Jan van Eyck (Portrait of the Arnolfini couple). Description of the picture. Jan van Eyck and the riddle of Arnolfini. Versions Most famous works

Jan van Eyck (Dutch Jan van Eyck, ca. 1385 or 1390-1441) - Dutch painter of the early Renaissance, master of portraiture, author of more than 100 compositions on religious subjects, one of the first artists to master the technique of painting with oil paints. The younger brother of the artist and his teacher Hubert van Eyck (1370-1426).

Portrait of the Arnolfini couple, 1434, National Gallery, London
Clickable - 3,087px × 4,226px

The exact date of birth of Jan van Eyck is unknown. Born in the Northern Netherlands in Maaseik. He studied with his older brother Hubert, with whom he worked until 1426. He began his activities in The Hague at the court of the Dutch counts. Since 1425, he was an artist and courtier of the Duke of Burgundy, Philip III the Good, who valued him as an artist and generously paid for his work. In 1427-1428 As part of the ducal embassy, ​​Jan van Eyck went to Spain, then to Portugal. In 1427 he visited Tournai, where he was received with honor by the local guild of artists. Probably met Robert Campin or saw his work. He worked in Lille and Ghent, in 1431 he bought a house in Bruges and lived there until his death.

Van Eyck is considered an inventor oil paints, although in fact he only improved them. But it was after him that the oil gained universal recognition, oil technology has become traditional for the Netherlands; in the 15th century came to Germany and France, from there to Italy.

Portrait of the Arnolfini couple, detail of the mirror on the wall, 1434

The largest and famous work van Eyck - Ghent Altarpiece, possibly begun by his brother Hubert. Jan van Eyck completed it by order of the wealthy Ghent burgher Jodoc Veidt for his family chapel in 1422-1432. This is a grandiose multi-tiered polyptych of 24 paintings depicting 258 human figures.

Among the masterpieces of Jan van Eyck is the “Madonna of Chancellor Rolin”, as well as a portrait of the merchant, representative of the Medici banking house, Giovanni Arnolfini and his wife - the so-called “Portrait of the Arnolfini Couple”.

He had several students, including Petrus Christus.

“According to general recognition, the most daring discoveries that marked a turning point in artistic development(of humanity), belong to the painter Jan van Eyck (1385/90 - 1441). His greatest creation is the multi-leaf altar (polyptych) for the Cathedral in Ghent.” E. Gombrich “History of Art”.

Annunciation, 1420

Diptych - Crucifixion and Last Judgment, 1420-1425

Portrait of a Man with a Ring, around 1430

Saint Francis of Assisi, Stigmatization, circa 1432

Lam Godsretabel, Mystic Lamb, Agneau Mystique, Der Genter Altar (Lammanbetung), Políptico de Gante (El Políptico de la Adoración del Cordero Místico). 1432

Ghent Altarpiece, God Jesus, 1432

Ghent Altarpiece, God Jesus, detail of clothing, 1432

Ghent Altarpiece, Mary, 1432

Ghent Altarpiece, John the Baptist, detail, 1432

Ghent Altarpiece (Exterior Panel, Archangel), 1432

Ghent Altarpiece (External panel, John the Evangelist, detail), 1432

Ghent Altarpiece, Eve, detail, head, 1432

Ghent Altarpiece, Adam, detail, head, 1432

Ghent Altarpiece, Women going to worship the Lamb, 1432

Ghent Altarpiece, Jews and Gentiles, 1432

Ghent Altarpiece, Angels, 1432

Ghent Altarpiece, Angels, detail, 1432

Ghent Altarpiece, Adoration of the Lamb, detail, 1432

Portrait of a Man with a Turban, 1433 (possibly a self-portrait)

