, Volume 28, No. 11, Pt 1, 1933
3536:from the original on 2020-04-01
3506:from the original on 2020-01-24
3446:from the original on 2021-12-30
3298:
3257:
3248:
3239:
3230:
3221:
3212:
3168:
3123:
3063:
3054:
2994:
2926:from the original on 2024-04-12
2891:
2880:from the original on 2024-04-12
2832:
2819:
2800:
2773:
2764:
2705:
2696:
2607:
2598:
2589:
2568:
2559:
2550:
2520:
2490:
2460:
2451:
2442:
2417:
2408:
2387:
2378:
2369:
2360:
2351:
2324:
2285:
2252:
2179:from the original on 2022-06-11
2162:Praet & Martens (2020), 50.
2117:
2102:
2092:
1986:
1414:
1200:), the inside left panel reads
872:The grisaille above Adam shows
741:
671:LAUDATE EUM IN CORDIS ET ORGANO
389:dressed in priestly vestments,
129:, and on the two outer panels,
4089:Portrait of Baudouin de Lannoy
2898:Crombrugge, Hilde van (2016).
2243:
2234:
2212:, pages 236–9. Phaidon, 1995.
2165:
2156:
2082:
2073:
1606:. John the Evangelist holds a
1277:
1171:carries flowers. Further back
1051:In the center foreground, the
973:, including the cross and the
194:
55:De aanbidding van het Lam Gods
1:
4615:Paintings of John the Baptist
4610:Paintings of the Annunciation
4515:
4494:
4462:
4449:
4409:
4396:
4383:
4359:
4346:
4313:
4286:
4273:
4221:
4184:
4170:
4157:
4123:Portrait of Margaret van Eyck
4113:
4092:
4047:
3321:, Vol. 74, Issue 6, June 2024
3009:Ridderbos at al. (2004), 58–9
2062:
1916:to the Vatican, but still in
1622:
1594:Each saint stands on a stone
591:It is often assumed that the
515:GAUDIUM SINE MERORE A DEXTRIS
3925:Early Netherlandish painting
2150:
2067:
1578:. The outer panels show the
1329:and the far right one shows
943:Adoration of the Mystic Lamb
932:Adoration of the Mystic Lamb
344:
339:Adoration of the Mystic Lamb
315:from the central inner panel
70:Early Netherlandish painters
46:Adoration of the Mystic Lamb
7:
4446:The Three Marys at the Tomb
4194:Madonna of Chancellor Rolin
3777:, Volume 116, No. 855, 1974
3037:Harbison (2012), p. 99
2982:Ridderbos et al. (2004), 43
2779:Ridderbos et al. (2004), 54
2702:Ridderbos et al. (2004), 53
2670:Ridderbos at al. (2004), 47
2393:Ridderbos et al. (2004), 48
658:String and wind instruments
262:, was destroyed during the
187:, was destroyed during the
10:
4676:
4645:Musical instruments in art
4419:Vera Icon (Head of Christ)
3836:, Volume 94, No. 590, 1952
3748:Secret of the sacred panel
3580:
3407:"Ghent Altarpiece project"
3343:Cambridge University Press
2457:Pächt (1999), 124, 151–152
2008:Museum of Fine Arts, Ghent
1837:the highest for a painting
1650:Lysbette Borluut (d. 1443)
1617:
1521:in a cope with a jewelled
1404:1428–29 betrothal portrait
844:Eve holding a citrus fruit
636:to the art of the period.
66:St Bavo's Cathedral, Ghent
4595:Paintings of Adam and Eve
4575:Paintings by Jan van Eyck
4535:
4525:Saint Jerome in His Study
4482:
4437:
4371:
4326:
4298:
4249:
4142:
4131:
4035:
4026:
3608:. London: Taschen, 2008.
2852:Gallwitz, Esther (1996).
1972:The Belgian art restorer
1896:during recovery from the
1241:tightly bound around the
1003:("the Truth, the Life").
