Portrait of Isabella of Portugal was a betrothal painting [1] by the early Netherlandish artist Jan van Eyck, one of his earliest works [2] and now lost, known only from copies. It dates to his 1428-29 visit to Portugal on behalf of Philip the Good, when he was sent as part of an embassy to evaluate the then 30-year-old Isabella's suitability as a bride for Philip.
Van Eyck was tasked by Philip the Good with bringing back two (mostly likely a pair were painted to increase the probability that one would make it back to the Netherlands) faithful representations of her likeness for the duke to evaluate. [3]
Because Portugal was ridden with plague, their court was itinerant and the Dutch party met them at the out of way castle of Aviz. Van Eyck spent nine months there, returning successfully to the Netherlands with Isabella as a bride to be; the couple married on Christmas Day of 1429. [4]
The portrait was executed around the time the preliminary marriage agreement was drawn up, to be sent to Philip along with the document of agreement. In this it was intended as eyewitness testimony to the "person of the princess", providing independent verification of her identity when she later travelled to Philip in Burgundy. [5]
Portrait of Isabella of Portugal [6] is especially notable for the forward way in which she places her hand over the faux stone parapet. With this gesture Isabella extends her presence out of the pictorial space and into that of the viewer. [7] This illusionistic motif was later developed in his London Léal Souvenir , where the subject's arm rests on the painting's lower left frame as if the subject had just suddenly and informally arrived to the sitting and casually positioned herself. This conceit was later and most famously emulated by Petrus Christus's Portrait of a Carthusian's which placed a fly perched on the faux center lower border of his canvas. Van Eyck had already gone further than this however, and has in this portrait created a number of illusionistic perspectives.
From surviving copies it can be deduced that apart from the actual oak frame there were two other 'painted on' frames, one of which was lettered with gothic inscription to the top, while a faux stone parapet provided support for her hands to rest upon. [7]
Van Eyck painted a second portrait during his visit to Portugal, his 1428 Portrait of a Man with a Blue Chaperon . Art historians tend to look to this work to deduce how the Isabella portrait may have looked. The Blue Hood painting is rendered in a miniaturist scale, presumably so as to make it easier to ship back to Bruges, so it is reasonable to assume the future Queen's portrait was of much the same scale.
Although the original has been lost and is today known only from a few copies, van Eyck was a renowned and widely copied artist at the time and its probable influence can be seen in paintings of the queen by Rogier van der Weyden as well as in a depiction by an unknown northern artist of the mid-15th century, although both works show Isabella at a much older age. From a copy by an unknown follower, we can see that Isabella is shown directly gazing at the viewer, a highly daring and intimate pose for a betrothal portrait. [8] Although her look is suitably coy, it is obviously intended to be alluring.
Jan van Eyck was a Flemish painter active in Bruges who was one of the early innovators of what became known as Early Netherlandish painting, and one of the most significant representatives of Early Northern Renaissance art. According to Vasari and other art historians including Ernst Gombrich, he invented oil painting, though most now regard that claim as an oversimplification.
The Ghent Altarpiece, also called the Adoration of the Mystic Lamb, is a very large and complex 15th-century polyptych altarpiece in St Bavo's Cathedral, Ghent, Belgium. It was begun around the mid-1420s and completed by 1432, and it is attributed to the Early Netherlandish painters and brothers Hubert and Jan van Eyck. The altarpiece is considered a masterpiece of European art and one of the world's treasures, it was "the first major oil painting", and it marked the transition from Middle Age to Renaissance art.
Early Netherlandish painting is the body of work by artists active in the Burgundian and Habsburg Netherlands during the 15th- and 16th-century Northern Renaissance period, once known as the Flemish Primitives. It flourished especially in the cities of Bruges, Ghent, Mechelen, Leuven, Tournai and Brussels, all in present-day Belgium. The period begins approximately with Robert Campin and Jan van Eyck in the 1420s and lasts at least until the death of Gerard David in 1523, although many scholars extend it to the start of the Dutch Revolt in 1566 or 1568–Max J. Friedländer's acclaimed surveys run through Pieter Bruegel the Elder. Early Netherlandish painting coincides with the Early and High Italian Renaissance, but the early period is seen as an independent artistic evolution, separate from the Renaissance humanism that characterised developments in Italy. Beginning in the 1490s, as increasing numbers of Netherlandish and other Northern painters traveled to Italy, Renaissance ideals and painting styles were incorporated into northern painting. As a result, Early Netherlandish painters are often categorised as belonging to both the Northern Renaissance and the Late or International Gothic.
