Jan van Eyck - Knowledge

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present the spectator with a transfigured view of visible reality". To him the day-to-day is harmoniously steeped in symbolism, such that, according to Harbison, "descriptive data were rearranged ... so that they illustrated not earthly existence but what he considered supernatural truth." This blend of the earthly and heavenly evidences van Eyck's belief that the "essential truth of Christian doctrine" can be found in "the marriage of secular and sacred worlds, of reality and symbol". He depicts overly large Madonnas, whose unrealistic size shows the separation between the heavenly from earthly, but placed them in everyday settings such as churches, domestic chambers or seated with court officials.

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forms are broader and flatter. Even in his early works, his descriptions of the model are not faithful reproductions; parts of the sitters face or form were altered to either present a better composition or fit an ideal. He often altered the relative proportions of his models' head and body to focus on the elements of their features that interested him. This led him to distort reality in this paintings; in the portrait of his wife he altered the angle of her nose, and gave her a fashionably high forehead that nature had not.

1465:, where the location is a fusion of the earthly and celestial. Van Eyck's iconography is often so densely and intricately layered that a work has to be viewed multiple times before even the most obvious meaning of an element is apparent. The symbols were often subtly woven into the paintings so that they only became apparent after close and repeated viewing, while much of the iconography reflects the idea that, according to John Ward, there is a "promised passage from sin and death to salvation and rebirth". 184: 1165: 774:. In 1998 Holland Cotter estimated that "only two dozen or so paintings...attributed...with varying degrees of confidence, along with some drawings and a few pages from...the Turin-Milan Hours". He described the "complex relationship and tension between art historians and holding museums in assigning authorship. Of the 40 or so works considered originals in the mid 80s, around ten are now vigorously contested by leading researchers as workshop". 557: 1428: 448: 3368: 671:. Van Eyck spent nine months there, returning to the Netherlands with Isabella as a bride to be; the couple married on Christmas Day of 1429. The princess was probably not particularly attractive, and that is exactly how Van Eyck conveyed her in the now lost portrait. Typically he showed his sitters as dignified, yet did not hide their imperfections. After his return, he was preoccupied with completing the 783: 1578:, where the Greek lettering on the frame translates as "My husband Johannes completed me in the year 1439 on 17 June, at the age of 33. As I can." By contrast the inscriptions on his public, formal religious commissions are written from the point of view of the patron, and there to underscore his piousness, charity and dedication to the saint who he is shown accompanying. This can be seen in his 1249:

portraits, the framing of the figure within an undefined narrow space, set against a flat black background. It is noted for its realism and acute observation of the small details of the sitter's appearance; the man has a light beard of one or two days' growth, a reoccurring feature in van Eyck's early male portraits, where the sitter is often either unshaven, or according to

708:. As a mark of respect, Philip made a one-off payment to Jan's widow Margaret, to a value equal to the artist's annual salary. He left behind many unfinished works to be completed by his workshop journeymen. After his death, Lambert van Eyck ran the workshop, as Jan's reputation and stature steadily grew. Early in 1442 Lambert had the body exhumed and placed inside 1108:

have tried to link the painting with particular buildings. But in all the buildings in van Eyck's work, the structure is imagined and probably an idealized formation of what he viewed as a perfect architectural space. This can be seen from the many examples of features that would be unlikely in a contemporary church, including the placing of a round arched

803:. If this is correct, the Turin illustrations are the only known works from his early period; according to Thomas Kren the earlier dates for Hand G precede any known panel painting in an Eyckian style, which "raise provocative questions about the role that manuscript illumination may have played in the vaunted verisimilitude of Eyckian oil painting". 439:, is presumed to be a relation. It is not known where Jan was educated, but he had knowledge of Latin and used the Greek and Hebrew alphabets in his inscriptions, indicating that he was schooled in the classics. This level of education was rare among painters, and would have made him more attractive to the cultivated Philip. 1805:. It is particularly interesting that Facio shows as much enthusiasm for Netherlandish painters as he does for Italian painters. This text sheds light on aspects of Jan van Eyck's production now lost, citing a bathing scene owned by a prominent Italian, but mistakenly attributing to van Eyck a world map painted by another. 1424:

biblical references is characteristic of his work, a handling of religious iconography he pioneered, with his innovations taken up and developed by van der Weyden, Memling and Christus. Each employed rich and complex iconographical elements to create a heightened sense of contemporary beliefs and spiritual ideals.

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Exceptionally for his time, van Eyck often signed and dated his frames, then considered an integral part of the work – the two were often painted together, and while the frames were constructed by a body of craftsmen separate to the master's workshop, their work was often considered as equal in skill

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Many of van Eyck's paintings are heavily inscribed, in lettering of Greek, Latin or vernacular Dutch. Campbell sees in many examples a "certain consistency which suggest that he himself had painted them", rather than they are later additions. The letterings seem to serve different functions depending

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The words may be related to a type of formula of modesty sometimes seen in medieval literature, where the writer prefaces his work with an apology for a lack of perfection, although, given the typical lavishness of the signatures and mottos, it may merely be a playful reference. Indeed, his motto is

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portrait of 1432 continues the adherence to realism and acute observation of the small details of the sitter's appearance. However, by his later works, the sitter placed at more of a distance, and the attention to detail less marked. The descriptions are less forensic, more of an overview, while the

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are so specifically detailed, and the elements of Gothic and contemporary architecture so well delineated, that many art and architecture historians have concluded that he must have had enough architectural knowledge to make nuanced distinctions. Given the accuracy of the descriptions, many scholars

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Van Eyck undertook a number of journeys on Philip the Duke of Burgundy's behalf between 1426 and 1429, described in records as "secret" commissions, for which he was paid multiples of his annual salary. Their precise nature is still unknown, but they seem to involve his acting as envoy of the court.

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Van Eyck painted both secular and religious subject matter, including altarpieces, single-panel religious figures and commissioned portraits. His work includes single panels, diptychs, triptychs, and polyptych panels. He was well paid by Philip, who sought that the painter was secure financially and

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of c. 1430 is his earliest surviving portrait. It evidences many of the elements that were to become standard in his portraiture style, including the three-quarters view (a type he revived from antiquity which soon spread across Europe), directional lighting, elaborate headdress, and for the single

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Although inscriptions are present in all of van Eyck's paintings, they are predominant in his Marian paintings, where they seem to serve a number of functions. They breathe life into portraits and give voice to those venerating Mary but also play a functional role; given that contemporary religious

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style, but he soon eclipsed it, in part through a greater emphasis on naturalism and realism. He achieved a new level of virtuosity through his developments in the use of oil paint. He was highly influential, and his techniques and style were adopted and refined by the Early Netherlandish painters.

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describes the blending of realism and symbolism as perhaps "the most important aspect of early Flemish art". The embedded symbols were meant to meld into the scenes and "was a deliberate strategy to create an experience of spiritual revelation". Van Eyck's religious paintings in particular "always

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Van Eyck's portraits are characterized by his manipulation of oil paint and meticulous attention to detail; his keen powers of observation and his tendency to apply layers of thin translucent glazes to create intensity of color and tone. He pioneered portraiture during the 1430s and was admired as

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type and emphasises her identification with the cathedral itself. Art historians in the 19th century thought the work was executed early in van Eyck's career and attributed her scale as the mistake of a relatively immature painter. The idea that her size represents her embodiment as the church was

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Members of his workshop completed works based on his designs in the years after his death in the summer of 1441. This was not unusual; the widow of a master would often carry on the business after his death. It is thought that either his wife Margaret or brother Lambert took over after 1441. Such

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Van Eyck incorporated a wide variety of iconographic elements, often conveying what he saw as a co-existence of the spiritual and material worlds. The iconography was embedded in the work unobtrusively; typically the references comprised small but key background details. His use of symbolism and

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is lit from both the central portico and the side windows, while the floor-tiles in comparison to other elements shows that the figures are only about six feet from the columned loggia screen, and that Rolin might have had to squeeze himself through the opening to get out that way. The different

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The habit of signing his work ensured that his reputation survived, and attribution has not been as difficult and uncertain as with other first generation artists of the early Netherlandish school. The signatures are usually completed in a decorative script, often of a kind reserved for legal

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Van Eyck's later works contain very precise and detailed architectural details, but are not modeled on actual historical buildings. He probably sought to create an ideal and perfect space for Mary's apparition, and was more concerned with their visual impact rather than physical possibility.

