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Artist:

Jacob van Eyck

  • Born 1590 in Netherlands [?]
  • Died March 26, 1657 in Utrecht, Netherlands
  • Period: Baroque (1600-1749)
  • Country: Netherlands
  • Genres: Chamber

Biography

Jacob van Eyck was a blind Dutch carillonist, recorder player, and composer. Though he is known today largely for his collection of recorder solos, Der Fluyten Lust-hof, his contributions to the art of carillon-making and playing were substantial.

Van Eyck spent his early years at Heusden in southern Holland before being appointed carillonist in Utrecht in 1625, and had several pupils. He was the first to discover the link between the overtone structure and the shape of the bell. In partnership with the famous bellfounders, the Hemony brothers, he worked out the dimensions for the "pure" bell, which spread throughout Europe and became the standard carillon bells. His theory is still used by bellfounders today. Van Eyck's bells have a minor overtone series causing the characteristic melancholy sound of a well-tuned carillon.

In addition to his carillon duties, the cathedral paid Van Eyck an additional salary to wander the grounds of Utrecht cathedral and entertain the passers-by with songs on his recorder. He (presumably consequently) became a skilled improviser on a theme and three collections of his variations for descant recorder were published: Euterpe and the two parts of Der Fluyten Lust-hof (or "The Flute's Pleasure-Garden"). Der Fluyten Lust-hof contains 144 sets of variations on a variety of melodies popular in Renaissance Holland. One of the best known is the variation on Dowland's Pavane Lacrymae. Although Van Eyck wrote them for amateur musicians, the different sets commonly increase in technical difficulty towards the end. Some of them are very difficult indeed. This is one of the largest Renaissance collections of solo recorder music. It is particularly unusual as the instrument used is the less popular descant recorder rather than the more common alto. ~ David Cashman, All Music Guide

 
 
Actor:

Peter Van Eyck

  • Born: Jul 16, 1913 in Steinwehr, Germany
  • Died: Jul 15, 1969 in Zurich, Switzerland
  • Occupation: Actor
  • Active: '50s-'60s
  • Major Genres: Drama, War
  • Career Highlights: The Wages of Fear, Der Rest ist Schweigen, Sailor of the King
  • First Major Screen Credit: Five Graves to Cairo (1943)

Biography

Trained as a musician, Peter Van Eyck fled his native Germany when Hitler assumed power in 1933. Van Eyck secured work in the U.S. as a musical arranger for some of the top names in the business. Through the kindness of fellow German expatriate Billy Wilder, Van Eyck was able to get work as a radio actor, and in 1942 was cast in his first film, The Moon Is Down. While his name and Teutonic bearing typecast Van Eyck as a Nazi in most of his wartime films, he was equally effective in sympathetic roles. Closing out his Hollywood career in 1951, Peter Van Eyck spent his last two decades as a popular leading man in European films. ~ Hal Erickson, All Movie Guide

 
Art Encyclopedia: Jan van Eyck

(b ?Maaseick, c. 1395; d Bruges, 22/23 June 1441). Painter and illuminator, brother of (1) 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 Li?ge. Jan became the court's official painter and was paid, with a second assistant when the work increased in 1423, continuously, probably until the count's death in January 1425.

Part of the Eyck, van family

See the Abbreviations for further details.


 
Britannica Concise Encyclopedia: Jan van Eyck

(born before 1395, Maaseik, Bishopric of Liège, Holy Roman Empire — died , before July 9, 1441, Bruges) Flemish painter. He is recorded in 1422 as a master painter working for John of Bavaria, count of Holland, and later was employed by Philip III the Good, duke of Burgundy. Securely attributed paintings survive only from the last decade of his career; 10 are signed and dated, an unusually large number for the period. He produced portraits and religious subjects that are unmatched for their technical brilliance, their intellectual complexity, and the richness of their symbolism; he perfected the newly developed technique of oil painting. His masterpiece is the Adoration of the Lamb (1432), known as the Ghent Altarpiece, which he painted with his brother Hubert (c. 1370 – 1426). He is commonly regarded as the greatest northern European artist of the 15th century. His works were widely copied and avidly collected.