The Arnolfini Portrait is a 1434 oil painting on oak panel by the Early Netherlandish painter Jan van Eyck. It forms a full-length double portrait, believed to depict the Italian merchant Giovanni di Nicolao Arnolfini and his wife, presumably in their residence at the Flemish city of Bruges.
The Annunciation is an oil painting by the Early Netherlandish master Jan van Eyck, from around 1434–1436. The panel is housed in the National Gallery of Art in Washington, D.C. It was originally on panel but has been transferred to canvas. It is thought that it was the left (inner) wing of a triptych; there has been no sighting of the other wings since before 1817. The Annunciation is a highly complex work whose iconography is still debated by art historians. It was bought by the Tsar of Russia for the Hermitage Museum, but was sold by Stalin's government in 1930.
Portrait of a Man is an oil painting by the Early Netherlandish painter Jan van Eyck, from 1433. The inscription at the top of the panel, Als Ich Can was a common autograph for van Eyck, but here is unusually large and prominent. This fact, along with the man's unusually direct and confrontational gaze, have been taken as an indication that the work is a self-portrait.
The Madonna of Chancellor Rolin is an oil painting by the Early Netherlandish painter Jan van Eyck, dating from around 1435. It is kept in the Musée du Louvre, Paris, and was commissioned by Nicolas Rolin, aged 60, chancellor of the Duchy of Burgundy, whose votive portrait takes up the left side of the picture, for his parish church, Notre-Dame-du-Chastel in Autun, where it remained until the church burnt down in 1793. After a period in Autun Cathedral, it was moved to the Louvre in 1805.
Portrait of a Lady is a small oil-on-oak panel painting executed around 1460 by the Netherlandish painter Rogier van der Weyden. The composition is built from the geometric shapes that form the lines of the woman's veil, neckline, face, and arms, and by the fall of the light that illuminates her face and headdress. The vivid contrasts of darkness and light enhance the almost unnatural beauty and Gothic elegance of the model.
Saint Luke Drawing the Virgin is a large oil and tempera on oak panel painting, usually dated between 1435 and 1440, attributed to the Early Netherlandish painter Rogier van der Weyden. Housed in the Museum of Fine Arts, Boston, it shows Luke the Evangelist, patron saint of artists, sketching the Virgin Mary as she nurses the Child Jesus. The figures are positioned in a bourgeois interior which leads out towards a courtyard, river, town and landscape. The enclosed garden, illusionistic carvings of Adam and Eve on the arms of Mary's throne, and attributes of St Luke are amongst the painting's many iconographic symbols.
The Dresden Triptych is a very small hinged-triptych altarpiece by the Early Netherlandish painter Jan van Eyck. It consists of five individual panel paintings: a central inner panel, and two double-sided wings. It is signed and dated 1437, and in a permanent collection of the Gemäldegalerie Alte Meister, Dresden, with the panels still in their original frames. The only extant triptych attributed to van Eyck, and the only non-portrait signed with his personal motto, ALC IXH XAN, the triptych can be placed at the midpoint of his known works. It echoes a number of the motifs of his earlier works while marking an advancement in his ability in handling depth of space, and establishes iconographic elements of Marian portraiture that were to become widespread by the latter half of the 15th century. Elisabeth Dhanens describes it as "the most charming, delicate and appealing work by Jan van Eyck that has survived".
The Madonna at the Fountain is a 1439 oil on panel painting by the early Netherlandish artist Jan van Eyck. It belongs to van Eyck's late work, and is his last signed and dated painting. It retains its original frame, which bears the inscription; "ALS IXH CAN", "JOHES DE EYCK ME FECIT + [COM]PLEVIT ANNO 1439
The Virgin and Child with Canon van der Paele is a large oil-on-oak panel painting completed around 1434–1436 by the Early Netherlandish painter Jan van Eyck. It shows the painting's donor, Joris van der Paele, within an apparition of saints. The Virgin Mary is enthroned at the centre of the semicircular space, which most likely represents a church interior, with the Christ Child on her lap. St. Donatian stands to her right, Saint George—the donor's name saint—to her left. The panel was commissioned by van der Paele as an altarpiece. He was then a wealthy clergyman from Bruges, but elderly and gravely ill, and intended the work as his memorial.
