Arnolfini Portrait Research Articles

Symbolism in Western Paintings: A Case Study of The Arnolfini Portrait

Symbolism in Western Paintings: A Case Study of The Arnolfini Portrait

Poor Little Rich Girl(?): Margaret of Austria and the Arnolfini Portrait

Poor Little Rich Girl(?): Margaret of Austria and the Arnolfini Portrait

Jan van Eyck's Perspectival System Elucidated Through Computer Vision

It is generally accepted that Jan van Eyck was unaware of perspective. However, an a-contrario analysis of the vanishing points in five of his paintings, realized between 1432 and 1439, unveils a recurring fishbone-like pattern that could only emerge from the use of a polyscopic perspective machine with two degrees of freedom. A 3D reconstruction of Arnolfini Portrait compliant with this pattern suggests that van Eyck's device answered a both aesthetic and scientific questioning on how to represent space as closely as possible to human vision. This discovery makes van Eyck the father of today's immersive and nomadic creative media such as augmented reality and synthetic holography.

Creative Practice through Teleconferencing in the Era of COVID-19

Creative Practice through Teleconferencing in the Era of COVID-19

Arnolfini’s best friend

Jan van Eyck’s Arnolfini Portrait (1434) has been a battleground of interpretation ever since Erwin Panofsky’s landmark 1934 essay on the painting. This article does not seek to resolve the uncertainties that remain concerning the names of the portrait’s subjects or the function that it served. Instead, it proposes to understand the relationship that the painting establishes between itself and its viewers, and to do so by considering the role of the canine companion at the couple’s feet. The dog in The Arnolfini Portrait is not only fundamental to the fellowship that Van Eyck invites us to feel both with himself and with his work; the dog’s role within the picture also nuances our understanding of Van Eyck’s own self-awareness as an artist and signals an opportunity to reconsider the limitations of traditional art-historical method.

Poems: "Gallery [Jan van Eyke, The Arnolfini Portrait, 1434]", "Apparition"

Poems: "Gallery [Jan van Eyke, The Arnolfini Portrait, 1434]", "Apparition"

Poems: "Gallery [Jan van Eyke, The Arnolfini Portrait, 1434]", "Apparition"

Poems: "Gallery [Jan van Eyke, The Arnolfini Portrait, 1434]", "Apparition"

In and out of the marital bed: seeing sex in Renaissance Europe

This book explores images whose sexual content has all too often been either ignored or denied. Each chapter is devoted to a place that artists associated with sexual activity or desire: the bed, the dressing area of the home, the window and doorway, the bath, and the street. By examining both canonical works, such as Jan van Eyck's Arnolfini Portrait and Petrus Christus' Goldsmith's Shop and long-neglected objects, such as combs, badges, and bathhouse murals, and by investigating a wide range of sexualities-same-sex desire, adultery, marriage, courtship, and prostitution-Wolfthal demonstrates how illicit forms of were linked to the chaste sexuality of marriage.

Painting and politics in northern Europe: Van Eyck, Bruegel, Rubens, and their contemporaries

Contents List of Illustrations Acknowledgments Introduction 1.. The Merchant's Mirror: Jan van Eyck's Arnolfini Portrait 2. Breaking Bonds: Marriage and Community in Bruegel's Netherlandish Proverbs and Carnival and Lent 3. The Conceits of Empire: Bruegel's Ice-Skating Outside St. George's Gate in Antwerp and Tower of Babel 4. The Erotics of Absolutism: Rubens and the Mystification of Sexual Violence 5. Womanliness as a Masquerade: The Case of Marie de Medicis 6. The Nature of Violence: Animal Combat in the Seventeenth Century Notes Bibliography Index

Optics and Realism in Renaissance Art

The article focuses on the emergence of an almost photographic realism, or ars nova, in paintings after 1425 at the dawn of the Renaissance. Contemporary artist David Hockney came up with a controversial theory, claiming that Renaissance paintings look realistic because artists used lenses and mirrors to project images onto canvases or similar surfaces and then trace and paint over the results. As part of an examination of this theory, other scholars and the author have used optical and computer-vision techniques to evaluate two of van Eyck's paintings that Hockney and his collaborator Charles Falco, a physicist at the University of Arizona, adduce as evidence. For a number of historical and technical reasons, Hockney envisions a camera obscura based not on a lens but on a concave mirror. Van Eyck's Portrait of Giovanni Arnolfini and His Wife (1434) is a key exhibit in Hockney's theory. To find the focal length of van Eyck's mirror, the author used a computer method developed by Antonio Criminisi of Microsoft Research in Cambridge, England, Martin Kemp of the University of Oxford and Sing-Bing Kang of Microsoft Research in Redmond, Wash. He was thereby able to adjust the radius of curvature of the mirror to "unwarp" the painted image. The depicted mirror, turned around, could not have been used as a projection mirror for the full painting. In fact, manufacturing a mirror from a blown-glass sphere that could have been used would have been beyond the capabilities of Renaissance technology. Other evidence throws doubts on the suggestion that van Eyck painted the Arnolfini portrait under a projection onto the oak panel. A projected image obeys the laws of perspective, but the perspective lines of the floor, window casement and other features in the painting do not meet at a vanishing point as they should. The perspective is consistently inconsistent. INSET: Overview/Analyzing van Eyck.

