Christine, Ashley, Sharon, Shechenah

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Christine, Ashley, Sharon, Shechenah Late gothic (north) Christine, Ashley, Sharon, Shechenah

Jan van Eyck. Ghent Altarpiece (closed) Jan van Eyck. Ghent Altarpiece (closed) *framing is attributed to his brother *for the illiterate, the altarpiece stood for the doctrines and narratives of the church *depicts the donors as pious individuals. *Grisaille (monochromatically painted to look like statues)

Jan van Eyck. Ghent Altarpiece (open) from St Jan van Eyck. Ghent Altarpiece (open) from St. Bavo Cathedral (Ghent, Belgium), completed 1432, oil on wood

Philip the Good, Duke of Burgundy/ Ghent Altarpiece (a polyptych)/ depiction of God the Father

depiction of Adam and Eve

Adoration of the Lamb/ Fountain of Life/ unifying horizon line

Images of the Blessed (Left to Right: Just Judges, Warriors of Christ, Holy Hermits, and Holy Pilgrims)

use of exotic trees/ scientific and inquiring mind invades the world of Gothic vision

Lotte Brand Philip. Reconstruction of the Ghent Altarpiece

Jan van Eyck. The Virgin of Chancellor Nicolas Rolin, c Jan van Eyck. The Virgin of Chancellor Nicolas Rolin, c. 1437, oil on panel the Burgundian Netherlands/ Chancellor Nicolas Rolin/ lavish and luxurious scene

detailed landscape/ Treaty of Arras (Treaty of 1435, between King Charles VII of France and Duke Philip the Good of Burgundy. France and Burgundy reconciled. Philip recognized Charles as king of France and received the Somme towns. He was exempted from homage to the crown. Charles VII agreed to punish the murderers of Philip's father, Duke John of Burgundy. ) Near to them are two peacocks, symbols both of immortality and of pride, to which even a powerful man as Rolin might succumb.

There has been speculation that they may represent van Eyck and an assistant, after the pattern of his Arnolfini Portrait. The figure on the right wears a similar red chaperon to the probable van Eyck self-portrait in the National Gallery, London.

The small garden with many flowers identifiable (including lilies, irises, paeonies and roses) symbolizes Mary's virtues. Beyond, two male figures wearing chaperons are looking through the crenellations of what looks to be a fortified balcony or bridge.

Jan van Eyck. Annunciation, c. 1435, oil on canvas

Jan van Eyck. Giovanni Arnolfini and his Bride, oil on wood 1434,

Giovanni Arnolfini/ discarded shoes/ Giovanna Cenami

fruit on the window sill/ crystal prayer beads/ single lit candle

St. Margaret and the bed/ the whisk broom/ image of the dog/ joining of the hands

Jan van Eyck’s signature and the mirror

Jan van Eyck. Madonna with Canon van der Paele, oil on wood 1436,

Capitals show Abraham sacrificing Isaac/ servants of God include St Capitals show Abraham sacrificing Isaac/ servants of God include St. George and Canon van der Paele Architectural and throne details/ Samson and Lion/ Cain and Abel/ Eve from throne leg/

*The exquisite brocades, furs, and silks are shown in an extraordinarily lifelike and brilliant way confirming their reality, their tangibility. *This picture hung in the choir of the now destroyed collegiate church of St. Donatian in Bruges, mirrors the real location. *Van der Paele would therefore have been able to see himself in the very place of his depicted vision and so "prove" to the world at large the reality of his divine experience.

Jan van Eyck. Man in a Red Turban, oil on wood 1433, *a possible self-portrait *revelation of both physical and psychological reality *advantages of a three-quarters view

Right: Jan van Eyck. Portrait of Margareta van Eyck, 1439, oil on wood Below: Jan van Eyck. Portrait of Baudouin de Lannoy (detail), oil on wood , 1437