Unlocking the enigmas behind The Arnolfini Portrait
Secrets and theories about Van Eyck's masterpiece
Happy Sunday and welcome back to Giselle daydreams! Today, I decided to write about The Arnolfini Portrait, a portrait that has fascinated me for over a decade. I’ll try my best to present a concise essay exploring the intriguing features and secrets behind this early Netherlandish Renaissance masterpiece. This mysterious painting is potentially one of the most innovative paintings in the history of portraiture, and for those in London, it is on view at the National Gallery.
The Arnolfini Portrait by Jan van Eyck is one of the most famous and enigmatic works of Early Netherlandish painting. This masterpiece is not only one of the most iconic works of the Northern Renaissance but also one of the most heavily analysed due to its intricate details and symbolism. Completed in 1434, the painting is a profound exploration of marriage and fidelity, wealth, societal roles, religious symbolism, and the artist's role through meticulous realism and layered symbolism.
The painting is believed to depict Giovanni di Nicolao di Arnolfini, a wealthy Italian merchant, and his wife. They are posed in what some art historians interpret as a marriage scene or a betrothal. Therefore, the painting could serve as a form of documentation or witness to a marriage ceremony. The way they stand — close, but with subtle distance — has led to interpretations about the roles and expectations within marriage at the time. The idea of the marriage theory aligns with Giovanni’s raised hand, perhaps signifying a vow or greeting; while his wife holds her hand to her belly, a gesture that could symbolise fertility or a wish for children. Moreover, the couple’s gestures, with Giovanni taking his wife’s hand and raising his other hand in what may be an oath, suggest an intimate, solemn commitment.
The positioning of the figures and their gestures subtly reflect the societal expectations of gender roles. Giovanni stands closer to the window, symbolising his public role; while his wife stands closer to the bed and the interior of the room, representing her association with domestic life and household duties. The emphasis on domestic items like the bed and the rich carpet reinforces the theme of female domesticity, showing the expectation that the wife would be the keeper of the home and a guardian of family life.
Furthermore, there is also a mystery theory behind the woman’s pregnancy. The woman’s hand resting on her stomach has led some viewers to assume she is pregnant. However, this was likely a style of dress common in 15th-century Flanders, where women wore gowns with gathered fabric at the front. Her gesture is more symbolic of fertility or the hope for children rather than actual pregnancy.
Some historians have speculated that the portrait is commemorative and might have been created posthumously or after the marriage to celebrate their union and societal status. It is believed that Giovanni di Nicolao di Arnolfini’s wife might have passed away before the portrait was made. If true, the painting would have served as a memorial, with symbols of marriage and loyalty meant to honour her memory. Nonetheless, some argue The Arnolfini Portrait is less about marriage and more about status, and depicts a visual catalogue of the Arnolfini’s wealth, reflected in the luxurious fabrics, rare fruits, and ornate décor.
The luxurious room, Giovanni’s fur-lined robe, the brass chandelier, and the ornate mirror all signal the couple’s wealth and high social standing. Each object was painstakingly painted to emphasise the expense and quality of the Arnolfini family’s possessions. The oranges on the table and windowsill are unusual in Flemish paintings of the time, as they were rare and expensive imports in 15th-century Northern Europe, underscoring the Arnofilni’s affluence and taste. Additionally, oranges could symbolise purity, as they were often linked to paradise or innocence in Christian symbolism. By commissioning a painting of this level of detail from a master like van Eyck, the Arnolfini couple showcased not only their wealth but also their sophistication, prosperity and cultural status.
Positioned at their feet, the small, shaggy dog is often interpreted as a symbol of fidelity and loyalty in marriage. Dogs were common symbols of loyalty in marriage portraits of the period, and their presence in portraits often emphasised the value of faithfulness in the union.
The room’s richly coloured bed, ornate carpet, and chandelier convey the wealth and social status of the Arnolfini. Additional objects, like the bed and the presence of richly textured fabrics, were often present in paintings of marriage scenes and hint at domestic life. This could suggest expectations of family and fertility within marriage.
The single candle burning in the chandelier above the couple has sparked various interpretations. Some say it symbolises the eye of God or the sanctity of marriage, blessing the union or standing as a witness to the vows. However, in mediaeval Flemish culture, a single candle was often left burning at night in rooms where someone had recently died, suggesting it might also be a nod to mortality. Moreover, other art historians interpret the Arnolfini Portrait as a meditation on life’s transience and the desire for legacy. The sombre expressions of the couple and the inclusion of religious icons imply an awareness of mortality and the fleeting nature of earthly possessions.