647:tiles decorated with the
503:VITA SINE MORTE IN CAPITE
372:
33:Closed view, back panels.
4102:Portrait of Jan de Leeuw
3913:, Volume 58, No. 4, 1976
3841:Northern Renaissance art
3829:, Volume 53, No. 3, 1972
3672:Stealing the Mystic Lamb
3587:Ainsworth, Maryan Wynn.
2770:Dhanens (1980), 100; 103
2270:Harbison (Reaktion), 194
1963:Royal Palace of Brussels
1875:panel is still missing.
1385:Portrait of a Carthusian
1252:
1231:National Gallery, London
702:Detail of the lead Angel
551:for Mary, as one of her
4356:Study for a Crucifixion
4231:Madonna at the Fountain
3834:The Burlington Magazine
3775:The Burlington Magazine
3734:Hubert and Jan van Eyck
3632:Boorman, Stanley (ed).
3618:Borchert, Till-Holger.
2797:Bourchert (2008), 93–95
2613:Hagen et al. (2003), 38
2466:McNamee (1972), 268–274
2423:Dhanens (1980), 106–108
1908:to keep it safe during
1758:First major restoration
1715:, which ended with the
1586:. They are rendered in
736:illuminated manuscripts
427:on the throne features
420:, and Lord of Lords").
252:maior quo nemo repertus
177:maior quo nemo repertus
3304:Reitlinger (1961), 130
3138:Borchert (2008), 32–33
2291:Borchert (2011), 22–23
2003:
1938:Schloss Neuschwanstein
1901:
1869:Saint John the Baptist
1865:Saint John the Baptist
1841:Gemäldegalerie, Berlin
1780:Protestant Reformation
1707:
1638:Jodocus Vijd (d. 1439)
1533:
1457:The Virgin Annunciate.
1374:
1337:(on the left) and the
1322:
1294:
1286:Detail of the prophet
1150:Confessors and martyrs
1106:
1048:
1011:
997:("Jesus the Way") and
946:
915:Among the pilgrims is
882:Abel murdering by Cain
845:
703:
659:
639:The angels attend the
621:
586:Behold the Lamb of God
316:
238:, 1433. Jan van Eyck,
54:
34:
26:
4660:God the Father in art
4218:Madonna in the Church
3794:. 61. Bd., H. 3, 1998
3703:Renaissance Quarterly
3602:Borchert, Till-Holger
3471:. 29 September 2016.
2414:Wadsworth (1995), 223
2405:Pächt (1994), 129–130
2199:Burroughs (1933), 184
2001:
1891:
1833:Frederick William III
1794:Antoon van den Heuvel
1704:Rogier van der Weyden
1690:
1516:
1507:ECCE ANCILLA D(OMI)NI
1480:Madonna in the Church
1443:The Archangel Gabriel
1369:
1317:
1301:showing prophets and
1285:
1167:holds a tower, while
1092:
1047:The fountain of life.
1046:
1009:
940:
843:
701:
657:
619:
540:with a cross on top.
310:
32:
24:
4459:The Fountain of Life
3867:Reitlinger, Gerald.
3561:. January 22, 2020.
2904:. Gent. p. 23.