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A court salary freed him from commissioned work, and allowed a large degree of artistic freedom. Over the following decade van Eyck's reputation and technical ability grew, mostly from his innovative approaches towards the handling and manipulating of oil paint. Unlike most of his peers, his

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who was 15 years younger. At about the same time he bought a house in Bruges; Margaret is unmentioned before he relocated, when the first of their two children was born in 1434. Very little is known of Margaret; even her maiden name is lost – contemporary records refer to her mainly as

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The inscription says in French: L'INFANTE DAME ISABIEL – C'est la pourtraiture qui fu envoiié à Phe duc de bourgoingne et de brabant de dame ysabel fille de Roy Jehan de portugal et d'algarbe seigneur de septe (Ceuta) par luy conquise qui fu depuis feme et espeuse du desus dit duc

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The Marian paintings are characterized by complex depictions of both physical space and light sources. Many of van Eyck's religious works contain a reduced interior space that is nonetheless subtly managed and arranged to convey a sense of intimacy without feeling constricted. The

1584:, reads An inscription on the lower imitation frame refers to the donation, "Joris van der Paele, canon of this church, had this work made by painter Jan van Eyck. And he founded two chaplaincies here in the choir of the Lord. 1434. He only completed it in 1436, however." 762:

survives, although a number of extant portraits may be wings of dismantled polyptychs. Telltale signs are hinges on original frames, the sitter's orientation, and praying hands or the inclusion of iconographical elements in an otherwise seemingly secular portrait.

435:(died 1426), with whom he probably served his apprenticeship and Lambert (active between 1431 and 1442), both also painters, but the order of their births has not been established. Another significant, and rather younger, painter who worked in Southern France, 1746:. From surviving copies, it can be deduced that there were two other "painted-on" frames apart from the actual oak frame, one of which was lettered with gothic inscription to the top, while a faux stone parapet provided support for her hands to rest upon. 1127:(7:29): "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". Wording from the same source on the hem of her robe, on the frame of 502:. His emergence as a collectable painter generally follows his appointment to Philip's court, and from this point his activity in the court is comparatively well documented. He served as court artist and diplomat, and was a senior member of the Tournai 1610:

He designed and painted the frames for his single head portraits to look like imitation stone, with the signature or other inscriptions giving the impression that they had been chiseled into the stone. The frames serve other illusionistic purposes; in

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Mary's role in his works should be viewed in the context of the contemporary cult and veneration surrounding her. In the early 15th century Mary grew in importance as an intercessor between the divine and members of the Christian faith. The concept of

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are generally considered the work of a weaker painter with a less individual style. It is thought that van Eyck died leaving the panel unfinished but with completed underdrawings, and the upper area was finished by workshop members or followers.

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Many of his frames are heavily inscribed, which serves a dual purpose. They are decorative but also function to set the context for the significance of the imagery, similar to the function of margins in medieval manuscripts. Pieces such as the

1617:, described by the frame, her eyes gaze coyly but directly out of the painting, as she rests her hands on the edge of a faux stone parapet. With this gesture Isabella extends her presence out of the pictorial space and into that of the viewer. 1773:, including an interior with a bed and a small dog, a mirror and its reflection, a chest of drawers and clogs on the floor; more broadly similar are the attendant woman's dress, the outline of her figure, and the angle from which she faces. 1178:

Van Eyck was highly sought after as a portrait artist. Growing affluence across northern Europe meant that portraiture was no longer the preserve of royalty or the high aristocracy. An emerging merchant middle class and growing awareness of

1150:. Harbison notes that van Eyck's privately commissioned works are unusually heavily inscribed with prayer, and that the words may have served a similar function to prayer tablets, or more properly "Prayer Wings", as seen in the London 810:

type, they reappear in some of his later work. In addition, there are coats of arms connected with the Wittelsbach family with whom he had connections in the Hague, while some of the figures in the miniatures echo the horsemen in the

1302:). On the other aspects of his attempts to record the old man's face he noted, "the iris of the eye, near the back of the pupil, brownish yellow. On the contours next to the white, bluish ... the white also yellowish ..." 1543:. Further, as the signature is often a variant of "I, Jan van Eyck was here", it can be seen as a, perhaps somewhat arrogant, assertion of both the faithfulness and trustworthiness of the record and the quality of the work ( 4519: 958:(1434–1436), the Canon seems to have just paused momentarily to reflect on a passage from his hand-held bible as the Virgin and Child with two saints appear before him, as if embodiments of his prayer. 912:

as the central figure. She is typically seated, wearing a jewel-studded crown, cradling a playful child Christ who gazes at her and grips the hem of her dress in a manner that recalls the 13th-century

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Most of the Turin-Milan Hours were destroyed by fire in 1904 and survive only in photographs and copies; only three pages at most attributed to Hand G now survive, those with large miniatures of the

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are outlined with two layers of painted bronze frames, inscribed with mostly Latin lettering. The texts are drawn from a variety of sources, in the central frames from biblical descriptions of the

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was likely half of a double portrait or pendant; the last record of the original frames contained many inscriptions, but not all were original; the frames were often overpainted by later artists.

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Considered revolutionary within his lifetime, van Eyck's designs and methods were heavily copied and reproduced. His motto, one of the first and still most distinctive signatures in art history,

619:. She may have been of aristocratic birth, though from the lower nobility, evidenced from her clothes in the portrait which are fashionable but not of the sumptuousness worn by the bride in the 3380: 1050:

describes the interior of the panel as a "throne room" which envelops her as if a "carrying case". This distortion of scale is found in a number of other of his Madonna paintings, including

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manner, giving the impression they are chiseled onto stone. van Eyck often set the inscriptions as if in the sitters voice, so that they "appear to be speaking". Examples include the

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during an official ceremony for Philip. Records from 1437 say that he was held in high esteem by the upper ranks of Burgundian nobility and was employed in foreign commissions.

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were usually commissioned for private devotion, and van Eyck would have expected the viewer to contemplate text and imagery in unison. The interior panels of the small 1437

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Hands play a special significance in van Eyck's painting. In his early portraits the sitters are often shown holding objects indicative of their profession. The man in

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provide insight into Eyck's approach to minute detailing of his sitter' faces. Of his detailing of beard growth he wrote, "die stoppelen vanden barde wal grijsachtig" (

994:, while the wealthy could commission new churches, extensions to existing ones, or devotional portraits. At the same time, there was a trend towards the sponsorship of 394:

Little is known of Jan van Eyck's early life and neither the date nor place of his birth is documented. The first extant record of his life comes from the court of

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as an intermediary state that each soul had to pass through before admission to heaven was at its height. Prayer was the most obvious means of decreasing time in

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Seidel, Linda. "The Value of Verisimilitude in the Art of Jan Van Eyck". "Yale French Studies"; Contexts: Style and Values in Medieval Art and Literature, 1991

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reputation never diminished and he remained well regarded over the following centuries. His revolutionary approach to oil was such that a myth, perpetuated by

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Yet the earthly churches are heavily decorated with heavenly symbols. A heavenly throne is clearly represented in some domestic chambers (for example in the

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actively sponsored. With this income he endowed the churches with embroidered cloths and metal accessories such as chalices, plates and candlesticks.

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in 1429, where he lived until his death. He was highly regarded by Philip, and undertook a number of diplomatic visits abroad, including to

410:, with at first one and then two assistants. This suggests a date of birth of 1395 at the latest. However, his apparent age in the London 4428: 4336: 3868: 1613: 1598: 660: 3416: 1793:, Jan van Eyck is named "the leading painter" of his day. Facio places him among the best artists of the early 15th century, along with 4058: 4013: 1688: 3698: 3598: 1580: 1432: 1273: 954: 656: 655:

A better documented commission was the journey to Lisbon along with a group intended to prepare the ground for the Duke's wedding to

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Members of his workshop also finished incomplete paintings after his death. The upper portions of the right hand panel of the

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Van Eyck was the only 15th-century Netherlandish painter to sign his panels. His motto always contained variants of the words

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is painted as if to simulate marked or scarred stone and contains three separate layers of inscriptions, each rendered in an

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of 1433 suggests to most scholars a date closer to 1380. He was identified in the late 16th century as having been born in

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Even though it may be assumed – given the demand and fashion – that he produced a number of triptychs, only the

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See M. Parada Lopez de Corselas, El viaje de Jan van Eyck de Flandes a Granada (1428–1429), Madrid: La Ergastula, 2016

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on the type of work on which they appear. In his single panel portraits they give voice to the sitter, most notably in

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in Italy by virtue of its willingness to forgo classical idealisation in favor of the faithful observation of nature.