The mirror on the wall behind the couple is one of the most compelling details. It is a convex mirror that reflects the entire room, including two figures standing in the doorway — possibly Jan van Eyck himself and a witness — adding depth to the composition. The convex mirror is not only a symbol of divine presence but also an artistic device showcasing van Eyck’s technical skill. This gives the painting not only an extraordinary sense of spatial depth and feat of realism but also a unique narrative device and mystery. This mirror effectively turns viewers into silent witnesses of the scene, adding a mysterious layer to the work. This reflection adds a layer of spatial complexity, drawing viewers into the painting as silent observers. Around the mirror’s frame are ten small medallions depicting scenes from the Passion of Christ, each painted with remarkable detail despite their tiny size. This element serves as a reminder of the couple’s spiritual obligations within marriage and adds an element of religious devotion to the otherwise secular setting. Some interpret this as a reminder of the couple's morality or a divine presence overseeing their union.
Van Eyck was ahead of his time in his understanding of optics and perspective. The convex mirror and reflections demonstrate a sophisticated use of perspective, allowing him to show multiple viewpoints and making the viewer feel immersed in the scene. Some art historians suggest that van Eyck may have used lenses or early optical devices to achieve this level of precision, although there is no concrete evidence of this. His ability to depict reflections, light, and depth with such accuracy, however, was unprecedented.
Many of the objects in the painting carry religious significance, suggesting that this union is blessed by God or is intended to be a devout and moral marriage. By including religious symbolism in such a domestic, secular setting, van Eyck underscores the idea that faith is woven into all aspects of life, including marriage. Furthermore, the specific items in the room provide insight into the Flemish cultural codes of the time. For instance, the green colour of the woman’s dress was often associated with fertility and the hope for children. Her dress’s style and the bed in the background convey her role as a housekeeper, a common symbol of femininity and domestic life in the 15th century. The painting may have served as a form of commemoration, capturing the couple’s likeness, wealth, and faith as a lasting legacy. This aligns with the 15th-century practice of creating artworks that preserve one’s identity and social status for posterity.
Unusually, van Eyck signed the painting directly above the mirror with the Latin inscription “Johannes de Eyck fuit hic” (Jan van Eyck was here), rather than signing it conventionally. The meticulous detail and the presence of the artist’s signature elevate the painting beyond a simple commission, asserting van Eyck’s innovative approach to portraiture and his lasting influence on art. This may suggest van Eyck’s self-awareness and his growing role in society. Unlike most artists of his time, van Eyck placed himself as a witness to the scene, hinting at the evolving role of the artist as a respected and acknowledged individual. This prominent signature suggests he may have played a role as a witness in the scene, or it could simply assert the pride he took in this work. This unusual inscription, written almost like a notarization, has led some to theorise that van Eyck might have served as a legal witness to the event portrayed, possibly a marriage or a form of agreement. The idea of an artist signing his work in such a manner was unprecedented at the time and highlights van Eyck’s awareness of his skill and reputation.
Van Eyck’s mastery of oil paint is evident in the way he captures light and texture. His skillful use of oil paints was revolutionary. His technique allowed for an exceptional depth of colour and detail not achievable with the tempera paint commonly used at the time. This is visible in the textures of fabrics, the reflective mirror, and the sheen on objects like the chandelier. This mastery over oil paints not only gave the painting its realism but also set a new standard for European artists. From the shine on the brass chandelier to the glow on the fabrics, his use of light enhances the painting’s realism and invites viewers to explore the image as if it were a real space. The perspective and attention to detail make the room appear lifelike, creating a three-dimensional effect that draws viewers into the scene.
The painting has an intriguing provenance. It was acquired by the Spanish royal family in the 16th century and eventually came into the possession of the British royal family, who gifted it to the National Gallery in London, where it remains today. The inscriptions on the back of the painting suggest that it once belonged to Margaret of Austria, Governor of the Habsburg Netherlands and an avid art collector, adding to its storied history.
The Arnolfini Portrait is a complex work which merges secular and religious themes, exploring wealth, fidelity, faith, gender roles, and the place of the artist. Van Eyck’s work invites viewers to reflect on the values of the time while demonstrating the depth and skill achievable with oil painting, setting a high bar for Renaissance portraiture. His depiction stands as a landmark in the history of portraiture, influencing artists with its innovative use of light, perspective, and symbolism, offering viewers much to appreciate and decode. The Arnolfini Portrait was groundbreaking for its realism and intricate detail, inspiring artists across Europe. The oil painting technique that van Eyck perfected allowed for layers of colour and detail not achievable with tempera, transforming the course of portraiture and influencing countless artists thereafter.
This portrait continues to captivate audiences with its blend of technical precision, symbolic depth, and elusive narrative. It is a prime example of how art can serve as a historical document, rich with insight into the customs, beliefs, and aesthetics of its time. The painting is filled with subtle clues and cultural references, inviting endless interpretation and adding to its enduring allure in art history.
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Another fantastic article, Giselle. That’s one of my favourite paintings- I’ve always been fascinated by the convex mirror (I own two of them!).💕 Thanks for sharing your passion with us!
I will go and see it