The Arnolfini Portrait

Today is another installment in my "Art History Tuesdays" series. Today we're going to be discussing the intricacies and mysteries of a famous painting by the painter Jan Van Eyck, which I'm sure many of you have heard of before! If not, don't worry, we'll start off with a bit of background!

Jan Van Eyck, a well known Flemish painter from the 15th century, is an artist few in the world of Art History can forget. He was born between 1485-95 within the Holy Roman Empire, now modern day Belgium. His exact year of birth is unknown, along with most of his childhood. He's believed to be the younger brother to 3 other painters; Hubert, Lambert and Margaret. Back then, most people got their names not from their parents but from objects around them, or their home towns. Eyck was the name of the town he was born in, hence Jan Van Eyck.

It's theorized that Hubert took Van Eyck under his wing at his workshop in Ghent. Van Eyck and his brother were commissioned for the Ghent Altarpiece, but Hubert died before it's completion. Soon after, Van Eyck was given a position as court painter for John of Bavaria. Eyck had found a unique way of painting, which made his work carry a special signature.

He'd go on to produce many recognizable paintings, such as "Portrait of a Man In a Red Hat,"- which is suspected to be a self portrait- "Ghent Altarpiece," and "The Annunciation Diptych." But perhaps his most famous and Intriguing pieces of work is "The Arnolfini Double Portrait" (From here on out referred to as "The Arnolfini" for simplicity's sake). One of the most enticing features of the portrait is it's ornate detail in every inch. Yet, it also holds a mystery; who are the subjects of this painting?

I believe this painting depicts Arnolfini with his wife- but I believe it would make more sense that it was the second Giovani Arnolfini spoken of in recent Art History circles. What do I mean? Let's dive in.

This painting, finished in 1434, was originally thought to be of Giovanni di Arrigo Arnolfini and his wife Jeanne de Cename (Cenami). But in the early 90's it was discovered through old marriage licenses that the pair weren't married until 13 years after the painting had been completed. Not only that, but the pair hadn't even met yet at the time of the painting's creation.

So who is in this 'Arnolfini' portrait? It's believed to be a close relative of the original thought-to-be-subjects- a cousin and his wife. Giovanni di Nicolao Arnolfini and his wife Costanza Trenta. But upon further research, this timeline also doesn't match up with the painting. His wife Costanza passed away in 1433 after giving birth. The theory now, is that this is a tribute to his deceased wife. The largest testament to that is that it shows her with child, holding her husbands hand.

But there's also items that symbolize they've just been married. This shift in events also points to the symbolism of their marriage over time, showing that they were a loving, loyal, and well-off couple on their way to starting a family.

Personally, this analysis makes sense to me. Due to the timeline matching up, it would put the grieving husband within the timeline where he'd of commissioned Van Eyck for this double portrait. Of course many other Art History buffs might disagree with this theoretical analysis.

Weather it’s a second wife we’re unaware of or his first who died a year after the painting; it simply makes more sense that this would be the case. In the double portrait, both Giovani and the woman are seen wearing wedding rings. The inclusion of a dog in the portrait was probably more for symbolic reasons than the probability of them actually owning a dog. Dogs symbolize loyalty, which continuing with the theory that this was a memorial piece for his wife Costanza, it speaks to their relationship and how much he missed and loved her.

In the chandelier above their heads, there is a single lit candle. Candles are used in a romantic atmosphere due to it’s soft light. But candles are also lit in memorial of people’s deaths. This could be interpreted as the continuation of life after death and honoring her memory.

In the bottom left corner of the painting, there’s a pair of men’s shoes; and in between the two figures, a pair of women's shoes. When looking at Giovani Arnolfini’s feet, we see him barefooted. Given the women’s shoes in the back it’s a good inference that the woman (Costanza) is also not wearing shoes. The symbolism behind being barefooted could be to show vulnerability, being comfortable, or better represent the fact that they’re in their home. All of these interpretations of symbolism in the Arnolfini portrait support the theory that this was a portrait to commemorate his late wife Constanza.

But, to add some confusion into the mix, upon looking into Jan Van Eyck's other work, it was found that he'd been commissioned by Duke Philip the Good of Burgundy to produce a single portrait of his prospective bride as a gift. Perhaps, if this really was Giovani di Arrigo Arnolfini (as historians had supposed for centuries) perhaps this was a gift to his future wife. As only marriages were documented at the time it would make sense why his engagement to Jeanne de Cename wouldn't be on the books. Another 'd possible theory is that he'd been engaged to another woman in 1434 (the year the painting was made). Van Eyck passed away in 1441, which to me makes the cousin theory the most probable.

But perhaps this is a query that will never be solved, and keep the art history world searching for the truth for centuries to come.

SOURCES

https://www.theartstory.org/artist/van-eyck-jan/life-and-legacy/

Art History Volume 2 Textbook 6th Edition by Marilyn Stokstad and Michael W. Cothren