Rivista | Venezia Arti
Fascicolo monografico | 26 | 2017
Articolo | Why Was Jan van Eyck here?
Abstract
Jan van Eyck’s Arnolfini Marriage Portrait of 1434 still poses fundamental questions. An overlooked account explained the groom’s left hand holding his bride’s right hand as a secular, legal morganatic marriage with a bride of lower social rank and wealth. That would explain Van Eyck’s presence as witness in the mirror and through his inscription, and corresponds to the recent identification of the bride and groom as Giovanni di Arrigo Arnolfini and his previously unknown first wife Helene of unknown last name. Van Eyck’s scene can be called the first modern painting, as the earliest autonomous, illusionistic representation of secular reality, provided with the earliest artist’s signature of the modern type, framing his scene as perceived and represented by a particular individual. That is why Jan van Eyck was here.
Presentato: 17 Luglio 2017 | Accettato: 21 Settembre 2017 | Pubblicato 20 Dicembre 2017 | Lingua: en
Keywords Morganatic Marriage • Signature • Modern painting • Jan van Eyck • Arnolfini
Copyright © 2017 Benjamin Binstock. This is an open-access work distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction is permitted, provided that the original author(s) and the copyright owner(s) are credited and that the original publication is cited, in accordance with accepted academic practice. The license allows for commercial use. No use, distribution or reproduction is permitted which does not comply with these terms.
Permalink http://doi.org/10.14277/2385-2720/VA-26-17-7
Introduzione
Medioevo
Età moderna
Il XX secolo
Miscellanea
DC Field | Value |
---|---|
dc.identifier |
ECF_article_1073 |
dc.title |
Why Was Jan van Eyck here?. The Subject, Sitters, and Significance of The Arnolfini Marriage Portrait |
dc.contributor.author |
Binstock Benjamin |
dc.publisher |
Edizioni Ca’ Foscari - Digital Publishing |
dc.type |
Articolo |
dc.language.iso |
en |
dc.identifier.uri |
http://edizionicafoscari.it/it/edizioni4/riviste/venezia-arti/2017/1/why-was-jan-van-eyck-here/ |
dc.description.abstract |
Jan van Eyck’s Arnolfini Marriage Portrait of 1434 still poses fundamental questions. An overlooked account explained the groom’s left hand holding his bride’s right hand as a secular, legal morganatic marriage with a bride of lower social rank and wealth. That would explain Van Eyck’s presence as witness in the mirror and through his inscription, and corresponds to the recent identification of the bride and groom as Giovanni di Arrigo Arnolfini and his previously unknown first wife Helene of unknown last name. Van Eyck’s scene can be called the first modern painting, as the earliest autonomous, illusionistic representation of secular reality, provided with the earliest artist’s signature of the modern type, framing his scene as perceived and represented by a particular individual. That is why Jan van Eyck was here. |
dc.relation.ispartof |
Venezia Arti |
dc.relation.ispartof |
Vol. 26 | Dicembre 2017 |
dc.issued |
2017-12-20 |
dc.dateAccepted |
2017-09-21 |
dc.dateSubmitted |
2017-07-17 |
dc.identifier.issn |
|
dc.identifier.eissn |
2385-2720 |
dc.rights |
Creative Commons Attribution 4.0 International Public License |
dc.rights.uri |
http://creativecommons.org/licenses/by/4.0/ |
dc.identifier.doi |
10.14277/2385-2720/VA-26-17-7 |
dc.peer-review |
yes |
dc.subject |
Arnolfini |
dc.subject |
Arnolfini |
dc.subject |
Jan van Eyck |
dc.subject |
Jan van Eyck |
dc.subject |
Modern painting |
dc.subject |
Modern painting |
dc.subject |
Morganatic Marriage |
dc.subject |
Morganatic Marriage |
dc.subject |
Signature |
dc.subject |
Signature |
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