Jan van Eyck (c.1395-1441)

A Flemish painter and one of the leading artists of the Northern Renaissance, Van Eyck mastered the art of oil painting, which was a new invention. He is considered one of the most talented painters of 15th century Europe and is best known for his highly realistic figure painting, usually on religious subjects, and portrait art. His hallmark three-quarter pose of face together with his mastery of oils brought a startling new realism to portraiture, and made him one of the foremost painters of the Northern Renaissance, much in demand by the newly emerging bourgeoisie and merchant class. His most notable works include the altarpiece at Ghent Cathderal, 1432 (Saint Bavo Cathedral, Ghent), the Arnolfini Portrait (National Gallery, London 1434) and the Annunciation, 1434 (National Gallery of Art, Washington).

Born in Maaseik, Belgium around 1395, little is known of his early life. It is thought that the painter Hubert van Eyck was his brother. Another younger brother, Lambert van Eyck is mentioned in court documents and it is thought he may have been a painter too.

The Arnolfini Marriage (1434)

Van Eyck secured a career working at court, first for John of Bavaria between 1422 and 1424 and then with Philip The Good, Duke of Burgundy between 1425 and 1441. These positions were highly prestigious, and the regular salary allowed him to pursue a certain artistic independence. In fact Eyck developed a very close relationship with the Duke who served as godfather to one of his children, supported his widow on his death and later helped one of his daughters with funds to enter a convent. Van Eyck's family bore a coat-of-arms, which demonstrated that they belonged to gentry. And it is clear that he was literate because he signed his paintings, an unusual practice at the time.

The Ghent Altarpiece is considered his first masterpiece, followed closely by the Arnolfini Portrait. Van Eyck's ability to manipulate oil paints to produce realistic representations of the natural world is why he became so popular, and remains so to this day.

Detail from the central panel of the
Ghent Altarpiece (1432)

He frequently aimed to deceive the eye by using mirrors to reflect actions taking place off canvas. This can be seen in the Arnolfini Portrait, where the mirror on the rear wall reflects 2 figures entering the room, one is probably Van Eyck himself. The signature above reads 'Jan van Eyck has been here. 1434'. It was almost a version of early graffiti art. This work is a portrait of Giovanni di Nicolao Arnolfini and his wife, but is not meant as a record of their wedding. Mrs Arnolfini is not pregnant, as is so often thought, but holding up her full-skirted dress, as was the fashion at the time. Another reflected self-portrait, can be seen in the shield of Saint George in the 'Virgin of Canon van der Paele', 1434-36. Eyck was able to manipulate paint to create fleeting clouds and light reflections on different surfaces from metal to glass, dull to luminous. These effects can also be seen in his work 'Virgin of Canon van der Paele', in the glinting gold thread of Saint Donatian's cape, and the glow of pearls and dazzling jewellery of the holy figures.

Man in a Turban (1433)

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Other important works include the The Stygmata of St. Francis, c.1428-30 (Galleria Sabauda, Turin); Crucifixion and Last Judgement diptych, 1420-25 (Metropolitan Museum of Art, New York); Madonna in the Church, c.1425 (Staatliche Museen, Berlin); Portrait of a Man in a Turban, 1433 (believed to be a self-portrait) (National Gallery, London); St. Barbara, 1437 (Royal Museum of Fine Arts, Antwerp); Madonna and Child at the Fountain, 1439 (Royal Museum of Fine Arts, Antwerp); Portrait of Christ, 1440 (Groeningemuseum, Bruge) and St. Jerome, 1440 (Detroit Institute of Art, Detroit).

As was common practice at the time, Van Eyck had a workshop in Bruges with assistants who made exact copies, pastiches and variations of his completed panel paintings for the market. He died in June 1441 and was buried at the Church of St Donatian (which was later destroyed in the French Revolution). In a 1454 biography, Jan Van Eyck was named the 'leading painter' of his day, alongside Antonio di Puccio Pisano (Pisanello) and Rogier van der Weyden. He influenced a generation of Flemish artists and after his death, his large volume of works went on to influence artists all over Europe.

...For details of the life and works of the greatest Italian artist of the 16th century Renaissance era in Rome and Florence, see Michelangelo.

• For information about the best artists in Ireland, see: Irish Art Guide

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