Portrait of Giovanni Arnolfini, circa 1435

Madonna of Chancellor Rolin, 1435

Madonna of Chancellor Rolin, detail, 1435

Madonna of Canon Georg van der Paele, 1436

Madonna of Canon Georg van der Paele, detail of Saint George and the Donor, 1436

Saint Barbara, 1437

Madonna and Child in a Church, circa 1438

Portrait of Margaret van Eyck, 1439

Saint Jerome, 1442

Fully

Van Eyck Jan(c. 1390-1441), Dutch painter. One of the pioneers of art Early Renaissance in the Netherlands."Most main artist of our century” - this is what his younger contemporary, the Italian humanist Bartolomeo Fazio called Jan van Eyck. The same enthusiastic assessment was given a century and a half later by the Dutch painter and biographer of Dutch artists, Karel van Mander: “What neither the Greeks, nor the Romans, nor other peoples were able to achieve, despite all their efforts, was achieved by the famous Jan van Eyck, who was born in banks of the lovely Meuse River, which can now challenge the palm of the Arno, the Po and the proud Tiber, since such a luminary rose on its banks that even Italy, the land of art, was amazed by its brilliance.” Very little documentary evidence has been preserved about the life and work of the artist information. Jan van Eyck was born in Maaseik between 1390 and 1400. In 1422, Van Eyck entered the service of John of Bavaria, ruler of Holland, Zealand and Genegau. For him, the artist performed work for the palace in The Hague. From 1425 to 1429, he was the court artist of the Burgundian Duke Philip the Good in Lille. The Duke valued Jan as smart, educated person, according to the Duke, “unmatched in art and knowledge.” Often, Jan van Eyck, on the instructions of Philip the Good, carried out complex diplomatic assignments. Information reported by chroniclers of that time speak of the artist as a multi-talented person. The already mentioned Bartolomeo Fazio wrote in the “Book of Famous Men” that Jan was passionate about geometry and created a kind of geographical map. The artist’s experiments in the field of oil paint technology speak of his knowledge of chemistry. His paintings demonstrate a thorough acquaintance with the world of plants and flowers. There are many ambiguities in creative biography Yana. The main thing is Jan's relationship with his older brother Hubert van Eyck, with whom he studied and with whom he completed a number of works. There are disputes about individual paintings by the artist: about their content, painting technique. The work of Jan and Hubert van Eyck owes much to the art of the illustrators of the Limburg brothers and the altarmaker Melchior Bruderlam, who worked at the Burgundian court at the beginning of the 15th century in the style of Zion painting of the 14th century. Jan developed this style, creating on its basis a new style, more realistic and individual, heralded a decisive turn in altar painting in Northern Europe. In all likelihood, Jan began his work with miniatures. Some researchers attribute to him several of the best sheets (“Funeral Service” and “Taking Christ into custody,” 1415-1417), the so-called Turin-Milan Book of Hours, performed for the Duke of Berry. One of them depicts Saint Julian and Saint Martha carrying Christ across the river. True depictions of various phenomena of reality were found in Dutch miniatures even before van Eyck, but before no artist had been able to combine individual elements into a holistic image with such skill. Van Eyck is also credited with the authorship of some early altars, such as the Crucifixion. In 1431, van Eyck settled in Bruges, where he became a court painter, as well as an artist of the city. A year later, the artist completed his masterpiece - the Ghent Altarpiece, a large polyptych consisting of 12 oak doors. His elder brother began work on the altar, but Hubert died in 1426, and Jan continued his work.

Madonna of Chancellor Rolin 1435, Louvre Museum, Paris. “Madonna of Chancellor Rolin” (1435) - one of best works masters “The stones shine, the brocade shines with colors, and every fluff of fur and every wrinkle of the face irresistibly attracts the eye. How expressive, how significant are the features of the kneeling Chancellor of Burgundy! What could be more magnificent than his attire? It seems that you feel this gold and this brocade, and the picture itself appears before you either as a piece of jewelry or as a majestic monument. It is not for nothing that at the Burgundian court such paintings were kept in treasuries next to golden boxes, books of hours with sparkling miniatures and precious relics. Take a closer look at Madonna's hair - what in the world could be softer than it? In the crown that the angel holds over her - how she sparkles in the shadows! And behind the main figures and behind the thin colonnade is the river going in a bend and medieval city, where Vaneykov’s amazing painting sparkles in every detail.”

" Madonna of Chancellor Rolin", details

The artist is equally interested in man in all his unique individuality and the world around him. In his compositions, portrait images, landscape, interior, and still life appear on equal terms and form a harmonious unity. Extreme care and at the same time generality of painting reveal the intrinsic value and beauty of each object, which in van Eyck’s work acquires real weight and volume, a characteristic surface texture. The details and the whole are in an organic relationship: architectural elements, furnishings, flowering plants, luxurious fabrics, decorated precious stones, as if embodying particles of the infinite beauty of the universe: the panoramic landscape in “The Madonna of Chancellor Rolin”, full of light and air, is perceived as collective image Universe.