For more information on Jan van Eyck, visit Britannica.com.

 
Architecture and Landscaping: Aldo van Eyck

(1918–99)

Dutch architect. He worked in the Public Works Department, Amsterdam (1946–50), set up his own practice in 1952, and entered into partnership (1971–82) with Theo Bosch (1940– ). In his work he insisted on structural and practical adaptability, and was a committed Modernist (he was a member of Team X). His Municipal Orphanage, Amsterdam (1957–60), embraced forms of various sizes flowing into each other within a quadrangular frame, creating a complex mnemonic of various urban spaces. Other works include the Arnhem Sculpture Pavilion, in which the circular plan was subdivided by straight and semicircular partitions (1966), the Pastoor van Arskerk, The Hague (1968–70), and a Conference Centre and Restaurant, Noordwijk (1984–9). His work has been classified within Structuralism, and he published many articles and polemics.

Bibliography

  • Blijstra (1962)
  • P.Buchanan (1989)
  • Wi.Curtis (1996)
  • Jencks (1973a)
  • Lefaivre & Tzonis (1999)
  • Strauven (1998)

The full bibliography for this book is available to download as a pdf file.
Download the bibliography for A Dictionary of Architecture and Landscape Architecture (PDF: 1.2MB)

 
Columbia Encyclopedia: Eyck, van
(văn īk) , family of Flemish painters, the brothers Hubert van Eyck, c.1370–1426, and Jan van Eyck, c.1390–1441.

Their Lives

Very little is known of Hubert, the older of the two brothers. He is said to have worked (1414–17) for Duke William of Bavaria and is known to have settled in Ghent early in the 15th cent. Among the few works tentatively attributed to him are an Annunciation and a remarkable miniaturistic diptych of the Crucifixion and Last Judgment (both: Metropolitan Mus.). Jan van Eyck was active at the courts of Count John of Holland (1422–25) and Philip of Burgundy. In the service of Duke Philip, he made several secret diplomatic journeys. A trip in 1428 took him to Portugal, and while there he painted a portrait of Philip's fiancée, Isabella.

The Eyckian Style and Its Influence

The Eyckian style was based on a strong undercurrent of realism that constituted an important aspect of the development of late medieval art. Outstanding achievements of this realistic trend that may have influenced the art of Jan van Eyck include the frescoes of Tommaso da Modena in Treviso and the panel paintings of Melchior Broederlam and of Robert Campin. At the hands of van Eyck experimentation with realism resulted in an astounding minuteness of detail and an unusually fine differentiation between qualities of texture and of atmospheric light. It is thought that his careful delineation of every detail of life was intended to reflect the glory of God's creation.

Some writers have erroneously credited Jan van Eyck with the discovery of the oil technique in painting, but there can be no doubt that he played a crucial role in the perfection of this medium, achieving through its use an unprecedented richness and intensity of color. Developing a personalized technique in oils, he gradually arrived at a meticulously accurate reflection of the natural world.

Although many of his followers attempted to copy him, the distinctive quality of Jan van Eyck's work made imitation difficult. His influence on the succeeding generation of artists, both in N and S Europe, cannot be overestimated, and the entire development of Flemish painting in the 15th cent. (see Flemish art and architecture) bears the direct imprint of his style.

Their Work

Of the van Eycks' works that have survived, the largest is the altarpiece in the Church of Saint Bavon in Ghent, thought on the basis of an inscription of the frame to have been a collaborative effort of the two brothers, and completed by Jan in 1432. On the panels of the exterior are shown the Annunciation and representations of St. John the Baptist, St. John the Evangelist, and the donors of the work, Jodocus Vijdt and his wife. The interior of the altar consists of an Adoration of the Lamb set in a magnificent landscape, and an upper row of panels showing God the Father flanked by the Virgin, John the Baptist, music-making angels, and Adam and Eve. Various parts of an illuminated manuscript, the Turin Hours, have also been credited to one or both brothers.