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Jan van Eyck produced paintings for private clients in addition to his work at the court. Foremost among these is the

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she dominates the cathedral; her head is almost level with the approximately sixty feet high gallery. Art historian

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About 20 surviving paintings are confidently attributed to him, all dated between 1432 and 1439. Ten, including the

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Jan van Eyck's Dresden Triptych: new evidence for the Giustiniani of Genoa in the Borromei ledger for Bruges, 1438

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dates to his 1428 visit to Portugal for Philip to draw up a preliminary marriage agreement with the daughter of

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The evidence for attributing van Eyck rests on part on the fact that although the figures are mostly of the

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is seen as representing "the final conquest of reality in the North", differing from the great works of the

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around 1422, when he was already a master painter with workshop assistants, and was employed as painter and

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are illustrated there. The titles vary between authors. Châtelet additionally credits Hand G with parts of

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The Marian works are heavily lined with inscriptions. The lettering on the arched throne above Mary in the

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works were commissioned for private devotion, the inscriptions may have been intended to be read as an

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The idea of Mary as a metaphor for the Church itself is especially strong in his later paintings. In

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Many of the original frames are lost and known only through copies or inventory records. The London

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EST ENIM HAEC SPECIOSIOR SOLE ET SUPER OMNEM STELLARUM DISPOSITIONEM. LUCI CONPARATA INVENITUR PRIOR

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had artistic freedom so that he could paint "whenever he pleased". Van Eyck's work comes from the

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The Early Portrait, from the Collection of the Prince of Liechtenstein and the Kunstmuseum Basel

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Mary wears a crown adorned with flowers and stars. She is dressed as a bride, and reads from a

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Since 1901 Jan van Eyck has often been credited as the anonymous artist known as Hand G of the

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were made in the 60 years after his death, but it is known mostly through its appearance in

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My husband Johannes completed me in the year 1439 on 17 June, at the age of 33. As I can.

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From Van Eyck to Bruegel: Early Netherlandish Painting in The Metropolitan Museum of Art

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and his wife Elisabeth Borluut. Started sometime before 1426 and completed by 1432, the

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It is also possible that Hand G was a follower of Van Eyck's. See Campbell (1998), 174

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before a donor kneeling in prayer to the side. The idea of a saint appearing before a

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may have been a legal professional as he holds a scroll resembling a legal document.

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are attributed to him. His style was widely adopted, most notably by van der Weyden,

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A History of Painting: The Renaissance in the North and the Flemish Genius Part Four

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A History of Painting: The Renaissance in the North and the Flemish Genius Part Four

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Early Dutch Painting, Painting in the northern Netherlands in the fifteenth century

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Eyck usually gives Mary three roles: Mother of Christ; the personification of the "

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Jan van Eyck died on 9 July 1441, in Bruges. He was buried in the graveyard of the

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Illuminating the Renaissance: The Triumph of Flemish Manuscript Painting in Europe

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by Hubert and completed by Jan in 1432. Another brother, Lambert, is mentioned in

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Ward, John. "Disguised Symbolism as Enactive Symbolism in Van Eyck's Paintings".

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says that van Eyck did not paint "the Madonna in a church", but as "the Church".

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court documents, and may have overseen his brother's workshop after Jan's death.

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There are three works confidently attributed to him but known only from copies.

1650:, while the inner wings are lined with fragments of prayers dedicated to saints 183: 4554: 4226: 3258: 3160: 3108: 2016: 1844: 1448: 1253:"rather inefficiently shaved". Campbell lists other van Eyck unshaven sitters; 1124: 1070: 668: 667:, their court was itinerant and the Dutch party met them at the out-of-the-way 519: 350:

About 20 surviving paintings are confidently attributed to him, as well as the

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in 1428 to explore the possibility of a marriage contract between the duke and

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and that they achieved new and unforeseen effects through the use of glazes,

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Kren (2003), 84, note 1. Châtelet, 34–35 and 194–196 – all except the

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also bears its original frame, which is painted over to look like bronze.

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Age of Van Eyck: The Mediterranean World and Early Netherlandish Painting

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Jan Van Eyck in BALaT – Belgian Art Links and Tools (KIK-IRPA, Brussels)

2733: 873:(which was already described by Durrieu as "worn" before the fire), the 289:

The surviving records indicate that he was born around 1380 or 1390, in

1848: 1498: 1164: 1147: 827: 406:(Master Jan the painter) who was then a court painter with the rank of 372:), a pun on his name, which he typically painted in Greek characters. 22: 2919:, ed. Richardson, Carol M., Kim W. Woods, and Michael W. Franklin, 187 908:

Except the 'Ghent Altarpiece,' Van Eyck's religious works feature the

4478: 4408: 1802: 1501:. The signature is sometimes inscribed using Greek lettering such as 1187:

far away as Italy for the naturalness of his depictions. Today, nine

1113: 1109: 987: 746: 638: 634: 556: 489: 485: 399: 302: 3390: 3125:

Harbison, Craig. "Realism and Symbolism in Early Flemish Painting".

1781:

In the earliest significant source on van Eyck, a 1454 biography in

1461:). More difficult to discern are the settings for paintings such as 1444:. Van Eyck's Marian paintings are suffused with iconographic detail. 4463: 3399: 1531:

sometimes recorded in a manner intended to mimic Christ's monogram

1427: 1188: 1180: 31: 2459:

Forgery, Replica, Fiction: Temporalities of German Renaissance Art

1883:

refers to often unframed images illuminating the bottom of a page.

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of 1432 is filled with illusionism and symbolism, as is the 1435

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In 1449 he was mentioned by the Italian humanist and antiquarian

633:

In 1426 he departed for "certain distant lands", possibly to the

626: 481: 473: 415: 298: 290: 79: 26: 3409: 3103:

Inventing van Eyck: The Remaking of an Artist for the Modern Age

879:

and its bas-de-page, and the large picture only of the seascape

4458: 3477: 3471: 3367: 1441: 1061: 570: 447: 340: 336: 275: 263: 101: 3294:

Art of the Northern Renaissance: Courts, Commerce and Devotion

1410:, commissioned to display Rolin's power, influence and piety. 998:

masses, often as part of the terms of a will, a practice that

782: 286:, though most now regard that claim as an oversimplification. 4468: 2006: 1782: 991: 949: 332: 4073: 3450:

The John G. Johnson Collection: A History and Selected Works

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ideas of individual identity led to a demand for portraits.

266:

who was one of the early innovators of what became known as

3468:

A New Look at Jan Van Eyck: The Madonna of Chancellor Rolin

845:

miniatures and initials of the first and last of these The

583:("AS I CAN"), a pun on his name, first appeared in 1433 on 270:, and one of the most significant representatives of Early 223: 3381:

Jan van Eyck's travel from Flanders to Granada (1428–1429)

3181:. Los Angeles: Getty Museum; Royal Academy of Arts, 2003. 936:

draped with green cloth, perhaps an element borrowed from

3246:

Van Eyck and the Founders of Early Netherlandish Painting

952:

was common in Northern donor portraits of the period. In

637:, a theory given weight by the topographical accuracy of 212: 3165:

The Moment of Self-Portraiture in German Renaissance Art

3453:, a Philadelphia Museum of Art free digital publication 2477:

Harbison (1991), 95–96. Both wings are later additions.