Portrait of the Arnolfini couple 1434, National Gallery, London.Double "Portrait of the Arnolfini couple" (1434) along with the Ghent Altarpiece - most important work van Eyck. According to its design, it has no analogues in the 15th century. The Italian merchant, a representative of the Medici banking house in Bruges, is depicted in marital peace with his young wife Giovanna Cenami.

Madonna and Child, 1433

Lucca Madonna , 1430, Städel Institute of Arts, Frankfurt am Main

Madonna of Canon van der Paele 1436, Art Gallery, Bruges

Stigmatization of Saint Francis 1429 This small painting was painted in Spain in 1428-29.
There is a later copy (circa 1450) in the Sabauda Gallery, Turin, Italy. Having retired to Mount Alverna in 1224, Francis one day, while in prayer, saw a vision which, according to Thomas of Celan, was a man like Seraphim with six wings, his arms were outstretched, and his legs stood, “forming the shape of a cross.” Contemplating this, Francis discovered the marks of Christ's wounds that appeared on his body (on his arms, legs and chest) and remained on him until his death, which occurred two years later..

Madonna with a Carthusian monk

Altar of the Virgin Mary1437

The central panel of the small altarpiece represents the Madonna and Child in the church, the left panel depicts St. George and the donor (the one who commissioned the triptych), the right panel depicts St. Catherine. When closed, the triptych's doors depict the Annunciation.

Madonna and Child, 1439

Jan van Eyck was also a remarkable innovator in the field of portraiture. He was the first to replace the chest type with a waist type, and also introduced a three-quarter turn. He laid the foundation for that portrait method, when the artist focuses on the appearance of a person and sees in him a certain and unique personality. Examples include “Timothy” (1432), “Portrait of a Man in a Red Cap” (1433), “Portrait of his Wife, Margaret van Eyck” (1439), “Portrait of Baudouin de Lannoy”.

Portrait of a man in a turban, 1433 (according to one version - a self-portrait of the artist)

Portrait of his wife Margrethe van Eyck, 1439

Portrait of Cardinal Albergati, 1432

Portrait of Baudouin de Lanoy, 1435

Timofey 1420

Portrait of a Man from Garofano 1435

Portrait of Jan de Leeuw 1436

Portrait of Giovanni Arnolfini 1435

Portrait of a Jeweler (Man with a Ring) 1430

St. Barbara 1437, oil on wood, 31 x 18 cm Royal Museum fine arts 1437, Antwerp

This work is the subject of long debate among scholars, who have not come to a consensus on whether this work is a completed drawing or an unpainted painting. The silver drawing was made with the finest brush on a primed board (looks like marble) inserted into the author’s frame with the inscription: “John van Eyck made me in 1437.” Behind the back of a beautiful maiden sitting on a hill with a book and a palm branch of the martyr in her hands, the construction of a tower is underway, which is her attribute, but interpreted by van Eyck in a genre key depicting a mass of labor episodes.

Saint Jerome

Madonna in the Church 1422-1425

No later than 1426 it was written “ Madonna in the church" - one of early works Van Eyck. Like most of his works, the painting seems to glow from within, giving rise to a feeling of sublime joy. This striking effect of internal glow was achieved by layer-by-layer application of oil paint on a white gypsum primer, carefully sanded and varnished. The asymmetrical composition, unusual for Van Eyck, is explained by the fact that this is the left wing of a diptych. The other wing is lost, but copies from that time confirm this.

Annunciation1420

Annunciation 1435

These two panels present " Crucifixion" And " Last Judgment"It is believed that the panels were the wings of a triptych, the central group of which is lost. However, from the themes of the paintings it is impossible to say whether it was originally conceived as a diptych or a triptych. These two small paintings can be looked at for a long time and with interest. Every detail is painted carefully and in detail - from the alpine landscape, subtle body Christ and the feelings on people's faces to the scenes of Hell and Heaven. The inscriptions at the top of the panels are sayings from the Bible.

