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two surviving religious paintings, two more known only from copies, and the portrait of his wife. In none of these is it as prominent as here, a primary reason, along with the very direct but bloodshot gaze, why the work is usually viewed as a self-portrait. Some art historians view the work as a form of calling card for prospective clients, where van Eyck may be saying "look at what I can do with paint, how lifelike I can make my figures".
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piercing gaze, looking directly at the viewer—possibly being the first portrait in a millennium to do so. His weary facial expression is achieved through a combination of his strong nose, tightly pursed wide mouth and the framing of his face by the headdress. The overall expression is of a man, who one scholar says "see things – himself included – in close-up, but without losing track of the bigger picture."
76:, although her only known portrait is both dated 1439 and larger. It has been proposed that van Eyck created the portrait to store in his workshop so that he could use it to display his abilities (and social status, given the fine clothes evident in the portrait) to potential clients. However, his reputation was such in 1433 that he was already highly sought after for commissioned work.
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black flecks near the circumference and the pupil is painted in black over the blue of the iris. The principal catchlights are four spots of lead white applied as final touches, one on the iris and three on the white, where they register with the four secondary lights to create the glistening effect."
134:
appears in many of van Eyck's other works, it is believed that he is challenging other artists to do better than him. Although written in Greek letters, the phrase is originally
Flemish. Having a Flemish phrase in Greek writing implies van Eyck saw himself in "competition with the ancients as well as
201:
Typically for van Eyck, the head is a little large in relation to the torso. The technique shows the "skill, economy and speed" of van Eyck's best work. Campbell describes the painting of the left eye as follows: "The white of the eye is laid in white mixed with minute quantities of red and blue. A
167:
The subject is often thought to be van Eyck himself, though there is no direct evidence for this. His direct gaze may be after the artist studying himself in a mirror. The costume is appropriate for a man of van Eyck's social position, and the motto is his personal one, otherwise only appearing on
206:
of red is brought over the underlayer, which is, however, left exposed in four places to create the secondary highlights. The veins are painted in vermilion into the wet scumble. The iris is ultra-marine, fairly pure at its circumference but mixed with white and black towards the pupil. There are
126:
Autographing and dating panel paintings in the early 15th century was unusual. Even when dates were added they tended to be for the year only, whereas here van Eyck spells out the specific date, October 21. As too few of his paintings survive (the extant works number somewhere in the low 20s) to
143:
Like all van Eyck's portraits, it shows a sharp and detailed analysis of the subject. The painting is a third life-size with the sitter sitting in three-quarters profile. His stubbled face is heavily lined with the onset of middle age, and his eyes are semi-bloodshot. He looks outwards with a
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may directly refer to his occupation as a painter—it is rolled up, perhaps to keep it out of way as he freely applies paint. The emphasis on the sitter's sharp and keenly intelligent bloodshot eyes is a further subtle clue, one found again later in
Albrecht DĂĽrer's 1500
63:(intended as "as I/Eyck can") was a common autograph for van Eyck, but here is unusually large and prominent. This fact, along with the man's unusually direct and confrontational gaze, have been taken as an indication that the work is a self-portrait.
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judge his prolificacy, the degree of detail and skill indicates that they took months rather than days to complete. Thus, the date may have served as a boast to potential commissioners rather than as a matter of fact.
135:
with his contemporaries". Regardless of his reasoning behind including the motto in many of his works, it can be implied the phrase is a sign of van Eyck's self-consciousness about his work as a painter.
123:" ("As Well As I Can"), which appears on other van Eyck paintings, always written in Greek letters, and includes a pun on his name. As on other van Eyck frames, the letters are painted to appear carved.
179:
with the ends that normally hang down tied up over the top, which would be a sensible precaution if it was worn whilst painting. A similar chaperon is worn by a figure in the background of van Eyck's
185:, and it has been suggested that this is also a self-portrait. Depicting the lines and folds of a chaperon would allow an artist to overtly display his skill. More so, the positioning of its long
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This creates the illusion that the subject is looking directly at the viewer no matter their angle of observation—as in the later portrait of
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The original frame survives (the vertical sides are in fact a single piece of wood with the central panel), and has the painted inscription "
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It was noted in
Arundel's collection in Antwerp by a Flemish visitor, as a portrait of the "Duke of Barlaumont". (Campbell, 212)
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Janson, Horst W., and
Penelope J. E. Davies. Janson's History of Art: the Western Tradition. Pearson Education, 2016.
