Jan Van Eyk - biography and paintings by the artist in the genre Northern Revival - Art Challenge. Jan Van Eyk: paintings and biography

Van Eyck (Van Eyck) Yang (about 1390-1441), the Netherlands painter. One of the pricks of art Early rebirth In the Netherlands, Yang Van Eyk in 1422-1424 worked on the decoration of the Count Castle in the Hague, in 1425 became the court artist of the Burgundy Duke of Philip Kind, in 1427 he visited Spain, in 1428-1429 - Portugal. Around 1430 Yang Van Eyk settled in Bruges. The largest work of Wang Eyka is the famous "Genta Altar", started, according to the late inscriptions on the external flaps, the elder brother Wang Eyck Hubert (worked in the 1420s in Ghent, died about 1426) and finished by Jan at 1432.

Yang Van Eyk is one of the first masters of the portrait in Europe, highlighted in his work in an independent genre. Graffitime, usually depicting the model in a three-hard turn portraits of Wang Eyki (Timofey, 1432, "Portrait of a Men in Red Turban," 1433, - both in the National Gallery, London; Portrait of the wife of the artist Margaret, 1439, Municipal art Gallery, Brugge) are distinguished by strict simplicity and deposit of expressive means.

An impartial truthful and thorough transfer of a person's appearance is subordinated to the Zorka and the insightful disclosure of the main characteristics of its character. Jan Van Eyk created the first in european painting A steam portrait is an imbued with complex symbolism and at the same time an intimate-lyrical feeling image of a merchant Giovanni Arnolphin with his wife.

A thin poetry, skill of the transmission of space and light-air medium highlights landscape backgrounds in the "Worship of the Land" in the center of the altar. Top of creativity Wang Eyka - Monumental altar compositions "Madonna Rollane Chancellor" (about 1436, Louvre, Paris) and "Madonna Canonika Van der Pale" (1436, Municipal Art Gallery, Brugge). Developing and enriching the achievements of their predecessors, first of all R.Kampein, he turns the traditional scene of worship of the Mother of God in a majestic and colorful image of the visual, real world, fulfilled calm contemplation. Equally, the artist is interested in the person in all its unique personality, and the world around him. In his compositions, there are equal and form a harmonious unity. Portrait images, landscape, interior, still life. Extreme thoroughness and at the same time the generalization of painting detect the intrinsicness and beauty of each subject, which takes place in the work of Wang Eyka real weight and volume, characteristic surface texture.

Details and integers in its works are in organic interconnection: architectural elements, furnishings, flowering plants, luxurious fabrics, decorated with precious stones, as if embodying particles of the infinite beauty of the universe: filled with light and air Panoramic landscape in Madonna Rollane Chancellor is perceived as a collective image of the universe.

Art van Eki is imbued with a deep understanding of the existing as a logical embodiment of God's fishery, the expression of which became strict, thoughtful and at the same time the vital construction of the composition, a complete thin sensation of spatial proportionality. Decision of those who have stuck in front of Van Eyk creative problems required the development of new funds artistic expressiveness. One of the first, he mastered the plastic capabilities oil paintingUsing thin, translucent layers of paint, put one on top of another (Flemish manner of a multilayer transparent letter). This picturesque method allowed Van Eyka to reach an exceptional depth, wealth and lights of color, subtleties of black and colorful transitions. Double, intense, pure colors in the paintings of Wang Eyka, penetrated by air and light, form a single harmonic integer.

Creativity by the artist Wang Eyka, the brightest way recreated the beauty and living variety of the universe, pretty much determined the way further development Netherlands painting, the circle of its problems and interests. The powerful impact of the art of Van Eyka was tested not only the Netherlands, but also italian masters Renaissance (Antonello da Messina).

Creativity Yana Wang Eki, Jerome Bosch, Peter Bruegel Senior

North revival - The era of the development of the culture of the middle of the sixteenth century in Germany, France, Switzerland, Northern Flanders and the Netherlands. The main feature This period is the genetic inheritance of late Gothic art. Northern Revival was born in Burgundy in the court-knitting work of painters of the Limburg brothers. Then the dominant role began to play this era School of Netherlands painting.