Sconce tya Jan and Hubert van Eyck Ghent Altarpiece folded with shutters closed

Van Eyck for a long time considered the inventor of oil paints. However, in reality he only improved them. Opened by artist the recipe for preparing paints turned out to be so successful that oil painting soon became firmly established in Dutch art, and subsequently spread throughout Europe, taking a dominant position in European painting and keeping it until late XIX V. Although oil paints were used already in the 14th century, van Eyck, in all likelihood, created a new mixture of paints, possibly tempera with oil, thanks to which he achieved unprecedented luminosity, as well as a varnish that gives the painting opacity and shine. He was one of the first to master the plastic possibilities oil painting, using thin, translucent layers of paint placed one on top of the other (the Flemish style of multi-layered transparent painting). This mixture also made it possible to soften and nuance colors. In the art of van Eyck new technology served as an exceptionally thoughtful composition to convey the unity of space. The artist mastered a perspective image and, combining it with the transmission of light, created a plastic effect that was previously unattainable. Van Eyck is considered one of the most significant artists of his time. He initiated a new vision of the world, the impact of which extends far beyond the boundaries of his era. The artist died in Bruges in 1441. In Van Eyck’s epitaph it is written: “Here lies John, glorious with extraordinary virtues, in whom the love of painting was amazing; he painted images of people breathing life, and the earth with flowering herbs, and glorified all living things with his art...”

Portrait of the Arnolfini couple written by a Dutch painter, professional portrait painting— Jan van Eyck exact date Jan van Eyck's birth is unknown, 1385 or 1390 -1441) in 1434.

Some call Jan van Eyck the inventor of oil painting, although this is not entirely true, but he was definitely the first artist to realize its potential as naturalistic painting.

Jan van Eyck worked in the technique of Renaissance naturalism, characterized by the most accurate and objective reflection of the surrounding world, which is achieved by skillfully conveying lighting effects, the texture of depicted surfaces, color and tone in all manifestations, but in absolute accordance with the overall picture.

The term "naturalism" refers to artistic direction, whose representatives strive to depict reality with minimal stylistic distortion or distraction into abstraction. These are convincing lighting effects and texture of the depicted object, as well as an accurate transfer of feelings and moods.

In the picture "Portrait of the Arnolfini Spouses" depicted Giovanni Arnolfini and him wife – Joanna, at the time of marriage (main version). They are in a small room, the husband holds his bride's hand. All the objects present in the picture: shoes, apples, a chandelier with a candle, folds on clothes are painted with pinpoint precision.

Behind the newlyweds, two more people are reflected, one of them is perhaps the artist himself, who was invited to capture the minutes of the wedding, or the artist himself decided to give a gift to the newlyweds, who is the second reflected in the mirror is unknown. The signature of the witness artist is located above the mirror behind the figures of the newlyweds.

Jan van Eyck depicted a frozen moment, the moment of marriage, this can be judged by the hand gesture of Giovanni Arnolfini in the frozen air, but there is no complete certainty, since the man gives the woman left hand, and not the right one, and there is a possibility that this is not a moment of marriage, but just a family portrait. Another option is that the artist depicted himself with his wife (in outline female face you can catch some resemblance to the wife of Jan van Eyck).

A skillfully and convincingly painted interior illuminated by the play of light on various surfaces such as clothing, glass, and copper made companion portrait the Arnolfini spouses one of the most significant works in the history of naturalism.

Van Eyck's work represents a triumph of naturalism in light and texture. Jan van Eyck rejected the excessive use of perspective; he criticized painters who did it too intrusively, thereby distorting the viewer's perception work of art by emphasizing one aspect of its composition.

INTRODUCTION

The greatest painter of the Renaissance, Jan van Eyck (c.1390-1441), reveals a galaxy of brilliant talents in the art of the Netherlands of the fifteenth century. Along with Robert Campin, he was the founder of the art of the Renaissance, which marked the rejection of medieval ascetic thinking, the artists’ appeal to reality, their discovery of nature and man true values and beauty. Jan van Eyck represents shining example personalities of the Renaissance era. Endowed with many abilities, possessing diverse and extensive knowledge thanks to an inquisitive interest in all phenomena of reality, Jan van Eyck boldly breaks the old medieval system images of funds artistic expression, making the language of realistic forms the main way of realizing his ideas.