3217:. Whitefish, Montana: Kessinger Publishing, 2004. 15. 2235:

Mysteries in the Crystalline World of a Flemish Master

2163:. Whitefish, Montana: Kessinger Publishing, 2004. 15. 1064:, who in turn reflect a tradition reaching back to an 770:, are dated and signed with a variation of his motto, 719:

as a painter of note and ability, and was recorded by

431:

He had a sister Margareta, and at least two brothers,

1661: 1292:

Notes made on the reverse of his paper study for the

1174:, detail showing the female subject and convex mirror 235: 226: 215: 1839:?) clearly gives instructions in his 1125 treatise, 1675:, c. 1430–1440. Metropolitan Museum of Art, New York 402:

where, between 1422 and 1424, payments were made to

209: 3082:Foister, Susan, Sue Jones and Delphine Cool (eds). 1373:... Jan de , who first opened his eyes on the 741:painted for the merchant, financier and politician 220: 4001:Christ on the Cross with the Virgin and Saint John 3348:. Princeton NJ: Princeton University Press, 1986. 2967:Bauman, Guy. "Early Flemish Portaits, 1425–1525". 645:, a painting completed by members of his workshop 4582: 3280:The Ghent Altarpiece and the Art of Jan van Eyck 537:, generally art historians believe it was begun 3420:. Vol. 10 (11th ed.). pp. 90–91. 3282:. Princeton: Princeton University Press, 1971. 3027:. London: National Gallery Publications, 1998. 3443:Saint Francis of Assisi Receiving the Stigmata 3167:. Chicago: University of Chicago Press, 1996. 2957:. New York: Metropolitan Museum of Art, 1998. 2659: 2657: 2638: 2636: 1700:Virgin and Child with St Barbara and Elizabeth 4059: 3493: 3426:Petrus Christus: Renaissance master of Bruges 3327:. Whitefish, MT: Kessinger Publishing, 2005. 3098:. Leiden: Praeger, 1967–1976. ASIN B0006BQGOW 2461:. University of Chicago Press, 2008. 195–96. 1970: 533:collaborated on Jan's most famous works, the 2525: 2448:Snyder (1985), 100; Harbison (1991), 169–175 777: 4429:Master of the Amsterdam Death of the Virgin 4337:Master of the Legend of St. Ursula (Bruges) 3025:The Fifteenth Century Netherlandish Schools 2654: 2633: 1851:and other techniques. See Gombrich, E. H., 849:is often seen as recalling Jan's 1438–1440 4066: 4052: 3500: 3486: 3296:. London: Laurence King Publishing, 2018. 2848:Journal of Historians of Netherlandish Art 2610: 2601: 52: 3699:Virgin and Child with Canon van der Paele 3599:Portrait of Giovanni di Nicolao Arnolfini 3231:. Oxford: Oxford University Press, 2008. 3058:. New York: Alpine Fine Arts Collection. 3041:. Oxford: Oxford University Press, 2004. 2309: 2307: 1898:The Intercession of Christ and the Virgin 1581:Virgin and Child with Canon van der Paele 1433:Virgin and Child with Canon van der Paele 1133:Virgin and Child with Canon van der Paele 955:Virgin and Child with Canon van der Paele 795:, Hand G, Turin. Milan Filio 93v, Inv 47. 675:, which was consecrated on 6 May 1432 at 604:Virgin and Child with Canon van der Paele 3311:The Northern Renaissance (Art and Ideas) 2836: 2818: 2711: 2241:, 24 April 1998. Retrieved 28 April 2018 1776: 1722: 1665: 1591: 1472: 1426: 1163: 1083: 1004: 960: 890: 781: 686: 555: 446: 182: 3386:Jan van Eyck Gallery at MuseumSyndicate 3197:The Reformation: Europe's House Divided 3177:Kren, Thomas; McKendrick, Scott (eds). 2756: 2754: 2752: 2712:SCHELLER, R. W. (1968). "ALS ICH CAN". 2671: 2669: 2594: 2592: 2590: 2506: 2504: 2494: 2492: 2378: 2376: 2137: 2135: 2133: 861:Duke William of Bavaria at the Seashore 551: 4583: 3759:Crucifixion and Last Judgement Diptych 3554:Portrait of Cardinal Niccolò Albergati 3533:Portrait of a Man with a Blue Chaperon 2903: 2901: 2626: 2624: 2622: 2562: 2560: 2541: 2539: 2537: 2518: 2516: 2408: 2406: 2330: 2328: 2304: 2180: 2178: 2176: 1963: 1961: 1959: 1957: 1955: 1716:Crucifixion and Last Judgement diptych 1672:Crucifixion and Last Judgement diptych 1295:Portrait of Cardinal Niccolò Albergati 1245:Portrait of a Man with a Blue Chaperon 1215:Portrait of a Man with a Blue Chaperon 425:Portrait of Cardinal Niccolò Albergati 4047: 3481: 3404: 3325:The Last Flowering of the Middle Ages 3010:. London: Thames & Hudson, 2011. 3000:. Groeningemuseum, Musea Brugge, 2002 2645: 1924:Gombrich, The Story of Art, page 240 1761:The Gallery of Cornelis van der Geest 928:. She usually wears red. In the 1432 886: 428:are written in the Maasland dialect. 246: 4616:Arts in the court of Philip the Good 4510:Arts in the court of Philip the Good 4500:Works by Early Netherlandish masters 4342:Master of the Legend of the Magdalen 3832:Study for Cardinal Niccolò Albergati 3656:Saint Francis Receiving the Stigmata 2827: 2790: 2772: 2749: 2666: 2587: 2578: 2569: 2501: 2489: 2424: 2415: 2373: 2364: 2316: 2270:Catalogue of illuminated manuscripts 2130: 2069: 2027: 2025: 1159: 924:). She is sometimes shown reading a 4327:Master of the Legend of St. Barbara 3115:. Edinburgh: Reaktion Books, 1997. 2970:Metropolitan Museum of Art Bulletin 2898: 2889: 2880: 2799: 2696: 2619: 2557: 2548: 2534: 2513: 2403: 2346: 2325: 2196: 2173: 1952: 1602:(original lost). Private collection 881:Voyage of St Julian & St Martha 682: 278:and other art historians including 13: 4520:Members of the Guild of Saint Luke 4332:Master of the Legend of Saint Lucy 3562:Portrait of a Man (Self Portrait?) 3344:Wolff, Martha; Hand, John Oliver. 2078: 1989:. 27–8, 1980, Montreux, Lausanne, 1662:Workshop, unfinished or lost works 1477:Detail with mirror and signature; 867:etc.), and the night-scene of the 384: 297:, which is located in present-day 60:Portrait of a Man (Self Portrait?) 14: 4647: 4322:Master of the Embroidered Foliage 3360: 3248:. New York: Harvey Miller, 1994. 3129:, Volume 66, No. 4, December 1984 3113:Jan van Eyck: The Play of Realism 3105:. Oxford and New York: Berg, 2007 2112:Jan van Eyck (ca. 1380/1390–1441) 2022: 1300:the stubble of the beard grizzled 1123:is taken from a passage from the 293:(then Maaseyck, hence his name), 4372:Master of the View of Ste-Gudule 3961:Portrait of a Man with Carnation 3869:Portrait of Isabella of Portugal 3622: 3507: 3366: 3265:. London: Harper Collins, 1971. 