The Arnolfini Portrait: What Makes a Painting a Classic

Introduction: Defining a Classic Work of Art

What makes a work of art a classic? This question invites analysis of technique, originality, symbolism, and enduring relevance. Jan van Eyck's Arnolfini Portrait (1434) offers a compelling case study for each of these criteria.

The Arnolfini Portrait: Subject and Historical Context

The Arnolfini Portrait is an oil painting on oak panel by Jan van Eyck, dated 1434. The painting, which measures approximately thirty-two by twenty-three inches, is part of the permanent display at the National Gallery in London. The portrait is thought to depict Italian merchant Giovanni Arnolfini and his wife in their home in the Flemish city of Bruges.

In 1934, Erwin Panofsky suggested the couple had been misidentified, citing their handclasp as evidence. In the painting, the man's left hand grasps the right hand of the woman. By tradition, couples of equal social status would have joined right hands in the marriage ceremony. The left-hand–right-hand grasp indicated that the couple were not social equals; this was not the case with Arnolfini and his bride, leading to the conclusion that the couple in the painting represents two other people (Sandler 488). The couple has not been definitively identified.

Technical Innovation: Oil Paint and Realism

Regardless of the identity of the couple, Van Eyck's painting is considered remarkable for several reasons. First, it marks an early use of oil paints instead of tempera, which had been the traditional medium for portrait artists. Van Eyck's use of oil was so masterful that for generations he was credited with being the inventor of oil painting (Smith). Second, Van Eyck's rendering of detail was meticulous. He used symbolism in the painting, but everything was executed with a realism that had been previously unknown. His use of light was magnificent, and he was able to capture the essence of a room and the people and objects within it. The Arnolfini Portrait is the first known full-length double portrait (van Buren).

The painting is thus considered a classic because it demonstrates an early and innovative use of both materials and technique. The portrait is also very well executed, a testament in part to Van Eyck's early training and work as an illuminator. Through that experience, he developed a steady hand and an eye for fine detail.

Symbolism in the Arnolfini Portrait

Another reason the painting is a classic is its rich use of symbolism. In addition to the clasped hands as a symbol of intention to marry, Van Eyck employed other symbols that would have been readily understood by viewers of his time. The small dog symbolizes love and fidelity. The pair of white slippers on the floor to the right of the couple signifies the sanctity of marriage. The fruit on the windowsill symbolizes fertility.

There is also religious symbolism throughout the composition. The fruit references original sin as well as fertility. The glowing candle stands for faith in God. The frame of the convex mirror contains ten medallions portraying scenes from the life of Christ (Delahunt). Van Eyck recorded his presence at the event by inscribing on the wall within the painting "Jan van Eyck was here." It is also presumed that his face is one of the two reflected in the mirror. There is still scholarly debate as to whether the painting was intended to serve as a record of a specific event; if not, these two references may exemplify Van Eyck's sense of humor.