BIOGRAPHY AND CREATIVITY

Jan van Eyck came from the city of Maseyka, located in the valley of the Meuse River. He was born sometime around 1390 and died in Bruges on July 9, 1441. Perhaps his teacher was his older brother Hubert van Eyck, talented artist, died in 1426. It is known that in the 1420s, Jan worked on decorating the castle of the Dutch Counts in The Hague. In 1425, he entered the service of the Duke of Burgundy, Philip the Good, becoming his court painter, highly valued and respected, and moved to live in Lille. In 1427, the artist was sent to Spain, and in 1428 to Portugal to negotiate the possible marriage of the Duke and to paint a portrait of the intended bride. Around 1430 Jan van Eyck moved to Bruges. painter renaissance portrait artist

Few works by the famous artist have survived, but each of them represents an outstanding phenomenon in painting. Many of the paintings are dated and signed with Van Eyck's characteristic motto: "Als ixh xan" ("As I can").

The main work of Jan van Eyck, of course, should be recognized as the famous Ghent Altarpiece, a multi-leaf folding structure located in the chapel of St. John's Cathedral of St. Bavona in Ghent. In May 1432, the altar was shown to those gathered and since then has been a destination of pilgrimage for artists and art lovers. On its outer doors there are depictions of prophets and sibyls, the scene of the Annunciation, Saints John the Baptist and John the Evangelist, and the customers of the altar, Joss Veidt and Isabella Borlut. The images of donors are created with rare vitality and plastic tangibility. Their figures are more material than others; in the images of these Ghent burghers the pathos of living concrete reality is expressed in all its convincing verisimilitude. Van Eyck demonstrates the skill of illusory transfer of volumes and textures of stone statues of John, the beauty of draperies in the clothes of the Archangel Gabriel and the Madonna, the luminous surfaces of a copper jug ​​and basin, the surface of a white towel, and objects symbolizing the purity of the Virgin Mary. For van Eyck, light means an act of divine presence, but is interpreted as a very real phenomenon; moreover, the artist imitates its physical penetration from the outside and paints shadows as if cast inside the altar by the frames of its doors. The overall tonality of the outer doors is muted, fraught with an element of mysterious expectation and understatement. IN holidays the altar opened, reaching a width of five meters, striking in the splendor of color. Top row The images begin with the central solemn image of the god of Hosts, blessing all things, flanked on the left and right by Mary reading and John the Baptist preaching, then on the sides there are singing and playing music angels, praising the creator, and on the edges are Adam and Eve. The naked bodies of the ancestors of mankind are clearly drawn from life, especially the figure of Adam. Finding them near top characters Christian religion meant a new attitude towards man during the Renaissance. The lower five doors are dedicated to glorification atoning sacrifice Christ, whose symbol is a white lamb standing on the altar. Crowds of people gather to him, saints and righteous people, men and women, as if all humanity. Religious unity turns into cohesion and brotherhood, the spiritual community of all peoples on a wonderful, peaceful land, fragrant with a great variety of flowering trees and herbs, overshadowed by a clear blue sky, bathed in the light of a radiant sun. The feeling of harmony between the universe and man is also expressed in the easily visible composition, especially in the radiant, joyful sonority of the colors. A world of jubilant beauty opens up to the viewer's eyes. Every little bit of it is precious and necessary. Using the transparency of oil paints, van Eyck achieves exceptional effects of radiance on the surface of the image and true accuracy of reproduction of form. Glazing increases the depth of color and its strength. The main color chord of the altarpiece's pictorial system consists of fiery red, blue and green colors, concentrated in the clothes of Hosts, Mary and John. Thanks to realistic techniques, the Ghent altarpiece became a school not only for Dutch, but also European masters. It was studied and copied many times. Around 1434, van Eyck completed another famous work - "The Madonna of Chancellor Rollin" (Paris, Louvre), where a famous figure is represented kneeling before Mary and her child, who achieved high position solely due to his merits - a rare case in the feudal world. Through the loggia a beautiful landscape opens up, the first panoramic landscape in European art giving big picture life of the earth and humanity. The artist projects his images onto this beautiful world, linking their significance to the idea of ​​a majestic universe. In "Madonna of Canon van der Paele" (1436, Bruges, City Museum), van Eyck depicts Mary and Child enthroned in a Romanesque church, surrounded by Saints Donatian and George, representing the old canon. His portrait amazes with its deep penetration into the very essence of character. In all the details of the painting, van Eyck achieves the impression of the greatest materiality and tangible tangibility. You can literally feel the parchment skin of an old man with its dry wrinkles and folds, or the hard, golden-embroidered brocade of Archbishop Donatian’s robe, his miter with precious stones. Jan van Eyck was the first who began to create portraits, pursuing the goal of accurately recreating the individual appearance of the model and analytically studying human nature with its various signs and properties. The surviving portraits testify to his insight and high respect for human individuality. Among the most perfect portraits are “Cardinal Nicolo Albergati” (1431, Vienna, Kunsthistorisches Museum), “Portrait young man"("Timothy", 1432, London, National Gallery), "Portrait of a Man in a Red Turban" (1433, London, National Gallery), "Margaret van Eyck" (1439, Bruges, City Museum). "Portrait of the Arnolfini Couple" ( 1434, London, National Gallery), painted on the occasion of the betrothal of a wealthy Italian merchant, a friend of van Eyck, is the first portrait of a couple in European art. The young couple are in the bedroom of their house and pronounce an oath of marital fidelity. Symbolic objects eloquently tell about the meaning of the scene: oranges hint at heavenly bliss, shoes - at marital devotion, a figurine of St. Margaret - at a successful birth, a lit candle in a chandelier means the symbolic and mystical presence of a deity consecrating the sacrament. Two figures are reflected in the mirror, and an inscription is read on the wall above them, intentionally. highlighted: “Jan van Eyck was here,” explaining that the artist acted as a witness in this old Dutch custom of betrothal at home, not in church. The basis of all images of van Eyck is strong, for the most part made from life, drawing. An excellent example of the artist’s graphic skill is “St. Barbara” (1437, Antwerp, Royal Museum of Fine Arts) - the subject of long debate among scientists who have not come to a consensus whether this work is a completed drawing or an unpainted painting. The silver drawing was made with the finest brush on a primed board, inserted into the author’s frame with the inscription: “John van Eyck made me in 1437.” Behind the back of the beautiful maiden, sitting on a hill with a book and a palm branch of the martyr in her hands, the construction of a tower is underway, which is her attribute, but interpreted by van Eyck in a genre key depicting a mass of labor episodes. Jan van Eyck was one of the greatest geniuses, whose work, filled with enormous spiritual power and depth of ideas, became a life-giving source for the development of art in the Netherlands and other European countries.