Pictures of the artists of the Netherlands School were distinguished by the pantheistic worldview, the most close attention to the slightest detail or the slightest phenomenon of life.

His junior contemporary, Italian humanist Bartolomeo Fazio. The same enthusiastic assessment was given in a century dutch painter and biographer dutch artists Karel Van Mandera: "The fact that neither the Greeks nor the Romans nor other nations were carried out, despite all their efforts, the famous Jan Van Eyk, born on the shores of the Adorable River Maas, which can now challenge the palm of championship in Arno, By and proudly tib, as it was shining such a shovel that even Italy, a country of art, was amazed by his brilliance. "

A very little documentary information has been preserved about the life and activities of the artist. Yang Van Eyke was born in Maazeik between 1390 and 1400. In 1422, Van Eyk entered the service to John Bavarian, the ruler of Holland, Zealand and Gegau. For him, the artist performed work for the palace in the Hague.

From 1425 to 1429, he was the court artist of the Burgundy Duke Philip Kind in Lille. The duke appreciated Yana as a smart, educated person, according to the duke, "not having equal in art and knowledge." Often Jan Van Eyk on the task of Philip Kind performed complex diplomatic orders.

The information reported by the chronicle of that time is talking about the artist as a versatile gifted person. Already mentioned Bartolomeo Fazio wrote in the "book about the famous her husbands" that Yang with enthusiasm engaged in geometry, created a kind of similarity geographic map. The artist's experiments in the field of oil paints technology talk about knowledge of chemistry. His paintings demonstrate a detailed acquaintance with the world of plants and flowers.

There are many ambiguities in the creative biography of Yana. The main thing is the relationship of Yana with his elder brother Hubert Van Eyk, who he studied and came together with which a number of works. There are disputes about the individual paintings of the artist: about their content, painting technique.

Creativity Yana and Hubert Van Eykov Many owl of the art of illustrators of the Limburg brothers and the altar master Melchior Bruberlama, who worked at the Burgundy yard at the beginning of the XV century in the style of Zion painting of the XIV century. Yang developed this maneru, creating on its basis new style, more realistic and individual, who heralding about a decisive turn in the altar painting of Northern Europe.

In all likelihood, Yang began its activities from miniatures. Some researchers attribute to him several best sheets ("Reference" and "Taking Christ's detention", 1415-1417), the so-called Touris-Milane Character, performed for the duke of Berrysky. At one of them, Saint Julian and Holy March, carrying Christ across the river. Truthful images of various phenomena of reality were met in the Netherlands miniature and to Van Eyka, but before no artist knew how to combine individual elements with such art holistic image. Wang Eyka is attributed and the authorship of some early altars, such as "crucifix".

In 1431, Van Eyk settled in Bruges, where he became a court painter, as well as the artist of the city. And a year later, the artist completed his masterpiece - a Gent altar, a large polypty, consisting of 12 oak flaps. Work on the altar began his elder brother, but Hubert died in 1426, and Yang continued his business.

