Search for Articles:
Title / Keyword
Author / Affiliation / Email
Journal
Article Type
 
 
Advanced Search
 
Section
Special Issue
Volume
Issue
Number
Page
 

Saved Queries

Sign in to use this feature.

Search Filter Reset All

Years

Between: -

Subjects

remove_circle_outline
Add Subjects Reset
Select Subjects

Journals

remove_circle_outline
Add Journals Reset
Select Journals

Article Types

remove_circle_outline
Add Article Types Reset
Select Article Types

Countries / Regions

remove_circle_outline
remove_circle_outline
remove_circle_outline
Add Countries / Regions Reset
Select Countries / Regions
Update Search
share announcement

Search Results (3)

Search Parameters:
Keywords = Jan van Eyck

Order results
Result details
Results per page
Show export options expand_more Show export options expand_less
Select all
Export citation of selected articles as:
12 pages, 3253 KiB  
Article
Kris Martin: Altar/Altering Perspectives
by Karen Shelby
Arts 2024, 13(6), 179; https://doi.org/10.3390/arts13060179 - 5 Dec 2024
Viewed by 1382
Abstract
Kris Martin: Altar/Altering Perspectives Flemish artist Kris Martin’s work exists in relationship to the city of Ghent and his reflection on that city’s medieval past. His pieces that implicitly engage with the Ghent Altarpiece by Hubert and Jan van Eyck question the position [...] Read more.
Kris Martin: Altar/Altering Perspectives Flemish artist Kris Martin’s work exists in relationship to the city of Ghent and his reflection on that city’s medieval past. His pieces that implicitly engage with the Ghent Altarpiece by Hubert and Jan van Eyck question the position of human beings in both physical and subjective relationships to works of art. They invite viewers, particularly residents of Ghent, to participate in a new narrative of Ghent, one that is framed, sometimes literally, by the layers of Romanesque and Gothic art and architecture and the symbolism and visual language of Flemish Christianity. They reveal his baroque interest in bringing together tradition and a contemporary conceptual ideology and fall somewhere between the theatricality of the carnival and the artificiality of the spectacle. While a few pieces pointedly reference a Flemish Catholic ideology, the medieval manipulation of the public and the direct iconography are missing. Through his manipulation of scale and placement in non-traditional locations, the pieces are open to new readings beyond the emotive and didactic. But, much in the tradition of the Northern Renaissance, they engage the viewer intellectually and ask for introspection. Full article
(This article belongs to the Special Issue Flemish Art: Past and Present)
►▼ Show Figures

Figure 1

16 pages, 11157 KiB  
Article
Recto and Verso: The Pictorial Fronts and the Marbled Reverses of Two Flemish Panel Paintings
by Kathrin Borgers
Arts 2022, 11(1), 10; https://doi.org/10.3390/arts11010010 - 3 Jan 2022
Viewed by 4189
Abstract
From the first third of the 15th century onwards, panel paintings with marbled reverses increasingly appeared in Flemish art. The fronts of these panels primarily depicted religious narrative scenes or portraits. The backs were decorated with an abstract pattern, referred to as marbling. [...] Read more.
From the first third of the 15th century onwards, panel paintings with marbled reverses increasingly appeared in Flemish art. The fronts of these panels primarily depicted religious narrative scenes or portraits. The backs were decorated with an abstract pattern, referred to as marbling. These painted marble facsimiles often differed in terms of design from other examples of stone imitations such as those used on the frame decorations of other panels. Unlike these frames, which suggest a greater illusionistic intention, the marbled reverses appear to function as abstract ornamentation. However, this article proposes that the painted backs are thematically linked to the pictorial narratives of the fronts. The marbled backs of Rogier van der Weyden’s Crucifixion and the Portrait of Margareta van Eyck will be considered in the context of a profane and a theological iconography. Both panels feature a reverse that can be identified as both an imitation of red porphyry and a representation of liquid paint. Metaphysical, material–semantic, and theological references will be revealed in the pictorial examples. Full article
(This article belongs to the Special Issue Flemish Art: Past and Present)
►▼ Show Figures

Figure 1

18 pages, 6817 KiB  
Article
Jan van Eyck’s New York Diptych: A New Reading on the Skeleton of the Great Chasm
by Miyako Sugiyama
Arts 2022, 11(1), 4; https://doi.org/10.3390/arts11010004 - 25 Dec 2021
Viewed by 6790
Abstract
The Crucifixion and Last Judgment, or the so-called New York Diptych, is one of the most controversial paintings attributed to Jan van Eyck (ca. 1390–1441) and his workshop. For well over a century, art historians have vigorously discussed its [...] Read more.
The Crucifixion and Last Judgment, or the so-called New York Diptych, is one of the most controversial paintings attributed to Jan van Eyck (ca. 1390–1441) and his workshop. For well over a century, art historians have vigorously discussed its attribution, composition, functional intent, and even its dating. In light of prior scholarship addressing these remarkable panels, this paper focuses on the skeleton represented in the Last Judgment to reveal its iconographical meanings. Specifically, I highlight the inscriptions written on the skeleton’s wings, suggesting that the texts were cited from an All Saints’ Day sermon delivered by the Burgundian abbot Bernard of Clairvaux (1090–1153) who discussed a temporal location for blessed or sinful souls. Full article
(This article belongs to the Special Issue Flemish Art: Past and Present)
►▼ Show Figures

Figure 1

Show export options expand_more Show export options expand_less
Select all
Export citation of selected articles as:
 
Displaying article 1-50 on page 1 of 1.
Back to TopTop