2788:Campbell (1998), 216
2330:Harbison (1995), 836
1852:Treaty of Versailles
1728:Isabella of Portugal
1724:Saint Bavo Cathedral
1659:Louis II of Flanders
1477:dramatically in his
1466:International Gothic
1421:Annunciation to Mary
1400:Isabella of Portugal
1264:Johanna Schopenhauer
1247:Dominicus Lampsonius
1144:Antipope Alexander V
1103:Antipope Alexander V
855:Saint Bavo Cathedral
853:still on display in
816:International Gothic
603:. The art historian
437:Crucifixion of Jesus
205:Saint Bavo Cathedral
161:International Gothic
154:Saint Bavo Cathedral
4625:Religious paintings
4590:Stolen works of art
3904:Yale French Studies
3165:Borchert (2008), 17
3156:Borchert (2008), 32
3111:Borchert (2011), 30
3081:Borchert (2011), 27
3069:Harbison (1995), 82
3025:Borchert (2008), 31
2964:Borchert (2011), 25
2761:Dhanens (1980), 100
2720:Borchert (2008), 29
2693:Borchert (2008), 21
2684:Borchert (2011), 23
2652:Dhanens (1980), 103
2604:Harbison (1995), 83
2586:Borchert (2008), 28
2439:Dhanens (1980), 108
2375:Dhanens (1980), 106
2357:Borchert (2011), 19
2321:Borchert (2011), 24
2305:Harbison (1995), 81
1924:declared war as an
1912:. The painting was
1854:and its subsequent
1706:miniature c. 1447–8
1698:and his chancellor
1584:John the Evangelist
1370:Detail showing the
1318:Detail showing the
832:observed that "her
730:, when the idea of
689:celebration of mass
630:Music-making Angels
303:Style and technique
127:John the Evangelist
4585:Paintings of Jesus
4239:Madonna of Jan Vos
4081:Arnolfini Portrait
3730:Dhanens, Elisabeth
3715:2021-10-21 at the
3236:Charney (2010), 15
3181:2012-08-29 at the
2840:De arte et libris.
2812:2022-11-12 at the
2711:Charney (2010), 23
2643:Dhanens (1980), 97
2595:Charney (2010), 64
2547:Snyder (1976), 511
2487:Boorman (1983), 31
2478:Boorman (1983), 30
2384:Charney (2010), 31
2231:Burroughs, 184–193
2026:In popular culture
2004:
1902:
1818:Battle of Waterloo
1708:
1534:
1472:traditions of the
1393:John I of Portugal
1375:
1323:
1295:
1210:Warriors of Christ
1107:
1061:aerial perspective
1049:
1012:
947:
846:
704:
660:
622:
543:Mary reads from a
317:
101:), flanked by the
43:, also called the
35:
27:
4552:
4551:
4504:Ince Hall Madonna
4393:Saint Christopher
4309:Turin–Milan Hours
4265:, completed 1432)
3984:Online exhibition
3933:978-0-5213-4016-8
3863:978-1-8725-0128-4
3849:978-0-1928-4269-5
3821:978-0-0643-0133-6
3807:978-0-521-84982-1
3769:978-1-78067-027-0
3756:978-1-9067-6845-4
3742:978-0-9144-2700-1
3725:978-2-930054-39-1
3666:978-0-3000-7701-8
3628:978-0-5210-8831-2
3597:978-0-3000-8609-6
3500:The Art Newspaper
3396:Kurtz (2006), 132
3335:Kurtz, Michael J.
3263:Charney (2010), 1
3254:Charney (2010), x
3227:Pächt (1999), 132
3209:Pächt (1999), 120
3129:Meiss (1952), 137
3120:Jolly (1998), 392
3102:Pächt (1999), 169
3051:Jolly (1998), 375
2991:Jolly (1998), 376
2911:978-90-74311-95-3
2745:Pächt (1999), 138
2736:Pächt (1999), 126
2625:Pächt (1999), 212
2565:Clark (1972), 311
2556:Clark (1972), 310
2517:Pächt (1999), 151
2508:Pächt (1999), 152
2348:Pächt (1999), 124
2141:The Monuments Men
2033:The Monuments Men
1993:mines during WWII
1974:Jef Van der Veken
1810:French Revolution
1764:Lancelot Blondeel
1570:Saints and donors
1519:Archangel Gabriel
1425:Archangel Gabriel
1226:Portrait of a Man
991:bear the phrases
917:Saint Christopher
850:Emperor Joseph II
820:Limbourg brothers
757:Adam stepping out
565:Virgin Annunciate
387:Christ in Majesty
331:Knights of Christ
313:Utrecht Cathedral
272:Just Judges panel
135:archangel Gabriel
4667:
4605:Culture of Ghent
4570:Gothic paintings
4520:
4517:
4499:
4498: 1430–1432
4496:
4467:
4464:
4454:
4451:
4414:
4411:
4401:
4398:
4388:
4385:
4364:
4361:
4351:
4348:
4318:
4315:
4291:
4288:
4283:Dresden Triptych
4278:
4277: 1430–1440
4275:
4258:Ghent Altarpiece
4226:
4225: 1438–1440
4223:
4189:
4188: 1434–1436
4186:
4175:
4174: 1432–1440
4172:
4162:
4161: 1432–1434
4159:
4143:Single religious
4137:
4118:
4115:
4097:
4094:
4052:
4049:
4013:
4006:
3999:
3990:
3989:
3967:Ghent Altarpiece
3959:Ghent Altarpiece
3954:Ghent Altarpiece
3911:The Art Bulletin
3888:Schmidt, Peter.