The exact date of birth of Jan van Eyck is unknown. Born in the Northern Netherlands in Maaseik. He studied with his older brother Hubert, with whom he worked until 1426. He began his activities in The Hague at the court of the Dutch counts. Since 1425, he has been an artist and courtier of the Duke of Burgundy, Philip III the Good, who valued him as an artist and generously paid for his work. In 1427-1428 As part of the ducal embassy, ​​Jan van Eyck went to Spain, then to Portugal. In 1427 he visited Tournai, where he was received with honor by the local guild of artists. Probably met Robert Campin or saw his work. He worked in Lille and Ghent, in 1431 he bought a house in Bruges and lived there until his death.

Van Eyck is considered the inventor of oil paints, although in fact he only improved them. But it was after him that oil gained universal recognition, oil technology became traditional for the Netherlands; in the 15th century came to Germany and France, from there to Italy.

Van Eyck's largest and most famous work is the Ghent Altarpiece, possibly begun by his brother Hubert. Jan van Eyck completed it by order of the wealthy Ghent burgher Jodoc Veidt for his family chapel in 1422-1432. This is a grandiose multi-tiered polyptych of 24 paintings depicting 258 human figures.

Among the masterpieces of Jan van Eyck is the “Madonna of Chancellor Rolin”, as well as a portrait of the merchant, representative of the Medici banking house, Giovanni Arnolfini and his wife - the so-called “Portrait of the Arnolfini Couple”.

He had several students, including Petrus Christus.

