All EYCK, Jan van Oil Paintings

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 Annunciation oil on canvas


Annunciation
Annunciation
Painting ID::  63086 		  1436 Oil on wood, 39 x 24 cm Thyssen-Bornemisza Collection, Madrid The panel depicting in grisaille the Virgin Annunciate is one of the wings of a small portable diptych. The other wing representing the Angel Annunciating is in the same museum. Artist: EYCK, Jan van Painting Title: Annunciation , 1401-1450 Painting Style: Flemish , , religious
  1436 Oil on wood, 39 x 24 cm Thyssen-Bornemisza Collection, Madrid The panel depicting in grisaille the Virgin Annunciate is one of the wings of a small portable diptych. The other wing representing the Angel Annunciating is in the same museum. Artist: EYCK, Jan van Painting Title: Annunciation , 1401-1450 Painting Style: Flemish , , religious

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EYCK, Jan van The Madonna with Canon van der Paele oil on canvas


The Madonna with Canon van der Paele
The Madonna with Canon van der Paele
Painting ID::  63916 		  1436 Oil on wood, width of detail: 47 cm Groeninge Museum, Bruges The bald wrinkled head of the old canon is an impressive exercise in psychological analysis.Artist:EYCK, Jan van Title: The Madonna with Canon van der Paele (detail) Painted in 1401-1450 , Flemish - - painting : religious
  1436 Oil on wood, width of detail: 47 cm Groeninge Museum, Bruges The bald wrinkled head of the old canon is an impressive exercise in psychological analysis.Artist:EYCK, Jan van Title: The Madonna with Canon van der Paele (detail) Painted in 1401-1450 , Flemish - - painting : religious

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EYCK, Jan van The Madonna with Canon van der Paele oil on canvas


The Madonna with Canon van der Paele
The Madonna with Canon van der Paele
Painting ID::  63917 		  1436 Oil on wood, width of details: 7,5 cm (each) Groeninge Museum, Bruges The picture shows some architectural details of the painting. The reliefs and sculptures on the capitals in the background and on the Virgin's throne all allude to Christ's salvation of humanity. The depictions on the throne of Adam and Eve, Cain killing Abel, and Samson fighting the lion, together with the depiction on the capitals of Abraham sacrificing Isaac, create an Old Testament framework which allows the observer to reflect on the mercy of God, who sent his son, Christ the Redeemer, into the world. Redemption from sin (Cain killing his brother) is possible only through the power of faith (Samson overpowering the lion). The goodness and grace of God "at the moment of truth" (Abraham sacrificing Isaac) serves as proof of the redeeming power and presence of servants of God both celestial (St. George) and mortal (Canon van der Paele).Artist:EYCK, Jan van Title: The Madonna with Canon van der Paele (details) Painted in 1401-1450 , Flemish - - painting : religious
  1436 Oil on wood, width of details: 7,5 cm (each) Groeninge Museum, Bruges The picture shows some architectural details of the painting. The reliefs and sculptures on the capitals in the background and on the Virgin's throne all allude to Christ's salvation of humanity. The depictions on the throne of Adam and Eve, Cain killing Abel, and Samson fighting the lion, together with the depiction on the capitals of Abraham sacrificing Isaac, create an Old Testament framework which allows the observer to reflect on the mercy of God, who sent his son, Christ the Redeemer, into the world. Redemption from sin (Cain killing his brother) is possible only through the power of faith (Samson overpowering the lion). The goodness and grace of God "at the moment of truth" (Abraham sacrificing Isaac) serves as proof of the redeeming power and presence of servants of God both celestial (St. George) and mortal (Canon van der Paele).Artist:EYCK, Jan van Title: The Madonna with Canon van der Paele (details) Painted in 1401-1450 , Flemish - - painting : religious

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EYCK, Jan van The Ghent Altarpiece oil on canvas


The Ghent Altarpiece
The Ghent Altarpiece
Painting ID::  64768 		  1432 Oil on wood Cathedral of St Bavo, Ghent The detail shows Isabelle Borluut, wife of Jodocus Vyd, the donor of the Ghent Altarpiece. , EYCK, Jan van , The Ghent Altarpiece: The Donor's Wife (detail) , 1401-1450 , Flemish , painting , portrait
  1432 Oil on wood Cathedral of St Bavo, Ghent The detail shows Isabelle Borluut, wife of Jodocus Vyd, the donor of the Ghent Altarpiece. , EYCK, Jan van , The Ghent Altarpiece: The Donor's Wife (detail) , 1401-1450 , Flemish , painting , portrait

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EYCK, Jan van The Ghent Altarpiece: The Holy Hermits oil on canvas


The Ghent Altarpiece: The Holy Hermits
The Ghent Altarpiece: The Holy Hermits
Painting ID::  64769 		  1427-30 Oil on wood, 148,6 x 53,9 cm Cathedral of St Bavo, Ghent Opposite to the Soldiers of Christ and the Just Judges are the Holy Hermits who have renounced the world. , EYCK, Jan van , The Ghent Altarpiece: The Holy Hermits , 1401-1450 , Flemish , painting , religious
  1427-30 Oil on wood, 148,6 x 53,9 cm Cathedral of St Bavo, Ghent Opposite to the Soldiers of Christ and the Just Judges are the Holy Hermits who have renounced the world. , EYCK, Jan van , The Ghent Altarpiece: The Holy Hermits , 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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