3827:The Art Bulletin
3797:Kurtz, Michael.
3697:978-0691-01788-4
3680:978-1586-48800-0
3575:
3574:
3572:
3570:
3551:
3545:
3544:
3542:
3541:
3521:
3515:
3514:
3512:
3511:
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3482:
3480:
3461:
3455:
3454:
3452:
3451:
3432:
3426:
3425:
3423:
3422:
3413:. Archived from
3411:Getty Foundation
3403:
3397:
3394:
3388:
3387:
3385:
3383:
3363:
3357:
3356:
3331:
3322:
3313:Lee, Alexander,
3311:
3305:
3302:
3296:
3295:Kurtz (2004), 24
3293:
3276:
3273:
3264:
3261:
3255:
3252:
3246:
3245:Voll (1906), 245
3243:
3237:
3234:
3228:
3225:
3219:
3216:
3210:
3207:
3190:
3187:National Gallery
3172:
3166:
3163:
3157:
3154:
3148:
3147:Hagen et al., 37
3145:
3139:
3136:
3130:
3127:
3121:
3118:
3112:
3109:
3103:
3100:
3091:
3090:Pächt (1999), 13
3088:
3082:
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2605:
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2596:
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2587:
2584:
2575:
2574:Hagen et al., 39
2572:
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2366:Lane (1984), 109
2364:
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2250:
2247:
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2240:Homa (1974), 327
2238:
2232:
2229:
2220:
2210:The Story of Art
2208:Gombrich, E.H.,
2206:
2200:
2197:
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2185:
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2169:
2163:
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2121:
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2106:
2100:
2096:
2090:
2086:
2080:
2077:
2038:The Omega Factor
1894:Ghent Altarpiece
1825:Diocese of Ghent
1675:Duke of Burgundy
1647:
1635:
1509:
1496:
1454:
1439:
1362:
1356:
1350:
1335:Erythraean Sibyl
1320:Erythraean Sibyl
1268:medicinal plants
1207:
1187:
1163:carries a lamb,
1076:
1067:Fountain of life
1053:fountain of life
1002:
996:
986:
971:Christ's passion
965:, and two swing
766:
754:
673:
667:
634:liturgical drama
583:
523:
517:
511:
505:
489:John the Baptist
486:
474:
462:
441:sacramental wine
415:
383:John the Baptist
335:Fountain of life
296:dendrochronology
277:
240:National Gallery
230:
218:
159:Indebted to the
139:the Annunciation
107:John the Baptist
40:Ghent Altarpiece
4675:
4674:
4670:
4669:
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4666:
4665:
4664:
4555:
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4553:
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4543:Hubert van Eyck
4531:
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4263:Hubert van Eyck
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4116:
4095:
4050:
4031:
4022:
4017:
3942:
3937:
3811:Lane, Barbara.
3761:Harbison, Craig
3717:Wayback Machine
3670:Charney, Noah.