2936:. London: Reaktion Books, 2023. 1739:Portrait of Isabella of Portugal 1614:Portrait of Isabella of Portugal 1599:Portrait of Isabella of Portugal 1497:"IK" is derived from his native 1326: 1309: 1223: 1206: 1091:, detail showing the Virgin Mary 442: 205: 4434:Master of the Figdor Deposition 4362:Master of the Morrison Triptych 4317:Master of the Antwerp Adoration 3916:Madonna of Nicolas van Maelbeke 3313:. London: Phaidon Press, 2004. 3200:. London: Penguin Books, 2005. 2910: 2871: 2862: 2853: 2808: 2781: 2763: 2740: 2705: 2687: 2678: 2480: 2471: 2451: 2442: 2433: 2394: 2385: 2355: 2337: 2295: 2286: 2262: 2253: 2244: 2227: 2218: 2205: 2187: 2153: 2144: 2121: 2105: 2096: 2087: 2060: 2051: 1886: 1874: 1865: 1821: 1706:, who painted a version of the 1566: 1385:of 1439 the lettering acclaims 468:Van Eyck served as official to 4596:Burgundian Netherlands artists 3578:Portrait of Baudouin de Lannoy 2034: 1999: 1979: 1943: 1927: 1918: 1418: 1335:Portrait of Baudouin de Lannoy 1: 4419:Jacob Cornelisz van Oostsanen 4347:Master of the Lille Adoration 4004: 3983: 3951: 3938: 3898: 3885: 3872: 3848: 3835: 3802: 3775: 3762: 3710: 3673: 3659: 3646: 3612:Portrait of Margaret van Eyck 3602: 3581: 3536: 1907: 1811:in Bruges is named for him. 1575:Portrait of Margaret van Eyck 1551:documents, as can be seen in 1382:Portrait of Margaret van Eyck 1359:at the base of the canvas of 1189:three-quarters view portraits 1103:elements of the cathedral in 1015: 971: 733:List of works by Jan van Eyck 646: 586:Portrait of a Man in a Turban 562:Portrait of Margaret van Eyck 538: 522:, arose that he had invented 496: 389: 252: 4626:Early Netherlandish painters 4495:Early Netherlandish painting 4357:Master of the Mansi Magdalen 3462:The New York Review of Books 3434:The Renaissance in the North 3346:Early Netherlandish Painting 3263:Early Netherlandish Painting 3095:Early Netherlandish Painting 3039:The Oxford Dictionary of Art 2934:Jan Van Eyck: within His Art 2917:Renaissance Art Reconsidered 2048:. Retrieved 25 November 2017 1912: 1537:, for example in his c 1440 1468: 268:Early Netherlandish painting 148:Early Netherlandish painting 76:Sometime around 1380 or 1390 7: 3935:The Three Marys at the Tomb 3683:Madonna of Chancellor Rolin 3440:Christopher D. M. Atkins, “ 2283:. Retrieved 9 November 2018 2040:van Buren, Anne Hagopian. " 1827:The myth was propagated by 1767:bears many similarities to 1759:'s expansive 1628 painting 1463:Madonna of Chancellor Rolin 1407:Madonna of Chancellor Rolin 1099:Madonna of Chancellor Rolin 967:Madonna of Chancellor Rolin 902:Gemäldegalerie Alte Meister 659:. Van Eyck was tasked with 643:The Three Marys at the Tomb 592:Madonna of Chancellor Rolin 315:, ruler of the counties of 16:Flemish painter (died 1441) 10: 4652: 4367:Master of the Prodigal Son 4352:Master of the Lübeck Bible 3908:Vera Icon (Head of Christ) 3474:, 20 March – 17 June 2024. 3445:by Jan van Eyck (cat. 314) 3136:. National Gallery, 2011. 3084:Investigating Jan van Eyck 2925: 2850:, Volume 3, Issue 1, 2011. 2118:. Retrieved 17 March 2012. 2116:Metropolitan Museum of Art 1519:related to the Dutch word 900:. Oil on oak panel, 1437. 730: 20: 4540:Netherlandish Renaissance 4487: 4446: 4380: 4093: 4082: 4024: 4014:Saint Jerome in His Study 3971: 3926: 3860: 3815: 3787: 3738: 3631: 3620: 3524: 3515: 3341:, Volume 15, No. 29, 1994 3150:. Munich: Prestel, 2006. 3086:. Turnhout: Brepols, 2000 3072:. Munich: Prestel, 2013. 3056:Hubert & Jan Van Eyck 2983:. London: Taschen, 2008. 1855:, 236–39. Phaidon, 1995. 1749:Two extant copies of his 1689:Saint Jerome in His Study 1587: 821:Birth of John the Baptist 778:Turin-Milan Hours: Hand G 470:John of Bavaria-Straubing 420:prince-bishopric of Liège 177: 168:John III, Duke of Bavaria 161: 157: 143: 135: 124: 116: 94: 84:Prince-Bishopric of Liège 72: 51: 44: 4570:Nativity of Jesus in art 3591:Portrait of Jan de Leeuw 3391:Closer to Van Eyck (The 3229:Northern Renaissance art 3070:Van Eyck: Masters of Art 2973:, Volume 43, no. 4, 1986 2684:Harbison (1984), 590–592 2361:MacCulloch (2005), 11–13 2301:Harbison (1991), 158–162 1814: 1629:Portrait of Jan de Leeuw 1607:to that of the painter. 1413: 1369:Portrait of Jan de Leeuw 1232:Portrait of Jan de Leeuw 876:Coronation of the Virgin 726: 710:St. Donatian's Cathedral 610:Around 1432, he married 301:. He took employment in 4075:Early Netherlandish art 3845:Study for a Crucifixion 3720:Madonna at the Fountain 3417:Encyclopædia Britannica 2877:Borchert (2011), 150–59 2842:Streeton, Noëlle L.W. " 2616:Dhanens (1980), 269–270 2313:Dhanens (1980), 106–108 2275:27 January 2023 at the 2150:Van Der Elst (2005), 65 2046:Oxford University Press 857:The Prayer on the Shore 698:National Gallery of Art 63:by Jan van Eyck, 1433. 4611:15th-century diplomats 4404:Geertgen tot Sint Jans 4262:Vrancke van der Stockt 3395:in 100 billion pixels) 3323:Van Der Elst, Joseph. 3132:Jones, Susan Frances. 2215:, 236–9. Phaidon, 1995 2102:Borchert (2008), 92–94 2075:Wolff, Hand (1987), 75 1837:Roger of Helmarshausen 1733: 1676: 1603: 1484: 1445: 1175: 1092: 1026: 982: 905: 796: 717:Ciriaco de' Pizzicolli 701: 574: 465: 412:probable self-portrait 358:illuminated miniatures 197: 189:The Arnolfini Portrait 110:Burgundian Netherlands 4636:15th-century painters 4565:Adoration of the Magi 4272:Rogier van der Weyden 4267:Goswin van der Weyden 3707:Madonna in the Church 3146:Kemperdick, Stephan. 