Jan van Eyck painted a number of fine portraits, which are distinguished by a crystalline objectivity and precision of draftsmanship. Among these are the Portrait of an Unknown Man (1432), thought to be the composer Gilles Binchois, and the Man with the Red Turban, possibly a self-portrait, both in London; the portrait of Jan de Leeuw (1436) in Vienna; and that of the painter's wife, Margarethe van Eyck (1439), in Bruges. The wedding picture of Giovanni Arnolfini and his Bride (1434; National Gall., London) shows the couple in a remarkable interior.

Van Eyck's interest in the texture and specific quality of material substances and his superb technical gifts are especially well demonstrated in two devotional panels, the Madonna with Chancellor Rolin in the Louvre, and the Madonna with Canon Van der Paele (1436) in Bruges. The National Gallery of Art, Washington, D.C., has a beautiful Annunciation that is generally accepted as his work. Some of Jan van Eyck's uncompleted paintings are thought to have been finished by Petrus Christus.

Bibliography

See studies by L. B. Philip (1972) and E. Dhanens (1973).

 
Dictionary: Eyck  (īk) pronunciation, Jan van 1390?–1441.

Flemish painter who with his brother Hubert (died 1426) founded the Flemish school of painting. Jan's works, characterized by brilliant coloring and minute realistic detail, include Arnolfini and His Wife (1434). No existing works can be positively attributed to Hubert.


 
Wikipedia: Jan van Eyck
Portrait of a Man in a Turban (actually a chaperon), probably a self-portrait, painted 1433
Enlarge
Portrait of a Man in a Turban (actually a chaperon), probably a self-portrait, painted 1433

Jan van Eyck or Johannes de Eyck (c. 1385 – July 9, 1441) was an Early Netherlandish painter who lived in the then Duchy of Burgundy and is considered one of the great painters of the late Middle Ages.

There is a common misconception, which dates back to the sixteenth-century writings of the Tuscan historiographer Giorgio Vasari, that Jan van Eyck created oil painting. It is however true that he achieved, or perfected, new and remarkable effects using this technique.

Jan van Eyck has often been linked as brother to painter and peer Hubert van Eyck, because both have been thought to originate from the same town, Maaseik in Limburg (Belgium). Another brother, Lambert van Eyck is mentioned in Burgundian court documents, and there is a conjecture that he too was a painter, and that he may have overseen the closing of Jan van Eyck's Bruges workshop.[1] Another significant, and rather younger, painter who worked in Southern France, Barthélemy van Eyck, is presumed to be a relation.

Life

Youth

The date of van Eyck's birth is not known. The first extant record of van Eyck is from the court of John of Bavaria at The Hague. It dates to 1422 and mentions a payment to Jan van Eyck as court painter, which indicates he had to have been born no later than 1395, and indeed probably earlier. His apparent age in his probable self-portrait (right) suggests to most scholars an earlier date than 1395. [1][2]

Worldly success

Following the death of John of Bavaria, in 1425 van Eyck entered the service of the powerful and influential Valois prince, Duke Philip the Good of Burgundy. Van Eyck resided in Lille for a year and then moved to Bruges, where he lived until his death in 1441. A number of documents published in the twentieth century record his activities in Philip's service. He was sent on several missions on behalf of the Duke, and worked on several projects which likely entailed more than painting. With the exception of two portraits of Isabella of Portugal, which van Eyck painted on Philip's behest as a member of a 1428-9 delegation to seek her hand, the precise nature of these works is obscure.

