The Humanism of Jan van Eyck's Arnolfini Portrait

 

Public domain image courtesy of Wikimedia Commons.

    Jan van Eyck's Arnolfini Portrait was painted in 1434. It is believed to depict Giovanni di Nicolao Arnolfini and his wife at their residence in the Flemish city of Bruges. Van Eyck lived and worked in Bruges from 1432 until his death in 1441, so it is likely this portrait was created or at least planned on-site at the residence. As with many painters during the Northern Renaissance period, Van Eyck used oil as his medium, allowing him to use layers of wet paint and translucent glaze in order to add the subtle variations in color and tone that bring this work to life.

    In her biography on Van Eyck for The Metropolitan Museum of Art, Susan Jones says, "His artistic prestige rests partly on his unrivaled skill in pictorial illusionism. [. . .] Van Eyck’s ability to manipulate the properties of the oil medium played a crucial role in the realization of such effects."

Humanism

    The influence of humanism is readily evident in this scene. The human figures are lovingly rendered with glowing flesh and stand in postures of ease. They look at one another with relaxed expressions. The room appears serene and welcoming, softly lit by the window positioned to let us glimpse the natural surroundings outside. There is an overall sense of calm. Even the dog looks quite at peace.

    The pleasant nature of their surroundings and demeanor attribute respect to the people depicted within the painting. Even the religious elements present here (which I will further examine in the section on symbolism) pay reverence to the human subjects, as opposed to the wrath or subservience depicted in many works of art concerning religious subject matter.

    In her thesis on humanism in Renaissance art, Annalise Hartley draws an interesting connection between humanism and the techniques employed by Van Eyck: "Humanism affected the Northern countries just as it affected Italy. According to Carol Strickland and John Boswell, along with humanist views came a renewed interest in the physical form and the natural world, in an attempt to visually record and reproduce nature through art. Artists took great care in depicting animals, plants, people, and objects. They used light and shadow, as seen in Arnolfini Wedding, to give the objects of a painting three dimensions."

Details

    The art of the Northern Renaissance is known for its attention to detail, and Van Eyck's work proves exceptional even amongst his peers.

    Note the granular imperfections in the wood and brickwork creating the effect of optical texture. Light is realistically refracted within the stained glass window.

    Here, the entire scene is reflected backwards within a convex mirror, including what looks to be a cheeky cameo of the painter himself. The decorative medallions surrounding the mirror contain a series of images depicting the Passion of Jesus Christ. A string of glass beads redirects light onto the wall. In this small segment of the painting Van Eyck was almost showing off his mastery of detail, light, and perspective. I don't think its a coincidence Van Eyck chose to sign and date the painting on the wall just above the mirror－he was proud of his extraordinary accomplishment.

    Minute details are present in the frills of the woman's headdress, her ornate jewelry, her finely embroidered belt, and the wooden engravings behind her.

Linear Perspective

    The use of linear perspective was popular amongst Renaissance-era painters, but few used it so convincingly as Van Eyck in Arnolfini Portrait. Many other paintings employing the technique tended to leave elements such as human figures appearing somewhat flat against their three-dimensional background. Not so here. The astonishing sense of depth in this painting continues right into the mirror.

    Notice how the use of linear perspective provides a guide for the use of lines in this painting. The edges of the walls, ceiling, furniture, and floorboards converge towards a distant point beyond the back wall.

Chiaroscuro

    Note the use of subtle shading throughout the painting. Light falls realistically throughout the room, imbuing the scene with its soft beauty and believability. Because of the expert use of tone, fabrics appear soft, metals shiny, and the wooden floor lightly varnished. We can even tell that there is a second window outside the bounds of the painting by the way it illuminates the subjects in the foreground.

Symbolism

    As someone lacking the wealth of knowledge to readily understand the symbolism of oranges on a windowsill or a single burning candle, I looked to experts for insight into the matter.

    Erwin Panofsky's in-depth 1934 article on The Arnolfini Portrait infers symbols of marital fidelity and religious sanctity placed throughout the room. The woman's headdress indicates that they are a married couple, and the placement of her hand above her womb may symbolize her desire for a child.

    In her 1926 book Art Through the Ages, Helen Gardner writes, "Van Eyck depicts the Lucca financier (who had established himself in Bruges as an agent of the Medici family) and his betrothed in a Flemish bedchamber that is simultaneously mundane and charged with the spiritual. As in the Mérode Altarpiece , almost every object portrayed conveys the event's sanctity, specifically, the holiness of matrimony. Arnolfini and his bride, Giovanna Cenami, hand in hand, take the marriage vows. The cast-aside clogs indicate this event is taking place on holy ground. The little dog symbolizes fidelity (the common canine name Fido originated from the Latin fido, "to trust"). Behind the pair, the curtains of the marriage bed have been opened. The bedpost's finial (crowning ornament) is a tiny statue of Saint Margaret, patron saint of childbirth. From the finial hangs a whisk broom, symbolic of domestic care. The oranges on the chest below the window may refer to fertility, and the all-seeing eye of God seems to be referred to twice. It is symbolized once by the single candle burning in the left rear holder of the ornate chandelier and again by the mirror, where viewers see the entire room reflected. The small medallions set into the mirror's frame show tiny scenes from the Passion of Christ and represent God's ever-present promise of salvation for the figures reflected on the mirror's convex surface."

    Gardner's observations reaffirm my understanding of The Arnolfini Portrait's humanist influences. While much of the imagery here is religious, it is used to express the sanctity of the couple and their human matrimony.

Color

    While a variety of colors are present here, their use is mostly restrained. The room is made up of dull greys and browns, giving it a peaceful calm. The most vibrant use of color is saved for the rich greens, blues, and purples of the couple's garments. Against the dull reds and browns behind them, the people are brought into stark contrast to make them the foremost subjects of the painting. Their rosy flesh in particular draws attention. The colors in this painting achieve their stunning effect through subtle variation rather than sheer vibrancy.

    In summary, Van Eyck uses the visual elements and Renaissance-era techniques in harmony to inspire a sense of human warmth. From tone to symbolism to color, everything works together to express a strong humanist influence. I adore this piece for the way it celebrates human life and captures it in peaceful stillness.

Works Cited

“Arnolfini Portrait” Wikimedia Commons, https://upload.wikimedia.org/wikipedia/commons/3/33/Van_Eyck_-_Arnolfini_Portrait.jpg.

Cole, Margherita, “How to Decipher the Symbolism in Jan van Eyck's Famous 'Arnolfini Portrait'” 9 Aug. 2020, mymodernmet.com/arnolfini-portrait/.

Gardner, Helen. "Art Through the Ages" 1926, 576-578.

Hartley, Annalise. “Beyond the Painting: Humanism in Renaissance Art” Apr. 2010, https://core.ac.uk/download/pdf/5009092.pdf.

Jones, Susan. “Jan van Eyck (ca. 13901441)” The Metropolitan Museum of Art, Oct. 2002, https://www.metmuseum.org/toah/hd/eyck/hd_eyck.htm.

Leon Kessler, Herbert, “Jan van Eyck” Britannica, www.britannica.com/biography/Jan-van-Eyck.

Panofsky, Erwin, "Jan van Eyck's Arnolfini Portrait", The Burlington Magazine for Connoisseurs, volume 64, issue 372, pages 117–119 + 122–127, March 1934, Harvard Canvas.