EYCK, Jan van
Flemish Northern Renaissance Painter, ca.1395-1441 Painter and illuminator, brother of Hubert van Eyck. According to a 16th-century Ghent tradition, represented by van Vaernewijck and Lucas d'Heere, Jan trained with his brother Hubert. Pietro Summonte's assertion (1524) that he began work as an illuminator is supported by the fine technique and small scale of most of Jan's works, by manuscript precedents for certain of his motifs, and by his payment in 1439 for initials in a book (untraced) for Philip the Good, Duke of Burgundy. Jan is first documented in The Hague in August 1422 as an established artist with an assistant and the title of 'Master', working for John III, Count of Holland (John of Bavaria; reg 1419-25), who evidently discovered the artist while he was bishop (1389-1417) of the principality of Liege.
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EYCK, Jan van The Ghent Altarpiece: Adam (detail oil painting


The Ghent Altarpiece: Adam (detail
1425-29 Oil on wood Cathedral of St Bavo, Ghent There is a passionate interest in facial expression and in character, an instance of this is the difference in treatment between the supernatural figures (God the Father and the Virgin) and those of Adam and Eve who appear as figures from another world, physically as well as spiritually. , EYCK, Jan van , The Ghent Altarpiece: Adam (detail) , 1401-1450 , Flemish , painting , religious
Painting ID::  64770 		EYCK, Jan van
The Ghent Altarpiece: Adam (detail
1425-29 Oil on wood Cathedral of St Bavo, Ghent There is a passionate interest in facial expression and in character, an instance of this is the difference in treatment between the supernatural figures (God the Father and the Virgin) and those of Adam and Eve who appear as figures from another world, physically as well as spiritually. , EYCK, Jan van , The Ghent Altarpiece: Adam (detail) , 1401-1450 , Flemish , painting , religious
   
   
     
EYCK, Jan van The Ghent Altarpiece oil painting


The Ghent Altarpiece
1432 Oil on wood Cathedral of St Bavo, Ghent When closed, the altarpiece has on the outside of its wings a large Annunciation. , EYCK, Jan van , The Ghent Altarpiece: Angel of the Annunciation , 1401-1450 , Flemish , painting , religious
Painting ID::  64771 		EYCK, Jan van
The Ghent Altarpiece
1432 Oil on wood Cathedral of St Bavo, Ghent When closed, the altarpiece has on the outside of its wings a large Annunciation. , EYCK, Jan van , The Ghent Altarpiece: Angel of the Annunciation , 1401-1450 , Flemish , painting , religious
   
   
     
EYCK, Jan van The Ghent Altarpiece oil painting


The Ghent Altarpiece
1432 Oil on wood Cathedral of St Bavo, Ghent Prophets Zacharias and Michas are related to the Annunciation through their prophecies given by the text on the floating ribbons. , EYCK, Jan van , The Ghent Altarpiece: Prophet Zacharias , 1401-1450 , Flemish , painting , religious
Painting ID::  64772 		EYCK, Jan van
The Ghent Altarpiece
1432 Oil on wood Cathedral of St Bavo, Ghent Prophets Zacharias and Michas are related to the Annunciation through their prophecies given by the text on the floating ribbons. , EYCK, Jan van , The Ghent Altarpiece: Prophet Zacharias , 1401-1450 , Flemish , painting , religious
   
   
     
EYCK, Jan van The Ghent Altarpiece oil painting


The Ghent Altarpiece
1425-29 Oil on wood, width 37 cm Cathedral of St Bavo, Ghent The scene at top of the niche containing the figure of Adam depicts in grisaille the Offering of Abel and Cain. The scene prefigures both the sacrifice of Christ and the Eucharist. , EYCK, Jan van , The Ghent Altarpiece: The Offering of Abel and Cain , 1401-1450 , Flemish , painting , religious
Painting ID::  64773 		EYCK, Jan van
The Ghent Altarpiece
1425-29 Oil on wood, width 37 cm Cathedral of St Bavo, Ghent The scene at top of the niche containing the figure of Adam depicts in grisaille the Offering of Abel and Cain. The scene prefigures both the sacrifice of Christ and the Eucharist. , EYCK, Jan van , The Ghent Altarpiece: The Offering of Abel and Cain , 1401-1450 , Flemish , painting , religious
   
   
     
EYCK, Jan van The Ghent Altarpiece: Singing Angels oil painting


The Ghent Altarpiece: Singing Angels
1427-29 Oil on wood, 164,5 x 71,5 cm Cathedral of St Bavo, Ghent The two panels depicting the angels playing music and singing are the most famous details of the altar-piece. Although it has been proposed that they were originally designed to be parts of an organ housing, they clearly fit into the iconographic concept. Connected with the trio of God the Father, surrounded by the Virgin Mary and St John the Baptist, these wingless angels belong to the "heavenly domain", and they not only sing the praises of the Lord but also invoke the music of the spheres. At the same time, their presence is connected to the events depicted in the lower part of the panels: the use of identical sky background proves this. , EYCK, Jan van , The Ghent Altarpiece: Singing Angels , 1401-1450 , Flemish , painting , religious
Painting ID::  64774 		EYCK, Jan van
The Ghent Altarpiece: Singing Angels
1427-29 Oil on wood, 164,5 x 71,5 cm Cathedral of St Bavo, Ghent The two panels depicting the angels playing music and singing are the most famous details of the altar-piece. Although it has been proposed that they were originally designed to be parts of an organ housing, they clearly fit into the iconographic concept. Connected with the trio of God the Father, surrounded by the Virgin Mary and St John the Baptist, these wingless angels belong to the "heavenly domain", and they not only sing the praises of the Lord but also invoke the music of the spheres. At the same time, their presence is connected to the events depicted in the lower part of the panels: the use of identical sky background proves this. , EYCK, Jan van , The Ghent Altarpiece: Singing Angels , 1401-1450 , Flemish , painting , religious
   
   
     
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     EYCK, Jan van
     Flemish Northern Renaissance Painter, ca.1395-1441 Painter and illuminator, brother of Hubert van Eyck. According to a 16th-century Ghent tradition, represented by van Vaernewijck and Lucas d'Heere, Jan trained with his brother Hubert. Pietro Summonte's assertion (1524) that he began work as an illuminator is supported by the fine technique and small scale of most of Jan's works, by manuscript precedents for certain of his motifs, and by his payment in 1439 for initials in a book (untraced) for Philip the Good, Duke of Burgundy. Jan is first documented in The Hague in August 1422 as an established artist with an assistant and the title of 'Master', working for John III, Count of Holland (John of Bavaria; reg 1419-25), who evidently discovered the artist while he was bishop (1389-1417) of the principality of Liege.

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