Jan Van Eyck - “Arnolfini Portrait” 1434
Jan Van Eyck - “Arnolfini Portrait” 1434 (82.2 cm × 60 cm (32.4 in × 23.6 in)
The "Arnolfini Portrait," painted by Jan van Eyck in 1434, is one of the most famous works of early Netherlandish art. At first glance, it might seem like a simple wedding portrait, but there is much going on beneath the portrait. The painting features (possibly) Giovanni di Nicolao di Arnolfini and his wife, standing in their beautifully detailed home. The couple is captured in a moment that feels both intimate and formal. Van Eyck's incredible attention to detail is evident, from the textures of the fabrics to the intricate reflections in the convex mirror. This mirror not only enhances the realism but also reflects two figures in the doorway, this sparks the question, who are they? As Art Historians in the years have analyzed they have concluded one of the figures being the Artist himself inserting himself into the painting. One of the most intriguing aspects of the portrait is the symbolism. The couple holds hands, which suggests a union, while the presence of the dog symbolizes loyalty and fidelity.
The issue of pregnancy in the painting is complex, fruits are seen placed at the window that could be a symbolization of fertility, and on the woman’s right sits the wooden statuette of Saint Margaret, the patron saint of childbirth, who is shown overcoming the dragon of heresy on the bed frame. At the time pregnancy paintings were very unlikely, and looking closer at the woman she seems to be holding up her dress to create an illusion of pregnancy. Though it’s impossible to sever the question concerning pregnancy from this painting, we can answer it by examining the historical context during the making of the piece.
During the 13th century renaissance period pregnancy was rarely captured in art. Often women during this time would be married around the age of 17-20. Thus many women would have pregnancies early in their years, we could guess that the woman depicted might be expecting an upcoming pregnancy thus alluding to it. But we could also interpret it as the couple’s mourning over an abortion or loss of a child. The woman does not bear a ring, suggesting she is not married, then why would the piece include such an illusion to pregnancy? The pregnancy question in this painting is tricky, and likely to keep puzzling art historians on its true meaning.
Taking a look at the background surrounding the figure we see the mirror that rests in the center of the painting, taking a closer look you can see the cycle of Christ’s death and rebirth is depicted. This detail brings in religious meanings to the piece,once again bringing forth the topic of religious beliefs. A chandelier is hung above the two figures, candles on Arnoldfini’s side are lit while the ones on his wife’s side are diminished. Many including myself speculate that the blown out candles reflect death. Some have concluded that the wife in the painting is deceased and no longer living (this could explain why the husband is dressed in all black) and the piece was to show Arnoldfini’s love and mourning of and for her (what do you think?). The couple’s shoes are seen off and thrown around on the floor of the painting, suggesting the bedroom in the house is a holy and pure place. It reveals the confidentiality of the piece, and just how intimate the piece truly is. In the end this painting is still widely studied by many Art historians, the true meaning stays wavering, but the true beauty of the craft still astonishes many around the world.
Article written by Emily Su
Jan Van Eyck - “Arnolfini Portrait” 1434 (82.2 cm × 60 cm (32.4 in × 23.6 in)