3004:Borchert, Till-Holger 2994:Borchert, Till-Holger 2977:Borchert, Till-Holger 2531:Kemperdick (2006), 19 2391:Pächt (1999), 203–205 2013:Marcus van Vaernewyck 1900:in the Louvre (p.195) 1795:Rogier van der Weyden 1777:Reputation and legacy 1726: 1669: 1595: 1476: 1430: 1167: 1129:Madonna in the Church 1105:Madonna in the Church 1087: 1043:Madonna in the Church 1011:Madonna in the Church 1008: 964: 894: 852:Madonna in the Church 785: 706:Church of St Donatian 690: 617:Damoiselle Marguerite 559: 512:Rogier van der Weyden 450: 404:Meyster Jan den malre 313:John III the Pitiless 258:– 9 July 1441) was a 248:[ˈjɑɱvɑnˈɛik] 186: 4535:Northern Renaissance 4530:International Gothic 4409:Jan Joest van Calcar 4384:Northern Netherlands 4381:Active mainly in the 4252:Aert van den Bossche 4097:Southern Netherlands 4094:Active mainly in the 3948:The Fountain of Life 3406:Crowe, Joseph Archer 3375:at Wikimedia Commons 3339:Artibus et Historiae 3192:MacCulloch, Diarmaid 3134:Van Eyck to Gossaert 2796:Borchert (2011), 146 2778:Campbell (1998), 200 2746:Harbison (1997), 163 2675:Harbison (1984), 590 2663:Harbison (1984), 589 2642:Harbison (1984), 601 2575:Borchert (2008), 149 2498:Campbell (1998), 216 2439:Harbison (1991), 100 2421:Harbison (1991), 101 2400:Panofsky (1953), 145 2382:Harbison (1991), 169 2370:Harbison (1997), 160 2352:Rothstein (2005), 50 2141:Borchert (2011), 149 1967:Campbell (1998), 174 1791:De viris illustribus 1596:Copy of a van Eyck, 1131:and on her dress in 1116:in the Berlin work. 1075:Till-Holger Borchert 922:Virgin of Tenderness 808:International Gothic 677:Saint Bavo Cathedral 657:Isabella of Portugal 552:Maturity and success 462:Saint Bavo Cathedral 378:International Gothic 345:Isabella of Portugal 272:Northern Renaissance 192:, oil on oak, 1434. 152:Northern Renaissance 4560:Ghent-Bruges school 4515:Guild of Saint Luke 4387:(mostly present-day 4147:Melchior Broederlam 4100:(mostly present-day 4084:Early Netherlandish 3456:Bass, Marisa Anne, 3292:Porras, Stephanie. 3276:Philip, Lotte Brand 2951:Christiansen, Keith 2895:Borchert (2008), 86 2886:Borchert (2008), 72 2859:Borchert (2008), 69 2760:Koerner (1996), 107 2702:Harbison (1997), 31 2607:Dhanens (1980), 198 2566:Borchert (2008), 42 2554:Panofsky (1953), 80 2545:Campbell (1998), 32 2522:Campbell (1998), 31 2457:Wood, Christopher. 2430:Dhanens (1980), 328 2334:Harbison (1991), 96 2292:Borchert (2008), 80 2259:Borchert (2008), 83 2202:Borchert (2008), 12 2193:Borchert (2008), 94 2184:Borchert (2008), 35 2066:Campbell (1998), 20 1799:Gentile da Fabriano 1274:Joris van der Paele 1069:first suggested by 1031:Ecclesia Triumphans 1000:Joris van der Paele 914:Byzantine tradition 437:Barthélemy van Eyck 418:, a borough of the 4631:Artists from Ghent 4545:Northern Mannerism 4505:Flemish Primitives 4312:Master of Affligem 4212:Cornelis Liefrinck 4207:Adriaen Isenbrandt 3728:Madonna of Jan Vos 3570:Arnolfini Portrait 3464:, August 14, 2024. 3090:Friedländer, Max J 3052:Dhanens, Elisabeth 2769:Macfall (2004), 17 2233:Cotter, Holland. " 2159:Macfall, Haldane. 2084:Borchert (2008), 9 2031:Borchert (2008), 8 1985:Châtelet, Albert, 1770:Arnolfini Portrait 1744:John I of Portugal 1734: 1695:Madonna of Jan Vos 1680:works include the 1677: 1604: 1560:Arnolfini Portrait 1540:Portrait of Christ 1485: 1480:Arnolfini Portrait 1446: 1401:Arnolfini Portrait 1375:Feast of St Ursula 1176: 1171:Arnolfini Portrait 1148:indulgence prayers 1093: 1027: 983: 906: 887:Marian iconography 870:Betrayal of Christ 865:Sovereign's prayer 847:Office of the Dead 833:Office of the Dead 797: 759:Dresden altarpiece 702: 661:painting the bride 622:Arnolfini Portrait 575: 466: 460:, completed 1432. 454:and Jan van Eyck, 274:art. According to 262:painter active in 256: before 1390 198: 106:County of Flanders 4578: 4577: 4550:Antwerp Mannerism 4525:Netherlandish art 4442: 4441: 4424:Master of Alkmaar 4307:Jacob van Utrecht 4302:Bernard van Orley 4297:Lieven van Lathem 4257:Hugo van der Goes 4132:Lancelot Blondeel 4041: 4040: 3993:Ince Hall Madonna 3882:Saint Christopher 3798:Turin–Milan Hours 3754:, completed 1432) 3411:"Eyck, Van" 3371:Media related to 3354:978-0-5213-4016-8 3333:978-1-4191-3806-5 3319:978-0-7148-3867-0 3302:978-1-7862-7165-5 3288:978-0-6910-3870-4 3271:978-0-0643-0002-5 3254:978-1-8725-0181-9 3237:978-0-1928-4269-5 3223:978-1-4179-4509-2 3206:978-0-1430-3538-1 3187:978-1-9039-7328-8 3173:978-0-2264-4999-9 3156:978-3-7913-3598-8 3142:978-1-85709-504-3 3121:978-0-9484-6279-5 3078:978-3-7913-4826-1 3068:Ferrari, Simone. 3064:978-0-9144-2700-1 3033:978-1-8570-9171-7 3016:978-0-500-23883-7 3008:Van Eyck to Durer 2989:978-3-8228-5687-1 2963:978-0-3000-8609-6 2947:Ainsworth, Maryan 2907:Seidel (1991), 38 2824:Bauman (1986), 35 2598:Pächt (1999), 110 2584:Pächt (1999), 108 2510:Pächt (1999), 109 2322:Pächt (1994), 129 2211:Gombrich, E. H., 1976:Toman (2011), 322 1939:978-84-16242-20-7 1809:Jan van Eyckplein 1757:Willem van Haecht 1683:Ince Hall Madonna 1623:Portrait of a Man 1535: 1523:or to the German 1511:derives from the 1505: 1491: 1256:Niccolò Albergati 1160:Secular portraits 1140: 942:Virgin Annunciate 801:Turin-Milan Hours 792:Baptism of Christ 773: 751:Early Renaissance 581: 367: 362:Turin-Milan Hours 335:before moving to 181: 180: 88:Holy Roman Empire 4643: 4414:Lucas van Leyden 4399:Hieronymus Bosch 4277:Jan van Dornicke 4197:Gerard Horenbout 4127:Ambrosius Benson 4117:Alexander Bening 4091: 4090: 4077:(c. 1420s–1530s) 4068: 4061: 4054: 4045: 4044: 4009: 4006: 3988: 3987: 1430–1432 3985: 3956: 3953: 3943: 3940: 3903: 3900: 3890: 3887: 3877: 3874: 3853: 3850: 3840: 3837: 3807: 3804: 3780: 3777: 3772:Dresden Triptych 3767: 3766: 1430–1440 3764: 3747:Ghent Altarpiece 3715: 3714: 1438–1440 3712: 3678: 3677: 1434–1436 3675: 3664: 3663: 1432–1440 3661: 3651: 3650: 1432–1434 3648: 3632:Single religious 3626: 3607: 3604: 3586: 3583: 3541: 3538: 3502: 3495: 3488: 3479: 3478: 3470:, Exhibition at 3421: 3413: 3393:Ghent Altarpiece 3370: 3309:Smith, Jeffrey. 