3654:Campbell, Lorne
3583:
3578:
3568:
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3548:
3539:
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3218:Nash (2008), 67
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3183:Wayback Machine
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2500:
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2452:
2448:Nash (2008), 30
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2258:Nash (2008), 13
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2103:
2097:
2093:
2087:
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2074:
2070:
2065:
2028:
1989:
1861:The Just Judges
1802:
1760:
1747:Hubert van Eyck
1692:Philip the Good
1678:Philip the Good
1655:
1654:
1653:
1652:
1651:
1648:
1640:
1639:
1636:
1625:
1620:
1572:
1564:vanishing point
1527:Jan van Eyck's
1505:
1492:
1462:
1461:
1460:
1459:
1458:
1455:
1447:
1446:
1440:
1417:
1380:Petrus Christus
1358:
1352:
1346:
1280:
1255:
1204:CHRISTI MILITES
1201:
1186:"IUSTI IUDICES"
1185:
1181:
1152:
1123:twelve apostles
1083:
1072:
1069:
998:
992:
982:
975:crown of thorns
956:All Saints' Day
935:
890:
774:
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767:
759:
758:
755:
744:
669:
663:
620:Choir of Angels
614:
579:
519:
513:
507:
501:
494:
493:
492:
491:
490:
487:
479:
478:
475:
467:
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465:The Virgin Mary
463:
411:
375:
370:
347:
305:
275:
247:
246:
245:
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231:
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219:
197:
131:donor portraits
95:Christ the King
17:
12:
11:
5:
4673:
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4402:
4389:
4387: 1428–29
4375:
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4369:
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4365:
4352:
4339:
4335:Saint Barbara
4330:
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3940:External links
3938:
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3865:
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3830:
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3746:Hammer, Karl.
3744:
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3685:Clark, Kenneth
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3630:
3616:
3599:
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3524:GĂĽner, Fisun.
3516:
3486:
3456:
3440:www.mskgent.be
3427:
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3345:. p. 25.
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1988:
1985:
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1768:Jan van Scorel
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1539:Lorenzo Monaco
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1413:
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1148:
1132:Western Schism
1121:On the right,
1082:
1079:
1068:
1065:
934:
929:
921:Mary Magdalene
902:Gospel of John
889:
888:Lower register
886:
859:Garden of Eden
808:Erwin Panofsky
768:
761:
760:
756:
749:
748:
747:
746:
745:
743:
740:
715:and a type of
665:MELOS DEO LAUS
626:Singing Angels
613:
612:Musical angels
610:
593:foreshortening
581:ECCE AGNUS DEI
557:Seat of Wisdom
488:
481:
480:
476:
469:
468:
464:
457:
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391:God the Father
374:
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368:Upper register
366:
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301:
232:
225:
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213:
212:
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209:
196:
193:
99:God the Father
15:
9:
6:
4:
3:
2:
4672:
4661:
4658:
4656:
4655:Angels in art
4653:
4651:
4648:
4646:
4643:
4641:
4640:Horses in art
4638:
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4461:
4460:
4456:
4448:
4447:
4443:
4442:
4440:
4436:
4429:
4428:
4424:
4422:(before 1438)
4421:
4420:
4416:
4408:
4407:
4406:Woman Bathing
4403:
4395:
4394:
4390:
4382:
4381:
4377:
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4233:
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4228:
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4207:
4204:
4203:
4202:Lucca Madonna
4199:
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4177:
4169:
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4059:
4058:
4057:LĂ©al Souvenir
4054:
4046:
4045:
4041:
4040:
4038:
4034:
4030:
4029:List of works
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4021:
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3898:90-77942-03-3
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3891:
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3885:
3884:90-5356-614-7
3881:
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3873:
3870:
3866:
3864:
3860:
3856:
3853:Pächt, Otto.
3852:
3850:
3846:
3842:
3839:Nash, Susie.