Colorfully described this masterpiece E. Fronden: "Passed century. Christ was born and died. Atonement happened. Want to know how Yang Wang Ayk is not like an illustrator of the prayer room, but as a painter - plastically handed it a great sacrament? Extensive meadow, all spring-written colors. Ahead of the "Source of Life". Beautiful jets water falls into the marble pool. In the center - altar covered with purple cloth; On the altar - white lamb. Around the garland of small winged angels, which are almost all in white, with a few pale blue and pinkish gray shades. A large free space separates the sacred symbol from everything else. There is nothing on the lawn, except for the dark greenery of thick grass with thousands of white stars of field daisies. In the first plan on the left - the crankshaft prophets and a large group of standing people. Here and those who believed in advance and announced the coming of Christ, and pagans, scientists, philosophers, unbelievers, starting with the ancient bards and to the Gent Burgers: thick beards, smoky faces, inflated lips, completely lively physiognomy. Little gestures and little poses. In these twenty figures - a compressed essay on spiritual life before and after Christ. Those who else doubt - fluctuate in meditation, those who denied, are embarrassed, the prophets are covered by ecstasy. The first plan of the right, balancing this group in the deliberate symmetry, without which there would be none of the idea, nor rhythm in the construction, is busy with the twelve kneeling apostles and an impressive group of true servants of the Gospel - priests, abbots, bishops and dads. Beam, fat, pale, calm, they are all bowing in full bliss, even without looking at the Lamb, confident in the miracle. They are gorgeous in their red clothes, golden riza, golden mitra, with golden powers and spytie golden epithilles, in pearls, rubies, emeralds. Jewels are sparkling and shimmer on a flaming purple, wan's favorite color. On the third plan, far behind the Lamb, and on a high hill, followed by the horizon - green Forest, orange grove, bushes of roses and mirats in colors and fruits. From here, on the left, there is a long procession of martyrs, and on the right - the procession of holy wives, with roses in her hair and with palm branches in their hands. They are dressed in gentle colors: in pale blue, blue, pink and purple. Martyrs, mostly bishops, - in blue vestments. There is nothing more exquisite than the effect of two distinctly visiblely visible solemn processions that are distinguished by spots of light or dark lazuries on a strict background of the sacred forest. It is unusually subtle, accurately and alive. Even further - a darker strip of hills and then - Jerusalem, depicted in the form of a city silhouette or, or rather, bellsten, high towers and spiers. And in the latter plan - the distant blue mountains. The sky is defiantly clean, as applied at such a moment, pale blue, slightly combed with ultramarin in the zenith. In the sky - pearl whiteness, morning transparency and a poetic symbol of beautiful dawn.

Here is a presentation, but rather distortion, a dry report on the central panel - the main part of this colossal triptych. Did I give you an idea? Not at all. The mind can stop on it to infinity, endlessly dive into it and still not comprehend the depth of what expresses Triptych, nor the fact that he calls us. The eye can also admire, not exhaustive, however, the extraordinary wealth of those pleasures and those lessons what he gives us. "

The first dated work Wang Eyki, "Madonna with a baby, or Madonna under the Baldakhin" (1433). Madonna sits in an ordinary room and keeps the baby whips off the book on his knees. The background serve as a carpet and the canopy depicted in promising reduction. In "Madonna Canonika Van der Pale" (1434) Aged priest is shifted so close to the Mother of God and His cartridge St. George, which is almost concerned with the white clothes of her red raincoat and the knightly armor of the legendary dragon winner.

The next Madonna - "Madonna Chancellor Rollane" (1435) is one of the best works of the master. LD Lyubimov does not hide his admiration: "Barchants shine, paint shines, and they attract irresistibly gaze each fur gun and each face wrinkle. As expressive, as significant features of the knee-free chancellor of Burgundy! What could be more magnificent his vests? It seems that you conjugate this gold and this pass, and the picture itself appears in front of you as a jewelry, as a majestic monument. No wonder at the Burgundy yard, such paintings were kept in the treasures next to gold caskets, chains with glittering miniatures and precious relics. Press in Madonna's hair - what can be softer in the world? In the crown, which an angel holds over her, - as it shines in the shadows! And behind the main figures and behind the thin colonnada - leaving the river and medieval city in bending, where Vanikovskaya amazing painting sparkles in each detail. "

The last dated artist's work is "Madonna at Fontana" (1439).

Jan Van Eyk was also a wonderful innovator in the portrait area. He first replaced the cherry type of the belt, and also introduced a three-hard turn. He laid the beginning to the portrait method when the artist focuses on the guise of a person and sees a certain and unique person in it. An example is "Timofey" (1432), "Portrait of a man in the Red Hap" (1433), "Portrait of a wife, Margarita Van Eyk" (1439), "Portrait of Bodouen de Lannua".

Double "Portrait of Arnolphin Fours" (1434) Along with the Gent Altar - the most important work of Wang Eyka. According to plan, it has no analogues in the XV century. Italian merchant, representative of the banker house of Medici in Bruges, is depicted in the marriage rest with a young wife Jiwow Chenami.

"... Here the Master focuses on more specific life phenomena. Not retreating from the system of his art, Yang Van Eyk finds ways to indirect, bypassing problems, a conscious interpretation of which will come only two centuries later. In this regard, the image of the interior is indicative. He thinks not as much as part of the Universe as a real living environment.