3211:MacFall, Haldane 3127:The Art Bulletin 2942:978-1-78914761-2 2920: 2914: 2908: 2905: 2896: 2893: 2887: 2884: 2878: 2875: 2869: 2868:Nash (2008), 189 2866: 2860: 2857: 2851: 2840: 2834: 2831: 2825: 2822: 2816: 2812: 2806: 2805:Jones (2011), 21 2803: 2797: 2794: 2788: 2787:Nash (2008), 145 2785: 2779: 2776: 2770: 2767: 2761: 2758: 2747: 2744: 2738: 2737: 2709: 2703: 2700: 2694: 2691: 2685: 2682: 2676: 2673: 2664: 2661: 2652: 2649: 2643: 2640: 2631: 2628: 2617: 2614: 2608: 2605: 2599: 2596: 2585: 2582: 2576: 2573: 2567: 2564: 2555: 2552: 2546: 2543: 2532: 2529: 2523: 2520: 2511: 2508: 2499: 2496: 2487: 2486:Bauman (1986), 4 2484: 2478: 2475: 2469: 2455: 2449: 2446: 2440: 2437: 2431: 2428: 2422: 2419: 2413: 2410: 2401: 2398: 2392: 2389: 2383: 2380: 2371: 2368: 2362: 2359: 2353: 2350: 2344: 2343:Nash (2008), 283 2341: 2335: 2332: 2323: 2320: 2314: 2311: 2302: 2299: 2293: 2290: 2284: 2266: 2260: 2257: 2251: 2248: 2242: 2231: 2225: 2222: 2216: 2213:The Story of Art 2209: 2203: 2200: 2194: 2191: 2185: 2182: 2171: 2157: 2151: 2148: 2142: 2139: 2128: 2127:Nash (2008), 152 2125: 2119: 2109: 2103: 2100: 2094: 2093:Jones (2011), 23 2091: 2085: 2082: 2076: 2073: 2067: 2064: 2058: 2055: 2049: 2038: 2032: 2029: 2020: 2003: 1997: 1983: 1977: 1974: 1968: 1965: 1950: 1949:Since dismantled 1947: 1941: 1931: 1925: 1922: 1901: 1890: 1884: 1878: 1872: 1869: 1863: 1853:The Story of Art 1829:Karel van Mander 1825: 1787:Bartolomeo Facio 1643:Dresden Triptych 1638:Dresden Triptych 1533: 1503: 1489: 1436:, c. 1434–1436. 1330: 1313: 1277:(c. 1434–1436), 1227: 1210: 1153:Virgin and Child 1146:or personalized 1136: 1121:Ghent Altarpiece 1112:above a pointed 1089:Ghent Altarpiece 1020: 1019: 1438–1440 1017: 976: 973: 946:as an apparition 930:Ghent Altarpiece 897:Dresden Triptych 813:Ghent Altarpiece 771: 768:Ghent Altarpiece 739:Ghent Altarpiece 721:Bartolomeo Facio 683:Death and legacy 673:Ghent Altarpiece 651: 648: 579: 543: 540: 535:Ghent Altarpiece 501: 498: 457:Ghent Altarpiece 408:valet de chambre 365: 353:Ghent Altarpiece 331:, and worked in 329:Duke of Burgundy 308:valet de chambre 257: 254: 250: 245: 239: 233: 232: 229: 228: 225: 222: 218: 217: 214: 211: 194:National Gallery 164: 65:National Gallery 56: 42: 41: 4651: 4650: 4646: 4645: 4644: 4642: 4641: 4640: 4581: 4580: 4579: 4574: 4483: 4438: 4388: 4386: 4382: 4376: 4292:Justus van Gent 4282:Hubert van Eyck 4242:Joachim Patinir 4217:Lambert Lombard 4202:Lucas Horenbout 4187:Colijn de Coter 4162:Pierre Coustain 4157:Petrus Christus 4101: 4099: 4095: 4085: 4078: 4072: 4042: 4037: 4032:Hubert van Eyck 4020: 4007: 3986: 3967: 3954: 3941: 3922: 3901: 3888: 3875: 3856: 3851: 3838: 3811: 3805: 3789: 3783: 3778: 3765: 3752:Hubert van Eyck 3734: 3713: 3676: 3662: 3649: 3633: 3627: 3618: 3605: 3584: 3539: 3520: 3511: 3506: 3363: 3358: 3259:Panofsky, Erwin 3161:Koerner, Joseph 3109:Harbison, Craig 3101:Graham, Jenny. 3037:Chilvers, Ian. 3021:Campbell, Lorne 2932:Acres, Alfred. 2928: 2923: 2915: 2911: 2906: 2899: 2894: 2890: 2885: 2881: 2876: 2872: 2867: 2863: 2858: 2854: 2841: 2837: 2832: 2828: 2823: 2819: 2813: 2809: 2804: 2800: 2795: 2791: 2786: 2782: 2777: 2773: 2768: 2764: 2759: 2750: 2745: 2741: 2710: 2706: 2701: 2697: 2693:Ward (1994), 26 2692: 2688: 2683: 2679: 2674: 2667: 2662: 2655: 2650: 2646: 2641: 2634: 2630:Ward (1994), 11 2629: 2620: 2615: 2611: 2606: 2602: 2597: 2588: 2583: 2579: 2574: 2570: 2565: 2558: 2553: 2549: 2544: 2535: 2530: 2526: 2521: 2514: 2509: 2502: 2497: 2490: 2485: 2481: 2476: 2472: 2456: 2452: 2447: 2443: 2438: 2434: 2429: 2425: 2420: 2416: 2411: 2404: 2399: 2395: 2390: 2386: 2381: 2374: 2369: 2365: 2360: 2356: 2351: 2347: 2342: 2338: 2333: 2326: 2321: 2317: 2312: 2305: 2300: 2296: 2291: 2287: 2281:British Library 2277:Wayback Machine 2267: 2263: 2258: 2254: 2250:Kren (2003), 83 2249: 2245: 2232: 2228: 2223: 2219: 2210: 2206: 2201: 2197: 2192: 2188: 2183: 2174: 2158: 2154: 2149: 2145: 2140: 2131: 2126: 2122: 2110: 2106: 2101: 2097: 2092: 2088: 2083: 2079: 2074: 2070: 2065: 2061: 2057:Dhanens, (1980) 2056: 2052: 2039: 2035: 2030: 2023: 2004: 2000: 1984: 1980: 1975: 1971: 1966: 1953: 1948: 1944: 1932: 1928: 1923: 1919: 1915: 1910: 1905: 1904: 1891: 1887: 1879: 1875: 1870: 1866: 1845:panel paintings 1826: 1822: 1817: 1779: 1704:Petrus Christus 1664: 1590: 1569: 1471: 1438:Groeningemuseum 1421: 1416: 1343: 1342: 1341: 1340: 1339: 1331: 1323: 1322: 1314: 1240: 1239: 1238: 1237: 1236: 1228: 1220: 1219: 1211: 1193:Petrus Christus 1162: 1066:Italo-Byzantine 1035:Queen of Heaven 1018: 979:Musée du Louvre 974: 889: 826:Finding of the 780: 735: 729: 685: 649: 567:Groeningemuseum 554: 541: 531:Hubert van Eyck 504:painters' guild 499: 494:Philip the Good 445: 396:John of Bavaria 392: 387: 385:Life and career 370:As I (Eyck) can 325:Philip the Good 255: 243: 237: 219: 208: 204: 172:Philip the Good 162: 112: 99: 90: 77: 68: 47: 40: 17: 12: 11: 5: 4649: 4639: 4638: 4633: 4628: 4623: 4621:Court painters 4618: 4613: 4608: 4603: 4598: 4593: 4576: 4575: 4573: 4572: 4567: 4562: 4557: 4555:Antwerp school 4552: 4547: 4542: 4537: 4532: 4527: 4522: 4517: 4512: 4507: 4502: 4497: 4491: 4489: 4485: 4484: 4482: 4481: 4476: 4471: 4466: 4461: 4456: 4450: 4448: 4444: 4443: 4440: 4439: 4437: 4436: 4431: 4426: 4421: 4416: 4411: 4406: 4401: 4395: 4393: 4378: 4377: 4375: 4374: 4369: 4364: 4359: 4354: 4349: 4344: 4339: 4334: 4329: 4324: 4319: 4314: 4309: 4304: 4299: 4294: 4289: 4284: 4279: 4274: 4269: 4264: 4259: 4254: 4249: 4244: 4239: 4234: 4229: 4227:Quentin Matsys 4224: 4219: 4214: 4209: 4204: 4199: 4194: 4189: 4184: 4179: 4174: 4169: 4164: 4159: 4154: 4149: 4144: 4139: 4134: 4129: 4124: 4119: 4114: 4108: 4106: 4088: 4080: 4079: 4071: 4070: 4063: 4056: 4048: 4039: 4038: 4036: 4035: 4028: 4026: 4022: 4021: 4019: 4018: 4010: 3997: 3989: 3975: 3973: 3969: 3968: 3966: 3965: 3957: 3944: 3930: 3928: 3924: 3923: 3921: 3920: 3912: 3904: 3891: 3878: 3876: 1428–29 3864: 3862: 3858: 3857: 3855: 3854: 3841: 3828: 3824:Saint Barbara 3819: 3817: 3813: 3812: 3810: 3809: 3793: 3791: 3785: 3784: 3782: 3781: 3768: 3755: 3742: 3740: 3736: 3735: 3733: 3732: 3724: 3716: 3703: 3695: 3687: 3679: 3665: 3652: 3637: 3635: 3629: 3628: 3621: 3619: 3617: 3616: 3608: 3595: 3587: 3574: 3566: 3558: 3550: 3542: 3528: 3526: 3522: 3521: 3516: 3513: 3512: 3505: 3504: 3497: 3490: 3482: 3476: 3475: 3465: 3454: 3438: 3430: 3422: 3402: 3397: 3388: 3383: 3377: 3376: 3362: 3361:External links 3359: 3357: 3356: 3342: 3335: 3321: 3307: 3304: 3290: 3273: 3256: 3239: 3225: 3208: 3189: 3175: 3158: 3144: 3130: 3123: 3106: 3099: 3087: 3080: 3066: 3049: 3035: 3018: 3001: 2991: 2974: 2965: 2944: 2929: 2927: 2924: 2922: 2921: 2909: 2897: 2888: 2879: 2870: 2861: 2852: 2835: 2826: 2817: 2807: 2798: 2789: 2780: 2771: 2762: 2748: 2739: 2720:(2): 135–139. 