Jan van Eyck's Arnolfini double portrait

¶ … Van Eyck's The Arnolfini Double Portrait

The Arnolfini double portrait is amongst the best paintings from the Renaissance in Netherland. The portrait which is also referred to as the Arnolfini Wedding/ Marriage is a picture depicting a wealthy pair holding hands in their Flemish home's bedroom. It was drawn by Jan Van Eyck, in 1434 who was a pioneer of oil painting in the Flemish lands together with the likes of Roger Van der Weyden (c.1390-1441) and Robert Campin (1380-1444). The painting was done in Bruges at a time when the town was the leading trading center in Burgundy. The couple's identity is not certain. Some have speculated that the man in the picture is an Italian merchant, a Mr. Giovanni Arnolfini and the woman as his wife, Giovanna Cenami; but this is unconfirmed (Scallen, 2005, p. 29). The light in the painting comes from the window in the left of the picture and falls across behind the couple to the bed at the right. The couple themselves are lit by another source which is unseen in the picture (Kloss, 2005, p. 95). The majority of art experts believe that the painting depicts a private wedding ceremony and that the painting was likely a symbolic marriage certificate. However, some argue that that painting is much more likely a celebration of what was a close relationship between the couple or a celebration of continuity of their marriage. The Arnoflini portrait along with the Man in Red Turban (1433, National Gallery) and the Ghent Altarpiece (1432, Bavo Cathedral) demonstrate the significant contributions made by Jan Van Eyck to the Northern Renaissance School's naturalism and demonstrate the School's mastery of oil painting.

The Meaning of the painting

Patronage

The British in the course of the Napoleonic Wars seemingly acquired the Arnoflini double portrait. It was soon after taken to the seat of the Empire in London and offered to the Royal family who refused to take it. It was later purchased by then the newly-formed National Art Gallery at 600 British Pounds. It is now believed that the painting is worth well over 100 million British Pounds if it were sold at an auction.

Symbolism

The symbolism and iconography of this portrait is quite imaginative. Almost everything in the portrait seems to have meaning beyond what is depicted in the picture. For example, the wooden clogs lying on the bottom left of the picture could be a reference to the verse in the Book of Exodus where God commands Moses to take off his shoes from his feet, revering the sanctity of the ground he was stepping on. According to Crenshaw, Tucker and Bonfante-Warren, the removed shoes represent the sanctity of the actions in the bedchamber. The sign off signature by Jan Van Ecyk also seems to have another meaning. This is because instead of using the normal "Jan van Eyck did this," the painter signs of with an unfamiliar "Jan van Eyck was here." Even though the symbolic meaning of the use of this unusual signature is unclear, most art critics believe that there is a lot of religious symbolism in the painting, even though it is clearly based on an occurrence that is definitely secular.

Style

Van Ecyk painted the picture using oil-based paints. The advantages of using oil-based paints is that they dry slowly allowing the artist sufficient time to add detail or edit the painting before it dries off. Such paints also have a special luminous quality that allow an artist to capture rich colors and even the subtlest of changes in surfaces or textures. It is clear that Van Ecyk is not the discoverer or inventor of oil-based painting; however, he is one of the well-known artists who popularized and perfected its use (Art History, 2010).

Oil-based painting was perfect for the Arnoflini portrait. This is because it also blends perfectly with surfaces included panels allowing for uniform surfaces. This is what exactly Van Ecyk did in painting the bride. The addition of layers did not interfere with the layers or details underneath. The layering technique allowed by oil paints gave Van Ecyk the perfect opportunity to show greater details and subtle elements including depth in the Arnoflini portrait. It also allowed him to capture and depict rich colors and lights in ways no other paint could especially on panel painting.

Function and all the details of this painting, and the artist's life

The untitled double portrait by Van Ecyk was named The Arnoflini Marriage. It is now on display at the British National Gallery in London. The painting is often regarded as a great appreciation of human mutuality. Similar to Rembrandt's Jewish Bride, this portrait captures the true meaning of marriage.

As mentioned, the portrait depicts Giovanni, a rich Italian merchant, holding the hand of his wife Giovanna as they stand next to each other in the bedchamber facing the viewer.