Looking and Not Seeing

Looking and Not Seeing

"In the Name of God and Profit": Jan van Eyck's Arnolfini Portrait

Research Article| October 01 1993 "In the Name of God and Profit": Jan van Eyck's Arnolfini Portrait Margaret D. Carroll Margaret D. Carroll Search for other works by this author on: This Site PubMed Google Scholar Representations (1993) 44: 96–132. https://doi.org/10.2307/2928641 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Margaret D. Carroll; "In the Name of God and Profit": Jan van Eyck's Arnolfini Portrait. Representations 1 October 1993; 44 96–132. doi: https://doi.org/10.2307/2928641 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentRepresentations Search This content is only available via PDF. Copyright 1993 The Regents of the University of California Article PDF first page preview Close Modal You do not currently have access to this content.

"In the Name of God and Profit": Jan van Eyck's Arnolfini Portrait

"In the Name of God and Profit": Jan van Eyck's Arnolfini Portrait

Contemplating Your Own Novel: The Case of Mario Vargas Llosa

HE.i N his celebrated Arnolfini portrait, Van Eyck places a mirror at centre rear, reflecting the backs of the wedding couple and the blurred images of the witnesses, who by implication include ourselves and the artist; Johannes de Eyck fuit hic, he wrote on it. Velazquez went one better: his mirror in Las meninas reflects a royal couple in whose shoes we stand, while the painter sets himself within the picture frame, engaged in the act of painting, looking cockily out at the lookers-on turned into the looked-at. This sort of effect, in which the work mirrors itself and the creator highlights his own and his audience's roles in the creation of the work of art, has become a hallmark of much modern fiction. The making of fictive worlds and the creative functioning of language are self-consciously shared; the reader of novels is no longer asked merely to recognize that these worlds are lifelike, but caught in the paradoxical situ-

On the Arnolfini Portrait and the Lucca Madonna: Did Jan van Eyck Have a Perspectival System?

Exchanges on the topic of Jan van Eyck's pictorial constructions have been going on intermittently since the turn of the century. The most recent hypothesis, put forward in 1982–83, has if anything clouded the issue further by proposing an entirely new “elliptical perspective.” The ensuing debate, which appeared in The Art Bulletin, raises fruitful questions for further research: the problem of knowing how accurate a reconstruction needs to be, and of how reconstructed lines should be interpreted. The present essay has two purposes. It attempts to settle the question of fan van Eyck's perspective, at least in the case of the Arnolfini Portrait and the Lucca Madonna, and to introduce a new, higher level of accuracy and reproducibility for perspectival reconstructions in general.1

"Jan van Eyck's Arnolfini Portrait": Business as Usual?

Previous articleNext article No Access"Jan van Eyck's Arnolfini Portrait": Business as Usual?Linda SeidelLinda Seidel Search for more articles by this author PDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by Critical Inquiry Volume 16, Number 1Autumn, 1989 Article DOIhttps://doi.org/10.1086/448526 Views: 75Total views on this site Citations: 4Citations are reported from Crossref Copyright 1989 The University of ChicagoPDF download Crossref reports the following articles citing this article:Debra Phillips, Elaine Lindsay Be-yond Becoming: The Shared Features of Art-making and Constructing a Narrative of the Imagined Future, Life Writing 15, no.11 (Mar 2017): 107–119.https://doi.org/10.1080/14484528.2017.1296752Carolin Behrmann The Mirror Axiom: Legal Iconology and The Lure of Reflection, (Sep 2018): 43–60.https://doi.org/10.1007/978-3-319-90787-1_3 Asa Simon Mittman and Susan M. Kim Locating the Devil “Her” in MS Junius 11, Gesta 54, no.11 (Sep 2015): 3–25.https://doi.org/10.1086/679397Ian W. King Straightening our Perspective: The Logos of the Line, Organization 14, no.22 (Aug 2016): 225–241.https://doi.org/10.1177/1350508407074226

The Reality of Symbols: The Question of Disguised Symbolism in Jan van Eyck's "Arnolfini Portrait"

The Reality of Symbols: The Question of Disguised Symbolism in Jan van Eyck's "Arnolfini Portrait"

On the Mathematics of the Perspective of theArnolfini Portraitand Similar Works of Jan van Eyck

(1983). On the Mathematics of the Perspective of the Arnolfini Portrait and Similar Works of Jan van Eyck. The Art Bulletin: Vol. 65, No. 4, pp. 680-690.

On the Mathematics of the Perspective of the Arnolfini Portrait and Similar Works of Jan van Eyck: Reply

On the Mathematics of the Perspective of the Arnolfini Portrait and Similar Works of Jan van Eyck: Reply

On the Mathematics of the Perspective of the Arnolfini Portrait and Similar Works of Jan van Eyck

On the Mathematics of the Perspective of the Arnolfini Portrait and Similar Works of Jan van Eyck