2704: 2695: 2686: 2677: 2665: 2653: 2651:Ward (1994), 9 2644: 2632: 2618: 2609: 2600: 2586: 2577: 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178: 175: 174: 165: 159: 158: 155: 154: 145: 141: 140: 137: 136:Known for 133: 132: 126: 122: 121: 118: 114: 113: 100: 96: 92: 91: 78: 74: 70: 69: 57: 49: 48: 45: 15: 9: 6: 4: 3: 2: 4648: 4637: 4634: 4632: 4629: 4627: 4624: 4622: 4619: 4617: 4614: 4612: 4609: 4607: 4604: 4602: 4599: 4597: 4594: 4592: 4589: 4588: 4586: 4571: 4568: 4566: 4563: 4561: 4558: 4556: 4553: 4551: 4548: 4546: 4543: 4541: 4538: 4536: 4533: 4531: 4528: 4526: 4523: 4521: 4518: 4516: 4513: 4511: 4508: 4506: 4503: 4501: 4498: 4496: 4493: 4492: 4490: 4486: 4480: 4477: 4475: 4472: 4470: 4467: 4465: 4462: 4460: 4457: 4455: 4452: 4451: 4449: 4445: 4435: 4432: 4430: 4427: 4425: 4422: 4420: 4417: 4415: 4412: 4410: 4407: 4405: 4402: 4400: 4397: 4396: 4394: 4391: 4385: 4379: 4373: 4370: 4368: 4365: 4363: 4360: 4358: 4355: 4353: 4350: 4348: 4345: 4343: 4340: 4338: 4335: 4333: 4330: 4328: 4325: 4323: 4320: 4318: 4315: 4313: 4310: 4308: 4305: 4303: 4300: 4298: 4295: 4293: 4290: 4288: 4285: 4283: 4280: 4278: 4275: 4273: 4270: 4268: 4265: 4263: 4260: 4258: 4255: 4253: 4250: 4248: 4245: 4243: 4240: 4238: 4237:Jan de Molder 4235: 4233: 4230: 4228: 4225: 4223: 4222:Simon Marmion 4220: 4218: 4215: 4213: 4210: 4208: 4205: 4203: 4200: 4198: 4195: 4193: 4190: 4188: 4185: 4183: 4180: 4178: 4175: 4173: 4170: 4168: 4167:Jacques Daret 4165: 4163: 4160: 4158: 4155: 4153: 4152:Robert Campin 4150: 4148: 4145: 4143: 4140: 4138: 4137:Aelbert Bouts 4135: 4133: 4130: 4128: 4125: 4123: 4120: 4118: 4115: 4113: 4112:Luís Alimbrot 4110: 4109: 4107: 4104: 4098: 4092: 4089: 4087: 4081: 4076: 4069: 4064: 4062: 4057: 4055: 4050: 4049: 4046: 4033: 4030: 4029: 4027: 4023: 4016: 4015: 4011: 4003: 4002: 3998: 3995: 3994: 3990: 3982: 3981: 3977: 3976: 3974: 3970: 3963: 3962: 3958: 3950: 3949: 3945: 3937: 3936: 3932: 3931: 3929: 3925: 3918: 3917: 3913: 3911:(before 1438) 3910: 3909: 3905: 3897: 3896: 3895:Woman Bathing 3892: 3884: 3883: 3879: 3871: 3870: 3866: 3865: 3863: 3859: 3847: 3846: 3842: 3834: 3833: 3829: 3826: 3825: 3821: 3820: 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3257: 3255: 3251: 3247: 3243: 3240: 3238: 3234: 3230: 3227:Nash, Susie. 3226: 3224: 3220: 3216: 3212: 3209: 3207: 3203: 3199: 3198: 3193: 3190: 3188: 3184: 3180: 3176: 3174: 3170: 3166: 3162: 3159: 3157: 3153: 3149: 3145: 3143: 3139: 3135: 3131: 3128: 3124: 3122: 3118: 3114: 3110: 3107: 3104: 3100: 3097: 3096: 3091: 3088: 3085: 3081: 3079: 3075: 3071: 3067: 3065: 3061: 3057: 3053: 3050: 3048: 3047:0-19-860476-9 3044: 3040: 3036: 3034: 3030: 3026: 3022: 3019: 3017: 3013: 3009: 3005: 3002: 2999: 2995: 2992: 2990: 2986: 2982: 2978: 2975: 2972: 2971: 2966: 2964: 2960: 2956: 2952: 2948: 2945: 2943: 2939: 2935: 2931: 2930: 2918: 2913: 2904: 2902: 2892: 2883: 2874: 2865: 2856: 2849: 2845: 2839: 2830: 2821: 2811: 2802: 2793: 2784: 2775: 2766: 2757: 2755: 2753: 2743: 2735: 2731: 2727: 2723: 2719: 2715: 2708: 2699: 2690: 2681: 2672: 2670: 2660: 2658: 2648: 2639: 2637: 2627: 2625: 2623: 2613: 2604: 2595: 2593: 2591: 2581: 2572: 2563: 2561: 2551: 2542: 2540: 2538: 2528: 2519: 2517: 2507: 2505: 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373: 371: 363: 359: 355: 354: 348: 346: 342: 338: 334: 330: 326: 322: 318: 314: 310: 309: 304: 300: 296: 292: 287: 285: 281: 277: 273: 269: 265: 261: 249: 241: 240: 231: 202: 195: 191: 190: 185: 176: 173: 169: 166: 160: 156: 153: 149: 146: 142: 138: 134: 130: 129:Robert Campin 127: 123: 119: 115: 111: 107: 103: 97: 93: 89: 85: 81: 75: 71: 66: 62: 61: 55: 50: 43: 38: 34: 33: 28: 24: 19: 4601:1380s births 4591:Jan van Eyck 4447:Main centres 4287:Jan van Eyck 4286: 4247:Jan Provoost 4232:Hans Memling 4192:Jan Gossaert 4177:Jean Delemer 4172:Gerard David 4142:Dieric Bouts 4122:Simon Bening 4012: 3999: 3996:(after 1434) 3991: 3978: 3959: 3946: 3942: 1420s 3933: 3919:(after 1440) 3914: 3906: 3893: 3880: 3867: 3843: 3830: 3822: 3796: 3770: 3757: 3745: 3726: 3718: 3705: 3697: 3689: 3681: 3671:(Washington) 3669:Annunciation 3668: 3654: 3642:Annunciation 3641: 3610: 3597: 3589: 3576: 3568: 3560: 3552: 3544: 3531: 3509:Jan van Eyck 3508: 3461: 3448: 3442: 3433: 3425: 3415: 3392: 3373:Jan van Eyck 3345: 3338: 3324: 3310: 3293: 3279: 3262: 3245: 3228: 3214: 3195: 3178: 3164: 3147: 3133: 3126: 3112: 3102: 3093: 3083: 3069: 3055: 3038: 3024: 3007: 2997: 2980: 2968: 2954: 2933: 2916: 2912: 2891: 2882: 2873: 2864: 2855: 2847: 2838: 2829: 2820: 2810: 2801: 2792: 2783: 2774: 2765: 2742: 2717: 2713: 2707: 2698: 2689: 2680: 2647: 2612: 2603: 2580: 2571: 2550: 2527: 2482: 2473: 2458: 2453: 2444: 2435: 2426: 2417: 2412:Borchert, 63 2396: 2387: 2366: 2357: 2348: 2339: 2318: 2297: 2288: 2264: 2255: 2246: 2238: 2229: 2224:Borchert, 60 2220: 2212: 2207: 2198: 2189: 2160: 2155: 2146: 2123: 2107: 2098: 2089: 2080: 2071: 2062: 2053: 2036: 2001: 1986: 1981: 1972: 1945: 1929: 1920: 1897: 1893: 1888: 1880: 1876: 1867: 1852: 1840: 1823: 1807: 1790: 1780: 1768: 1764: 1760: 1750: 1748: 1737: 1735: 1727: 1714: 1712: 1707: 1699: 1693: 1687: 1681: 1678: 1670: 1641: 1637: 1634: 1627: 1621: 1619: 1612: 1609: 1605: 1597: 1579: 1573: 1570: 1567:Inscriptions 1558: 1552: 1549: 1544: 1538: 1532: 1529: 1524: 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