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3642:0-521-08831-3
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3614:3-8228-5687-8
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3437:
3431:
3417:on 2018-01-11
3416:
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3393:
3377:
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3341:. Cambridge:
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3320:
3319:History Today
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1996:
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1960:
1956:
1951:
1947:
1946:Ernst Buchner
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1815:
1811:
1807:
1800:Later history
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1700:Nicolas Rolin
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1549:Santa Trinita
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1381:
1373:
1372:Cumaean Sibyl
1368:
1364:
1361:
1355:
1349:
1344:
1340:
1339:Cumaean Sibyl
1336:
1332:
1328:
1321:
1316:
1312:
1309:
1304:
1300:
1293:
1290:in the right
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1250:
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1240:
1236:
1232:
1229:, now in the
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1128:Saint Stephen
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1119:
1117:
1113:
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1100:
1096:
1091:
1087:
1078:
1075:
1064:
1062:
1058:
1057:New Jerusalem
1054:
1045:
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1033:
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1027:
1026:New Jerusalem
1022:
1018:
1017:nimbus clouds
1008:
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867:trompe-l'Ĺ“ils
862:
860:
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838:
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831:
830:Kenneth Clark
827:
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797:
793:
792:
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783:
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733:
732:orchestration
729:
724:
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721:Saint Cecilia
718:
714:
708:
700:
696:
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641:King of Kings
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582:
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418:King of Kings
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396:
392:
388:
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365:
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361:Mise en scène
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256:arte secundus
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4630:Sheep in art
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4020:Jan van Eyck
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3468:
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3439:
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3415:the original
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2111:Annunciation
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2094:
2084:
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2054:
2046:Albert Camus
2037:
2031:
2029:
2020:
2016:
2005:
1990:
1987:Restorations
1978:
1971:
1934:Adolf Hitler
1913:
1910:World War II
1903:
1893:
1880:
1877:Albert Camus
1872:
1868:
1864:
1860:
1845:
1829:Edward Solly
1822:
1806:Noah Charney
1803:
1785:Beeldenstorm
1783:
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1529:Annunciation
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1415:Annunciation
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1073:
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1050:
1038:Holy Trinity
1034:
1013:
1000:VERITAS VITA
999:
993:
983:
960:
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942:
941:The central
931:
914:
897:
891:
871:
863:
847:
823:
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780:standing in
778:Adam and Eve
775:
742:Adam and Eve
725:
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395:Holy Trinity
376:
359:
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326:Annunciation
325:
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276:"ALS IK KAN"