Madonna in the Church is a small oil panel by the early Netherlandish painter Jan van Eyck. Probably executed between c. 1438–1440, it depicts the Virgin Mary holding the Child Jesus in a Gothic cathedral. Mary is presented as Queen of Heaven wearing a jewel-studded crown, cradling a playful child Christ who gazes at her and grips the neckline of her red dress in a manner that recalls the 13th-century Byzantine tradition of the Eleusa icon. Tracery in the arch at the rear of the nave contains wooden carvings depicting episodes from Mary's life, while a faux bois sculpture in a niche shows her holding the child in a similar pose. Erwin Panofsky sees the painting composed as if the main figures in the panel are intended to be the sculptures come to life. In a doorway to the right, two angels sing psalms from a hymn book. Like other Byzantine depictions of the Madonna, van Eyck depicts a monumental Mary, unrealistically large compared to her surroundings. The panel contains closely observed beams of light flooding through the cathedral's windows. It illuminates the interior before culminating in two pools on the floor. The light has symbolic significance, alluding simultaneously to Mary's virginal purity and God's ethereal presence.
The Crucifixion and Last Judgement diptych consists of two small painted panels attributed to the Early Netherlandish artist Jan van Eyck, with areas finished by unidentified followers or members of his workshop. This diptych is one of the early Northern Renaissance oil-on-panel masterpieces, renowned for its unusually complex and highly detailed iconography, and for the technical skill evident in its completion. It was executed in a miniature format; the panels are just 56.5 cm (22.2 in) high by 19.7 cm (7.8 in) wide. The diptych was probably commissioned for private devotion.
Léal Souvenir is a small oil-on-oak panel portrait by the Early Netherlandish painter Jan van Eyck, dated 1432. The sitter has not been identified, but his highly individual features suggest a historical person rather than the hypothetical ideal usual at the time in northern Renaissance portraiture; his slight and unassuming torso is contrasted with a sophisticated facial expression. His features have been described as "plain and rustic", yet thoughtful and inward-looking. A number of art historians, including Erwin Panofsky, have detected mournfulness in his expression. The sitter was apparently significant enough a member of the Burgundian duke Philip the Good's circle that his court painter portrayed him.
Portrait of a Man with a Blue Chaperon is a very small oil on panel portrait of an unidentified man attributed to the Early Netherlandish painter Jan van Eyck.
Woman Bathing is a lost panel painting by the Early Netherlandish artist Jan van Eyck. The work is today known through two copies which diverge in important aspects; one in Antwerp and a more successful but small c 1500 panel in Harvard University's Fogg Museum, which is in poor condition. It is unique in van Eyck's known oeuvre for portraying a nude in secular setting, although there is mention in two 17th-century literary sources of other now lost but equally erotic van Eyck panels.
Vera Icon is a lost oil-on panel portrait by the Early Netherlandish painter Jan van Eyck, which probably formed half of a since dismantled diptych. The original is known through three contemporary copies from his workshop. They were completed in 1438, 1439 and 1440; with the first and last in Bruges, and the 1439 version in Munich.
The Portrait of Isabella of Portugal is an oil-on-oak Early Netherlandish painting of Isabella of Portugal, Duchess of Burgundy, the third wife of Philip the Good. Executed around 1450, the painting had been attributed to Rogier van der Weyden, but is now believed to be from a member of his workshop.
Portrait of Maria Portinari is a small c. 1470–72 painting by Hans Memling in tempera and oil on oak panel. It portrays Maria Maddalena Baroncelli, about whom very little is known. She is about 14 years old, and depicted shortly before her wedding to the Italian banker, Tommaso Portinari. Maria is dressed in the height of late fifteenth-century fashion, with a long black hennin with a transparent veil and an elaborate jewel-studded necklace. Her headdress is similar and a necklace identical to those in her depiction in Hugo van der Goes's later Portinari Altarpiece, a painting that may have been partly based on Memling's portrait.