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119:" ("Jan van Eyck Made Me on October 21, 1433") at the bottom, and at the top, the motto "
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The title now used by the
National Gallery; see: Campbell (1998), 212–17
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De La Croix, Horst; Tansey, Richard G.; Kirkpatrick, Diane (1991).
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386:. London: National Gallery Catalogues (new series), 1998.
59:, from 1433. The inscription at the top of the panel,
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The man is not, as it is commonly thought, wearing a
320:(9th ed.). Harcourt Brace Jovanovich. p.
83:, London, since 1851, having been in England since
1030:Christ on the Cross with the Virgin and Saint John
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117:JOHES DE EYCK ME FECIT ANO MCCCC.33. 21. OCTOBRIS
109:JOHES DE EYCK ME FECIT ANO MCCCC.33. 21. OCTOBRIS
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361:
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384:The Fifteenth Century Netherlandish Paintings
420:The Fifteenth Century Netherlandish Schools
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111:" painted on the frame to resemble carving.
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87:acquired it, probably during his exile in
1093:Paintings in the National Gallery, London
728:Virgin and Child with Canon van der Paele
628:Portrait of Giovanni di Nicolao Arnolfini
443:. Oxford: Oxford University Press, 2008.
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18:
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788:Crucifixion and Last Judgement Diptych
583:Portrait of Cardinal Niccolò Albergati
562:Portrait of a Man with a Blue Chaperon
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429:. London: Thames & Hudson, 2014.
427:The Self-portrait: A Cultural History
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861:Study for Cardinal Niccolò Albergati
685:Saint Francis Receiving the Stigmata
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85:Thomas Howard, 14th Earl of Arundel
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591:Portrait of a Man (Self Portrait?)
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36:Portrait of a Man (Self Portrait?)
24:Portrait of a Man (Self Portrait?)
14:
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496:Portrait of a Man in a Red Turban
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48:Portrait of a Man in a Red Turban
990:Portrait of a Man with Carnation
898:Portrait of Isabella of Portugal
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536:
945:Madonna of Nicolas van Maelbeke
607:Portrait of Baudouin de Lannoy
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641:Portrait of Margaret van Eyck
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153:Portrait of Margaret van Eyck
69:Portrait of Margaret van Eyck
42:Portrait of a Man in a Turban
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51:) is an oil painting by the
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964:The Three Marys at the Tomb
712:Madonna of Chancellor Rolin
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937:Vera Icon (Head of Christ)
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79:The panel has been in the
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470:. London: Taschen, 2008.
620:Portrait of Jan de Leeuw
441:Northern Renaissance art
156:, 41.2 Ă— 34.6 cm, 1439.
16:Painting by Jan van Eyck
874:Study for a Crucifixion
749:Madonna at the Fountain
1098:15th-century portraits
498:(Self-Portrait?), 1433
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736:Madonna in the Church
464:Borchert, Till-Holger
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95:Frame and inscription
26:, 25.5 Ă— 19cm, 1433.
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977:The Fountain of Life
365:Campbell (1998), 216
91:from 1642 to 1644.
53:Early Netherlandish
757:Madonna of Jan Vos
599:Arnolfini Portrait
297:Janson (2016), 483
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1022:Ince Hall Madonna
911:Saint Christopher
827:Turin–Milan Hours
783:, completed 1432)
435:978-0-5002-3910-0
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449:0-19-284269-2
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439:Nash, Susie.
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1037: 1435
1009:Crucifixion
984: 1432
931: 1434
918: 1460
881: 1440
868: 1432
835: 1420
830:("Hand G",
819:manuscripts
817:Illuminated
808: 1437
760:(1441–1443)
635: 1438
614: 1435
569: 1430
139:Description
132:Als Ich Can
121:AlC IXH XAN
105:AlC IXH XAN
61:Als Ich Can
1077:Categories
768:Polyptychs
331:0155037692
211:References
202:very thin
1063:(brother)
956:Contested
554:Portraits
251:Citations
240:Mona Lisa
216:Footnotes
30:, London.
1001:Workshop
845:Drawings
673:(Madrid)
468:Van Eyck
416:98-66510
408:40732051
188:cornette
177:chaperon
175:, but a
55:painter
1054:Related
400:392219M
373:Sources
204:scumble
107:" and "
89:Antwerp
74:pendant
1046:(1442)
993:(1435)
856:(1437)
779:(with
752:(1439)
731:(1436)
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173:turban
162:Bruges
72:was a
39:(also
663:works
890:Lost
472:ISBN
455:ISBN
445:ISBN
431:ISBN
412:LCCN
404:OCLC
388:ISBN
326:ISBN
322:705
45:or
1079::
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837:)
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103:"
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