The Western art history is saturated with outstanding masterpieces made throughout the centuries, and one of the authentic and enigmatic paintings is The Arnolfini Portrait by Jan van Eyck.It is a 82-per-60 cm oil painting made in 1434 on oak panel and it features a double portrait of the Italian merchant Giovanni di Nicolao Arnolfini … , The symbolism behind the action of the couple's joined hands has also been debated among scholars. The painting survived the fire in the Alcazar which destroyed some of the Spanish royal collection, and by 1794 had been moved to the "Palacio Nuevo", the present Royal Palace of Madrid. In 1816 the painting became the possession of Colonel James Hay, a Scottish soldier who claimed that he fell in love with it while recovering from an injury during the Battle of Waterloo in Brussels.However, it's more likely that during Hay's expedition in Spain British troops ransacked a couch filled with art work stolen by Joseph Bonaparte. Jan van Eyck is known as an innovator of veristic realism, not only for his meticulous portraiture but also for his… This small portrait is … Harbison maintains her gesture is merely an indication of the extreme desire of the couple shown for fertility and progeny. Bedaux, Jan Baptist, "The reality of symbols: the question of disguised symbolism in Jan van Eyck's Arnolfini portrait". , Jan Baptist Bedaux agrees somewhat with Panofsky that this is a marriage contract portrait in his 1986 article "The reality of symbols: the question of disguised symbolism in Jan van Eyck's Arnolfini Portrait." By then the shutters had gone, along with the original frame.. His hand is vertically raised, representing his commanding position of authority, whilst she has her hand in a lower, horizontal, more submissive pose.  He maintains that this portrait cannot be fully interpreted until scholars accept the notion that objects can have multiple associations. The subjects involved are believed to be Giovanni di Nicolao Arnolfini … The bright green colour is also indicative of the couple's wealth; dyeing fabric such a shade was difficult, and therefore expensive. Hall 1994, 4; Crowe and Cavalcaselle 1857. "Jan van Eyck's Arnolfini Portrait": Business as Usual?". Cambridge University Press, 1993, The Arnolfini Wedding, The Arnolfini Marriage, The Arnolfini Double Portrait, http://www.nationalgallery.org.uk/paintings/jan-van-eyck-the-arnolfini-portrait. Craig Harbison takes the middle ground between Panofsky and Bedaux in their debate about "disguised symbolism" and realism. It had the purpose of showing the prosperity and wealth of the couple depicted. Colenbrander, Herman Th., "'In promises anyone can be rich!' There is also no sign of a fireplace (including in the mirror), nor anywhere obvious to put one. Van Eyck seems to have preferred a more closed stance for him than the original drawing.Color palette: Here the use of bright colors works to highlight the wealth of the two figures. As a young woman living in this information age, I am often called upon to interpret … Bedaux argues, "if the symbols are disguised to such an extent that they do not clash with reality as conceived at the time ... there will be no means of proving that the painter actually intended such symbolism. Taschen GmbH, 2008 • Graham, Jenny. Some scholars like Jan Baptist Bedaux and Peter Schabacker argue that if this painting does show a marriage ceremony, then the use of the left hand points to the marriage being morganatic and not clandestine. The furs may be the especially expensive sable for him and ermine or miniver for her. , In their book published in 1857, Crowe and Cavalcaselle were the first to link the double portrait with the early 16th century inventories of Margaret of Austria. Ward, John. It was bought the following year (1842) by the recently formed National Gallery, London for £600, as inventory number 186, where it remains. The Arnolfini Portrait, which measures 82 × 59.5 cm (32.3 × 23.4 in) is an oil painting on oak panel dated 1434. Further signs of luxury are the elaborate bed-hangings and the carvings on the chair and bench against the back wall (to the right, partly hidden by the bed), also the small Oriental carpet on the floor by the bed; many owners of such expensive objects placed them on tables, as they still do in the Netherlands. The mysteries of the Arnolfini portrait, along with Van Eyck’s masterful technique, continue to enthrall viewers well into its seventh century of existence! He developed the 3/4 profile view in the portrait, a technique which is still used today. Possibly the candle represents the death of the wife. The mirror itself may represent the eye of God observing the vows of the wedding. The Arnolfini Portrait has links to religion as the painting resembles marriage or a wedding taking place and the Saint Margaret statue on the bed frame. More paintings by Jan van Eyck. , The painting is signed, inscribed and dated on the wall above the mirror: "Johannes de eyck fuit hic 1434" ("Jan van Eyck was here 1434"). It has been suggested that he used a magnifying glass in order to paint the minute details such as the individual highlights on each of the amber beads hanging beside the mirror. Details such as the snuffed candle above the woman, the scenes after Christ's death on her side of the background roundel, and the black garb of the man, support this view. Reaktion Books, 2011 • Nash, Susie. It forms a full-length double portrait, believed to depict the Italian merchant Giovanni di Nicolao Arnolfini and his wife, presumably in their residence at the Flemish city of Bruges. The single candle in the left-front holder of the ornate six-branched chandelier is possibly the candle used in traditional Flemish marriage customs. Many point to this gesture as proof of the painting's purpose. The glowing colours also help to highlight the realism, and to show the material wealth and opulence of Arnolfini's world. Jan Van Eyck: The Play of Realism. Moreover, the beauty ideal embodied in contemporary female portraits and clothing rest in the first place on the high valuation on the ability of women to bear children. However, he disagrees with Panofsky's idea of items in the portrait having hidden meanings. Assuming a spherical mirror, the distortion has been correctly portrayed, except for the leftmost part of the window frame, the near edge of the table and the hem of the dress. Van Eyck's Arnolfini Portrait. Start studying Arnolfini Portrait by Van Eyck. Van Eyck used the technique of applying several layers of thin translucent glazes to create a painting with an intensity of both tone and colour. Harbison urges the notion that one needs to conduct a multivalent reading of the painting that includes references to the secular and sexual context of the Burgundian court, as well as religious and sacramental references to marriage. The Arnolfini Portrait is most famous for Jan van Eyck’s rendering of everyday objects in spectacular detail.  However, the subjects originally thought by most scholars to be represented in this painting, Giovanni Arnolfini and Giovanna Cenami, were of equal status and rank in the courtly system, so the theory would not hold true.  Four years later James Weale published a book in which he agreed with this analysis and identified Giovanni's wife as Jeanne (or Giovanna) Cenami. 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