As a painter and "valet de chambre" to the Duke, Jan van Eyck was exceptionally well paid. His annual salary was quite high when he was first engaged, but it doubled twice in the first few years, and was often supplemented by special bonuses. His salary alone makes Jan van Eyck an exceptional figure among early Netherlandish painters, since most of them depended on individual commissions for their livelihoods. An indication that Van Eyck's art and person were held in extraordinarily high regard is a document from 1435 in which the Duke scolded his treasurers for not paying the painter his salary, arguing that Van Eyck would leave and that he would nowhere be able to find his equal in his "art and science." The Duke also served as godfather to one of Van Eyck's children, supported his widow upon the painter's death, and years later helped one of his daughters with the funds required to enter a convent.

Masterworks

Jan van Eyck produced paintings for private clients in addition to his work at the court. Foremost among these is the Ghent Altarpiece painted for Jodocus Vijdts and his wife Catherine Borluut. Started sometime before 1426 and completed, at least partially, by 1432, this polyptych has been seen to represent "the final conquest of reality in the North", differing from the great works of the Early Renaissance in Italy by virtue of its willingness to forgo classical idealization in favor of the faithful observation of nature.[2] It is housed in its original location, the Cathedral of St. Bavo in Ghent, Belgium. It has had a turbulent history, surviving the 16th-century iconoclastic riots, the French Revolution, changing tastes which led to its dissemination, and most recently Nazi looting. When World War II ended it was recovered in a salt mine, and the story of its restoration drew considerable interest from the general public and greatly advanced the discipline of the scientific study of paintings[citation needed]. No less turbulent was the history of the interpretation of this work. Since an inscription identifies it as a collaborative effort of Jan van Eyck and his brother Hubert, the question of who painted what, or "Jan or Hubert?" has become a mythical one among art historians. Some even question the validity of the inscription, and thus Hubert van Eyck's involvement. In the 1930s, Emil Renders even argued that "Hubert van Eyck" was a complete fiction invented by Ghent humanists in the 16th century. More recently, Lotte Brand Philip (1971) has proposed that the Ghent Altarpiece's inscription has been misread, and that Hubert was (in Latin) the "fictor," not the "pictor," of the work. She interprets this as meaning that Jan van Eyck painted the entire altarpiece, while his brother Hubert created its sculptural framework.

Exceptionally for his time, van Eyck often signed and dated his paintings on their frames, then considered an integral part of the work (the two were often painted together). However, in the celebrated Arnolfini Portrait (London, National Gallery) reproduced above, van Eyck inscribed on the (pictorial) back wall above the convex mirror "Johannes de Eyck fuit hic 1434" (Jan van Eyck was here, 1434). The painting is one of the most frequently analyzed by art historians, but in recent years a number of popular interpretations have been questioned. This is probably not a painted marriage certificate, or the record of a betrothal, as originally suggested by Erwin Panofsky. The woman is probably also not pregnant, as the hand-gesture of lifting the dress recurs in contemporary renditions of virgin saints (including Jan van Eyck's own Dresden Triptych and a workshop piece, the Frick Madonna).

Other works

Other works include two remarkable commemorative panels, the Madonna with Chancellor Rolin (Paris, Louvre), and the Madonna of Canon Georg van der Paele (Bruges, Groeninge Museum), some other religious paintings, notably the Annunciation (Washington, National Gallery of Art), and a number of exceptionally haunting portraits, including that of his wife, Margareta (Bruges, Groeningemuseum), and what is believed to be his self-portrait, often called Portrait of a Man in a Red Turban, though in fact he wears a chaperon[3]. Many more works are disputed, or believed to be by his assistants or followers.

Reputation

In the most substantial early source on him, a 1454 biography by the Genoese humanist Bartolomeo Facio (De viris illustribus), Jan van Eyck was named "the leading painter" of his day. Facio places him among the best artists of the early 15th century, along with Rogier van der Weyden, Gentile da Fabriano, and Pisanello. It is particularly interesting that Facio shows as much enthusiasm for Netherlandish painters as he does for Italian painters. This text also sheds light on aspects of Jan van Eyck's production now lost, citing a bathing scene as well as a world map which van Eyck painted for Philip the Good. Facio also recorded that van Eyck was a learned man, and that he was versed in the classics, particularly the writings of Pliny the Elder about painting. This is supported by records of an inscription from Ovid's Ars Amore, which was on the now-lost original frame of the Arnolfini Double Portrait, and by the many Latin inscriptions on his paintings, using the Roman alphabet, then reserved for educated men. Jan van Eyck likely had some knowledge of Latin for his many missions abroad on behalf of the Duke.