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111:Adam and Eve
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4620:Altarpieces
4519: 1435
4491:Crucifixion
4466: 1432
4413: 1434
4400: 1460
4363: 1440
4350: 1432
4317: 1420
4312:("Hand G",
4301:manuscripts
4299:Illuminated
4290: 1437
4242:(1441–1443)
4117: 1438
4096: 1435
4051: 1430
3569:January 22,
3530:www.bbc.com
2042:Steve Berry
1873:Just Judges
1856:reparations
1848:World War I
1735:kerkmeester
1733:As warden (
1713:1433 revolt
1525:(clasp) in
1423:, with the
1278:Closed view
1221:Just Judges
1169:St. Dorothy
1165:St. Barbara
1159:: in front
1140:Gregory VII
1099:Gregory VII
979:antependium
923:, carrying
894:Lamb of God
804:fall of man
545:girdle book
526:papal tiara
423:The golden
264:Reformation
195:Attribution
189:Reformation
163:as well as
119:Holy Spirit
115:Lamb of God
103:Virgin Mary
4580:Polyptychs
4559:Categories
4250:Polyptychs
3948:(archived)
3540:2020-03-27
3510:2020-01-23
3450:2020-08-26
3421:2016-02-18
3352:0521849829
2930:2022-11-12
2884:2022-11-12
2249:Pächt, 214
2183:2022-06-11
2063:References
1981:iconoclasm
1926:Axis power
1623:Commission
1259:date palms
1173:St. Ursula
1157:attributes
1030:Revelation
994:IHESUS VIA
605:Susie Nash
576:camel-hair
530:triregnum,
408:Revelation
62:altarpiece
4545:(brother)
4438:Contested
4036:Portraits
3382:April 28,
2939:cite book
2920:963785419
2151:Citations
2068:Footnotes
2048:'s novel
1950:Altaussee
1898:Altaussee
1790:town hall
1752:attribute
1717:beheading
1604:Agnus Dei
1600:Zechariah
1588:grisaille
1532:, 1434–36
1470:Byzantine
1468:and late
1408:banderole
1343:banderole
1327:Zechariah
1308:grisaille
1243:bourrelet
1237:with the
1235:chaperons
1190:Righteous
1161:St. Agnes
898:Agnus Dei
685:chasubles
597:Donatello
549:attribute
449:Eucharist
393:, or the
345:Open view
165:Byzantine
123:grisaille
85:registers
59:polyptych
4483:Workshop
4327:Drawings
4155:(Madrid)
3713:Archived
3606:Van Eyck
3563:Archived
3559:BBC News
3534:Archived
3504:Archived
3479:6 August
3473:Archived
3444:Archived
3376:Archived
3337:(2006).
3179:Archived
2924:Archived
2878:Archived
2874:37204250
2810:Archived
2177:Archived
2057:Jan Hoet
2050:The Fall
1914:en route
1882:The Fall
1772:predella
1671:Ledeberg
1663:Seigneur
1299:lunettes
1239:cornette
1214:alderman
1136:Martin V
1095:Martin V
925:unguents
796:Florence
786:Masaccio
728:Trecento
645:maiolica
601:Masaccio
498:openwork
443:used to
429:pelicans
354:panels.
311:View of
280:As I Can
242:, London
173:medieval
4536:Related
3581:Sources
2089:(rows).
1942:Bavaria
1920:, when
1906:Vatican
1846:During
1696:Charles
1618:History
1608:chalice
1485:diptych
1292:lunette
989:lappets
967:censers
963:Passion
952:liturgy
800:Genesis
534:lappets
445:confect
425:brocade
337:in the
260:tracery
185:tracery
169:Romanic
4528:(1442)
4475:(1435)
4338:(1437)
4261:(with
4234:(1439)
4213:(1436)
4205:(1436)
4197:(1435)
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4084:(1434)
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1957:group
1955:Allied
1918:France
1814:Louvre
1667:Pamele
1596:plinth
1580:donors
1576:niches
1553:lavabo
1303:Sibyls
1198:Judges
1116:Isaiah
1112:Virgil
1021:Deësis
977:. The
834:pelvis
782:niches
676:cherub
572:cilice
553:titles
536:, and
400:mantle
379:Deësis
373:Deësis
352:Deësis
90:Deësis
74:Hubert
4145:works
2282:Pächt
1967:Vichy
1922:Italy
1776:limbo
1743:choir
1523:morse
1331:Micah
1288:Micah
1253:Flora
681:copes
538:monde
201:Ghent
150:Ghent
51:Dutch
4372:Lost
3965:The
3929:ISBN
3894:ISBN
3880:ISBN
3859:ISBN
3845:ISBN
3817:ISBN
3803:ISBN
3782:ISBN
3765:ISBN
3752:ISBN
3738:ISBN
3721:ISBN
3693:ISBN
3676:ISBN
3662:ISBN
3638:ISBN
3624:ISBN
3610:ISBN
3593:ISBN
3571:2020
3481:2021
3384:2019
3347:ISBN
2945:link
2916:OCLC
2906:ISBN
2870:OCLC
2860:ISBN
2214:ISBN
1892:The
1863:and
1766:and
1669:and
1517:The
1474:icon
1219:The
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1192:(or
1142:and
1101:and
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874:Abel
717:viol
713:harp
628:and
599:and
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555:is "
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1930:Pau
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