In spite of the small space afforded in the portrait, Van Ecyk still manages to surround the couple with quite a number of symbols. For instance, to the left, there are oranges placed on the Windowsill and on the low table, a reminder of an age before; that is, it is difficult to tell if they are really oranges and not apples. If they were apples, then they would symbolize temptation and the fall from innocence. On the intricately designed copper chandelier above the couple's heads there is a candle burning in broad daylight. The candle symbolizes the eye of God or could be thought of as the nuptial flame. The puppy in the foreground is symbol of love and fidelity between the couple. The bed on the right side of the picture is dressed in bright red curtains which could be interpreted as the physical part of love (lovemaking) which Christians believe is an important part of the union between man and woman.

Even though most of the elements in the portrait have important double meanings, they are all secondary in significance to that captured in the mirror. A careful look at the mirror reveals two tiny figurines, most probably the painter and man who were most probably there to witness the union. The most important fact about the mirror, however, is that it is a convex mirror. This means that it is able to reflect the ceiling and the floor of the bedchamber, as well as the garden and the sky outside, both of which cannot be seen through the window. Van Ecyk uses the mirror to capture and display what could not be easily seen by the eye. In other words, the mirror depicts the unseen and therefore presents a fuller picture of the moment the painting was done.

Social Status

The portrait clearly captures the social status of the couple. Giovanna's robe is made of excessive amounts of fabric and is decorated with ermine fur. These kinds of clothes were a preserve for the rich. The robe would have required a personal maid to hold the robe off the ground wherever Mrs. Giovanna went. Mr. Giovanni is clad in a velvet cloak which is lined with fur. He also has a plaited straw cap. These clothes clearly show that the couple were well off, but not excessively rich. The absence of flashy gold jewelry, the presence of wooden clogs worn to protect against street dirt and the small size of the bedchamber, all point to middle class and not a noble status. Yet, the oriental carpet, chandelier, stained window, ornate mirror, expensive oranges and Mr. Giovanni's well-manicured hands are clear indicators of considerable wealth.

Marriage Contract

The convex mirror in the middle of the portrait is decorated with miniature medallions shows more details about the room. One can clearly tell that there are two other people in the room -- the painter and most probably a witness to the marital union. More than two hundred years later, Velazquez also employed the Van Ecyk's mirror concept in his masterpiece Las Meninas (1656, Prado). In the centre of the portrait the viewer can clearly see that the two couples are standing next to each other and holding hands, or at least that the man is rather formally holding the limp hand of the woman. The pose is made even more formal by the fact that the man has raised his right hand which suggests that the man is taking an oath. The woman's arranged robe also points to this. Thus, the image of two individuals in the mirror, and the pose of the individual explain why this portrait is referred to as the Arnoflini marriage/ wedding. However, according to some art experts there is more to this union than apparent.

Union of Unequals?

For one, the groom takes the bride's hand in his left and not his right. This symbolizes a left-handed marriage or a union of unequals. In others words, the woman forfeits all the normal rights to inheritance and property. A marriage similar to what would be expected in a union between a modern European prince and a bride of no nobility. Therefore, is possible that the two men in the mirror are there to witness or validate a financial contract drawn up at the time of the marriage; this contemplation seems valid because in that period, no witnesses or even a priest was needed for a marriage ceremony. People could marry themselves and confirm their marriage by attending communion together. The fact that no witnesses were needed is also somewhat confirmed by the unusual sight of one candle burning on a chandelier in broad daylight -- the candle being a representation of Christ's invisible presence and to Him being a witness to all marriage vows.

However, if the portrait actually depicts the union of Giovanni di Nicolaoarnolfini and Giovanna Cenami, then it could not be a marriage of unequals. This is because Giovanna was also well-off and came from a wealthy family. However, it is likely that the portrait was not really a portrayal of the marriage between the two since it has been established about twenty years ago that, that marriage took place in 1447 -- about six years after the painter died. Other art historians are of the opinion that the painting might be depicting the marriage between the same Giovanni and his first wife miss Costanzatrenta (Encyclopedia of Art Education, 2016).