Jan van Eyck died in Bruges in 1441 and was buried there in the Saint Donatien church (destroyed during the French Revolution).

Main works

  • Crucifixion and Last Judgement diptych (1420-1425) - Oil on wood transferred to canvas, 56.5 x 19.5 cm (each painting), Metropolitan Museum of Art, New York
  • Madonna in the Church (c. 1425) - Oil on wood, 32 x 14 cm, Staatliche Museen, Berlin
  • The Stygmata of St. Francis (c. 1428-1430) - Oil on panel, 28 x 33, Galleria Sabauda, Turin
  • Portrait of a Goldsmith (Man with Ring; c. 1430) - Wood, 16.6 x 13.2 cm, Romanian National Museum, Bucharest
  • St. John the Evangelist (1432) - Oil on panel, 149.1 x 55.1 cm, Saint Bavo Cathedral, Ghent
  • Ghent Altarpiece (1432) - Oil on panel, Saint Bavo Cathedral, Ghent
  • Portrait of a Young Man (Tymotheos; 1432) - Oil on wood, 34.5 x 19 cm, National Gallery, London
  • Madonna with the Child Reading (1433) - Oil on wood, 26.5 x 19.5 cm, National Gallery of Victoria, Melbourne
  • Portrait of a Man in a Turban (1433) - Oil on panel, 25.5 x 19 cm, National Gallery, London
  • Arnolfini Portrait (1434) - Oil on panel, 82 x 59.5 cm, National Gallery, London
  • The Virgin of Chancellor Rolin (1435) - Wood, 66 x 62 cm, Musée du Louvre, Paris
  • Portrait of Niccolò Albergati (c. 1435) - Oil on panel, 34 x 27.5 cm, Kunsthistoriches Museum, Vienna
  • Portrait of a Man with Carnation (c. 1435) - Oil on wood, 40 x 31 cm, Staatliche Museen, Berlin
  • Portrait of Baudouin de Lannoy (c. 1435) - Oil on wood, 26 x 20 cm, Staatliche Museen, Berlin
  • Portrait of Giovanni Arnolfini (c. 1435) - Oil on wood, 29 x 20 cm, Staatliche Museen, Berlin
  • Madonna and Child (Lucca Madonna or Suckling Madonna, 1436) - Oil on panel, 65.5 x 49.5 cm, Städelsches Kunstinstitut, Frankfurt
  • The Madonna with Canon van der Paele (1436) - Oil on wood, 122 x 157 cm, Groeningemuseum, Bruges
  • Portrait of Jan de Leeuw (1436) - Oil on wood, 24.5 x 19 cm, Kunsthistorisches Museum, Vienna
  • St. Barbara (1437) - Grisaille on wood, 31 x 18.5, Royal Museum of Fine Arts, Antwerp
  • Head of Christ (1438), copy - Staatliche Museen, Berlin, and Alte Pinakothek, Munich
  • Portrait of Margareta van Eyck (1439) - Oil on wood, 32.6 x 25.8 cm, Groeningemuseum, Bruges
  • Madonna and Child at the Fountain (1439) - Oil on wood, 19 x 12 cm, Royal Museum of Fine Arts, Antwerp
  • Portrait of Christ (1440) - Oak panel, 33.4 x 26.8 cm, Groeningemuseum, Bruges
  • St. Jerome (1440) - Oil on parchment on oak panel, 20 x 12.5 cm, Detroit Institute of Art, Detroit

