Bought by the National Gallery in 1842
Painted by Jan van Eyck in 1434, The Arnolfini Portrait spawns a lot of speculation – over half a century later, we are left with many unanswered questions about it: who are the couple and why was it painted?
The debate over this painting has been lively almost from the start - and it is still one of the most visited pictures in the National Gallery. School-children laugh at the man in the huge hat and his funny gesture, whilst artists marvel at the details. And is she pregnant or not?
Jan van Eyck is considered to be one of the most important artists of the Northern Renaissance. About 20 of his paintings survived, all of which are considered to be absolute masterpieces. His technique was incredibly innovative. He did not invent oil painting, as once thought, but he did perfect its use.
Jan van Eyck, Portrait of a Man (Self Portrait?), 1433, National Gallery
The painting is considered to be one of the most revolutionary paintings in history. Yes, really - think back to the 15th century.... It depicts two people in a contemporary setting as realistic as can be. It’s the first time in history that the artist became an eye-witness and we can look back to a realistic scene that happened over 600 years ago.
The male figure is most likely Giovanni di Nicolao di Arnolfini. The Arnolfinis were a large family of Italian merchants, many of whom lived in Bruges at the time. In 1434, Giovanni would have been in his late 30s. His face resembles an identified portrait by Jan van Eyck from around a year later. Yes, he also looks like Vladimir Putin.
The identity of the woman is a mystery. For some time, it was thought that she is Arnolfini’s second wife. However, more recently a document gave evidence that they married in 1447 (13 years after this portrait and 6 years after van Eyck’s death). So it can't be her.
Giovanni Arnolfini married his first wife, Costanza Trenta in 1426. Although she died in childbirth the year before this portrait was painted, it is now thought this is a Memorial painting to her.
There are many clues which support this theory, such as the black clothes the man is wearing, and the fact that he holds his hand up as if he is praying for his dead wife. The woman wears a headdress, which in the 15th century was only done by married women.
Let's look at some other clues...
Placing dogs at the feet of women in tomb effigies was common , since they were believed to accompany and guide the deceased in the afterlife. Therefore the dog’s presence in the painting could be a way of acknowledging her death – or it could simply serve as a common symbol of loyalty and fidelity.
...and look at how fine the dog heairs have been painted
The dog is a Brussels Griffon
Religion and the expression of faith were important subjects at the time – and we can see this being represented in the chandelier. There is only one lit candle in it – this was a common way to symbolize devotion to only one God (the Christian God). Also, a lit candle by the man, and the extinguished candle above the woman could suggest she has died.
Another clue pointing towards the notion that this might be a memorial painting is the mirror on the wall. This mirror is surrounded by scenes from the Passion of Christ. All the scenes on the side of the woman scenes related to Christ’s death and his resurrection, the ones on the man’s side are all related to the life of Christ.
The convex mirror is one of the elements of the painting that prompts endless speculation. On the wall behind the couple, the large mirror (larger than would have been possible at the time) reflects not only the room and the back of the couple, but also the image of two people entering the room, one we assume is van Eyck.
The convex mirror is one of the elements of the painting that prompts endless speculation. On the wall behind the couple, the large mirror (larger than would have been possible at the time) reflects not only the room and the back of the couple, but also the image of two people entering the room, one we assume is van Eyck.
Just above the mirror the painting is signed and dated by the artist with “Johannes de Eyck fuit hic 1434” which translates to “Jan van Eyck was here 1434”
The carving, which overlooks the marriage bed, represents St Margaret, the patron saint of childbirth
NO. The woman in the picture is not pregnant: her bulge merely illustrates the contemporary fashion for voluminous robes.
The couple have removed their shoes in acknowledgment of the sanctity of the bedchamber, transforming it into a holy place. One of her shoes sits on a carpet in front of the bed alluding to the fact that she may have died in childbirth.