Main works

• “Ghent Altarpiece” (together with Hubert van Eyck; 1432, St. Bavo Cathedral, Ghent).
• "Our Lady of Chancellor Rolin" (circa 1436, Louvre, Paris),
• "Our Lady of Canon van der Paele" (1436, Municipal art Gallery, Bruges),
• triptych “Our Lady in the Church” (1437, Art Gallery, Dresden).
• Portrait of a Young Man (Timothy; 1432) - Oil on wood, 34.5 x 19 cm, National Gallery, London
• “Portrait of a Man in a Red Turban” (1433, National Gallery, London)
• portrait of Margaretha van Eyck, the artist's wife (1439, Oil on wood, 32.6 x 25.8 cm, Municipal Art Gallery, Bruges).
• Crucifixion and Last Judgment diptych (1420-1425) - Oil on wood transferred to canvas, 56.5 x 19.5 cm (each painting),
  City Museum of Art, New York
• Madonna in the Church (c. 1425) - Oil on wood, 32 x 14 cm, State museums Berlin, Berlin
• Stigmata of St. Francis (c. 1428-1430) - Oil on panel, 28 x 33 cm, Galleria Sabauda, ​​Turin
• Portrait of a Jeweler (Man with a Ring; c. 1430) - Wood, 16.6 x 13.2 cm, Romanian National Museum, Bucharest
• Saint John the Evangelist (1432) - Oil on panel, 149.1 x 55.1 cm, St. John's Cathedral Bavona, Ghent
• Madonna and Child Reading (1433) - Oil on wood, 26.5 x 19.5 cm, Victorian National Gallery, Melbourne
• Portrait of Nicollo Albergati (c. 1435) - Oil on panel, 34 x 27.5 cm, Kunsthistorisches Museum, Vienna
• Portrait of a Man with a Carnation (c. 1435) - Oil on wood, 40 x 31 cm, Berlin State Museums, Berlin
• Portrait of Baudain de Lanoy (c. 1435) - Oil on wood, 26 x 20 cm, Berlin State Museums, Berlin
• Portrait of Giovanni Arnolfini (c. 1435) - Oil on wood, 29 x 20 cm, Berlin State Museums, Berlin
• Madonna and Child (Lucca Madonna, Nursing Madonna, 1436) - oil on panel, 65.5 x 49.5 cm, Städel, Frankfurt
• Portrait of Jan de Leeuw (1436) - Oil on wood, 24.5 x 19 cm, Kunsthistorisches Museum, Vienna
• St. Barbara (1437) - Grisaille on wood, 31 x 18.5 cm, Royal Museum of Fine Arts, Antwerp
• Head of Christ (1438), copy - Berlin State Museums, Berlin, Alte Pinakothek, Munich
• Madonna and Child at the Fountain (1439) - Oil on wood, 19 x 12 cm, Royal Museum of Fine Arts, Antwerp
• Portrait of Christ (1440) - Oak panel, 33.4 x 26.8 cm, Municipal Art Gallery, Bruges
• St. Jerome (1440) - oil on parchment on oak panel, 20 x 12.5 cm, Detroit Institute of Arts, Detroit

Gallery

Portrait of a man in a turban. Oil on panel, 25.5 x 19 cm, 1433. National Gallery, London

Madonna of Canon van der Paele. Oil on wood, 122 x 157 cm, 1436. Groninge Museum, Bruges

Madonna of Chancellor Rolin. Wood, 66 x 62 cm, 1435. Louvre, Paris

• In the history of art, “Portrait of the Arnolfini Couple” is one of the first paintings signed by the artist himself. . Since until the 15th century it was not customary to sign your paintings.
• There are several theories trying to explain the sudden transition to van Eyck's realism. But one of the most interesting belongs to the British artist D. Hockney and physicist Charles M. Falco. They believe that van Eyck used curved mirrors and small lenses to create almost photographic images. This explains the shifts in perspective in his paintings.

Memory

A crater on Mercury is named after Van Eyck.

Bibliography

• Egorova K. S. Jan van Eyck. M., 1965;
• Nikulin N. N. Jan van Eyck [Album]. L., 1967
• Friedl?nder M. J., Die aitniederl?ndische Malerei, Bd 1, B., 1924;
• Baldass L., Jan van Eyck, L., 1952;
• Panofsky E., Early Netherlandish painting. Its origins and character, v. 1-2, Camb. (Mass.), 1953.