References

The Ghent Altarpiece: The Adoration of the Mystic Lamb (interior view), painted 1432.
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The Ghent Altarpiece: The Adoration of the Mystic Lamb (interior view), painted 1432.
The Ghent Altarpiece: Knights of Christ
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The Ghent Altarpiece: Knights of Christ
General
  • Ainsworth, Maryan M. and Keith Christiansen, eds. From Van Eyck to Bruegel Early Netherlandish Painting in The Metropolitan Museum of Art. New York: Metropolitan Museum of Art, 1998.
  • L.J. Bol, Jan Van Eyck reprint: Barnes & Noble Art Series
  • Campbell, Lorne. The Fifteenth-Century Netherlandish Paintings. National Gallery, London. New Haven: Yale University Press, 1998. (Good article on the Arnolfini Double Portrait)
  • Foister, Susan, Sue Jones and Delphine Cool, eds. Investigating Jan van Eyck. Turnhout: Brepols, 2000.
  • Friedländer, Max J. Early Netherlandish Painting. Translated by Heinz Norden. Leiden: Praeger,
  • Craig Harbison, Jan van Eyck: The Play of Realism. Sources of van Eyck's realist tradition in fifteenth century Netherlandish art.
  • Pächt, Otto. Van Eyck and the Founders of Early Netherlandish Painting. New York: Harvey Miller, 2000
  • Panofsky, Erwin. Early Netherlandish Painting. London: Harper Collins, 1971
Source documents
  • Baxandall, Michael. “Bartholomaeus Facius on Painting: A Fifteenth-Century Manuscipt of De Viris Illustribus.” Journal of the Warburg and Courtauld Institutes
  • Laborde, Léon, marquis de. Les ducs de Bourgogne, études sur les lettres, les arts et l'industrie pendant le XVe siècle et plus particulièrement dans les Pays-Bas et le duché de Bourgogne. 3 vols. Paris: Plon frères,
  • Paviot, Jacques. “La Vie de Jan van Eyck selon les Documents écrits,” Revue des archéologues et historiens d'art de Louvain XXIII
  • Weale, James, W. H. Hubert and John van Eyck: Their Life and Work. London: John Lane, 1908
Ghent Altarpiece
  • Dhanens, Elisabeth. Van Eyck: The Ghent Altarpiece. New York: Viking Press, 1973
Technical Analysis
  • Asperen de Boer, J. R. J. van. “A Scientific Re-examination of the Ghent Altarpiece” Oud Holland
The Undocumented Early Years
  • Buren, Anne H. van, ed. Heures de Turin-Milan: Inv. no 47, Museo Civico d'Arte Antica, Torino. Lucerne: Faksimile Verlag, 1996.
  • Sterling, Charles. “Jan van Eyck avant 1432” Revue de l’art) 7-82
Relation to Contemporery European Art
  • Belozerskaya, Marina. Rethinking the Renaissance: Burgundian Arts Across Europe. Cambridge: Cambridge University Press, 2002
  • Borchert, Till-Holger ed. Age of Van Eyck: The Mediterranean World and Early Netherlandish Painting,. Exh. cat. Groeningemuseum, Stedelijke Musea Brugge. Bruges: Luidon, 2002
  • Nuttall, Paula. From Flanders to Florence: The Impact of Netherlandish Painting. New Haven: Yale University Press, 2004
  • Weiss, Roberto. “Jan van Eyck and the Italians” Italian Studies XI (1956) 1-15
General Information about the 15th-Century Burgundian Court
  • Huizinga, Johan. The Autumn of the Middle Ages. Translated by Rodney J. Payton and Ulrich Mammitzsch. Chicago: University of Chicago Press, 1996 (called in other edns "The Waning of the Middle Ages")
  • Vaughan, Philip R. Philip the Good: The Apogee of Burgundy. UK: Boydell & Brewer, 2002

Footnotes

  1. ^ Jan van Eyck, Metropolitan Museum of Art
  2. ^ Gombrich, E.H., The Story of Art, pages 236-9. Phaidon, 1995.
  3. ^ National Gallery Catalogues: The Fifteenth Century Netherlandish Paintings by Lorne Campbell, 1998, ISBN 185709171

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