Art in Detail: The Ghent Altarpiece, Part 1
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Art in Detail: The Ghent Altarpiece, Part 1
- 2. Art in Detail The Ghent Altarpiece Part 1
- 3. EYCK, Hubert and Jan van The Ghent Altarpiece, wings open EYCK, Hubert and Jan van The Ghent Altarpiece, wings closed
- 4. The panels of the open Ghent Altarpiece lower section
- 7. EYCK, Hubert and Jan van The Ghent Altarpiece: The Just Judges 1427-30 Oil on wood, 145 x 51 cm Cathedral of St Bavo, Ghent
- 12. EYCK, Hubert and Jan van The Ghent Altarpiece: The Soldiers of Christ 1427-30 Oil on wood, 149,2x 54 cm Cathedral of St Bavo, Ghent
- 17. EYCK, Hubert and Jan van The Ghent Altarpiece: The Holy Hermits 1427-30 Oil on wood, 148,6 x 53,9 cm Cathedral of St Bavo, Ghen
- 21. EYCK, Hubert and Jan van The Ghent Altarpiece: The Holy Pilgrims 1427-30 Oil on wood, 148,7 x 54,2 cm Cathedral of St Bavo, Ghent
- 25. EYCK, Hubert and Jan van The Ghent Altarpiece: Adoration of the Lamb 1425-29 Oil on wood, 137,7 x 242,3 cm Cathedral of St Bavo, Ghent
- 49. Art in EYCK, Hubert and Jan van, The Ghent Altarpiece, wings open images and text credit www. Music wav. created olga.e. thanks for watching oes
- 50. EYCK, Hubert and Jan van The Ghent Altarpiece The most famous work of Jan van Eyck is a huge Ghent Altarpiece with many scenes in the city of Ghent. It is said to have been begun by Jan's elder brother Hubert, of whom little is known, and was completed by Jan in 1432. On the frame a quatrain is inscribed which states that the polyptych was begun by Pictor Hubertus Eyck, and finished by his brother Jan, at the request of Jodocus Vijd, deputy burgomaster of Ghent, warden of the church of St John, and of his wife, Elisabeth Borluut, who commissioned it. The verse was placed there when the altarpiece was installed on 6 May 1432. The stylistic analysis reveals that in the painting the work of two different hands can be clearly discerned. The overall conception of the altarpiece is the work of Hubert, along with the execution of certain parts, such as the panels in the lower tier. Here, the manner is archaic, and reflects the continuing dominance of the international style that was practised by Broederlam. The composition is typically unoriginal: the landscape is still conceived as a distant background, with which the figures at the front have no organic relation, an effect that is reinforced by the bird's eye point of view.