Since the days of Middle Ages, the tradition was held to endow objects with symbolic meaning. Van Eyk was also acted. They have fun and apples, and a dog, and a rosary, and a candle burning in a chandelier. But Van Eyk so looking for them in this room, that they are beyond symbolic meaning Possess and the value of the household situation. Apples were scattered on the window and on Lara near the window, crystal rosary hang on the carnation, throwing away like one to another sparkle of solar glare, and the symbol of loyalty - the dog is dying butterfly.

The portrait of the Arnalphini couple is an example and ingenious flexibility of the Wang Eyka system and its narrow frames, beyond which the artist is intuitively sought. Essentially, the master is in the immediate one way to appear the appearance of a holistic and certain, characteristic and closed image characteristic of the developed forms of early Renaissance. "

Although oil paints Already used in the XIV century, but Van Eyk, in all likelihood, created a new mixture of paints, possibly tempera with oil, thanks to which she reached the unprecedented dotol light, and also varnish, giving a picture of impenetability and shine. This mixture also allowed to soften and nuanxate colors. In the art of Van Eyka, the new technique served as an exceptionally thought-out composition, which allows us to convey the unity of space. The artist owned a promising image and, connecting it with the transmission of light, created a plastic effect, until then unattainable.

Van Eyke is considered one of the most significant artists of his time. He marked the beginning of a new vision of the world, the impact of which extends far beyond his era.

The artist died in Brugge in 1441. In the epitaph of Wang Eyka is written: "It is resting to the glorious unusual virtues of John, in which love for painting was amazing; He wrote and breathable images of people, and earth with blooming herbs, and all the lively glorified with his art ... "

Portraits occupy a special place in the work of Yana. In fact, Wang Ayk along with Robert Kampen, Rogyr Van der Wayden turned a portrait in an independent genre. Prior to this, the portrait was an integral part of religious works, such as portraits of Donators. The works of the worst of the early Netherlands painting are characterized by a greater (in comparison with the Italian portrait) spiritual pointedness, subject accuracy of the image ... The hero of their portraits often appears as an inseparable particle of the universe, organically included in his infinitely complex system. "

Portraits of Yana Van Eyka are small in size and made of oil on a wooden board. They are distinguished by strict simplicity and deposit of funds. External features of a person are transferred very carefully, one can say with merciless realism. His heroes are immersed in itself, full of dignity. According to the researchers, Eyk first tried to open the window to the inner world of his heroes.

One of the early preserved portraits of Wang Enyk - "Portrait of a Men in Blue Chaperone". This small picture (22.5 cm x 16.6 cm with frame) was created around 1430. A man is depicted on a dark background, his figure is turned in three quarters and inscribed in a narrow space, which is characteristic of the style of the artist. The face of the model is sharply lit on the left, which gives a striking game of light and shadow, attracting the viewer's view. It should also be noted realism and jewelry in the image small details appearance. The man in the portrait is depicted with one or two-day bristles, written very carefully.

The painters of that period did not give names to their works, and the person of the man depicted in the portrait remains unknown. Since he holds a ring in his hands, it was assumed that this is a portrait of a jeweler. Recently, the version has appeared that the ring is a symbol of the engagement. The small sizes of the picture confirm this assumption - the portrait could be sent with a proposal about the bride and her family.

In the upper left corner, the sign was visible to the Albrecht Durer paintings. But it was found that the sign was drawn later. Who and for what purpose - not established.

"Portrait of a man in Blue Chaperone"

About 1431 Van Eic writes "Portrait of Cardinal Nikcolo Albergati". Cardinal was a very famous person. In twenty years, he became a monk of the Cartesian Order, over time he rose to the head of several communities, in 1417 he was elected bishop Bologna, and in 1426 he received the title of Cardinal. According to contemporaries, Niccolo Albergati was distinguished by a great scholarship and monastic simplicity in everyday life. He enjoyed particular confidence in Martin V and often performed diplomatic orders. He was called the "Angel of the World". In the autumn of 1431, Cardinal was traveling in Ghent. It was then that Yang Van Eyk made a picture that later served as the basis for the portrait, and on the back made notes about the color of the bristles and the color of the eyes.

"Portrait of Cardinal Nikcolo Albergati"

The picture "Leal Souvenir" (FR. For memory) was written in 1432. Bottom part The portrait is a parapet written with illusionist accuracy of a hurried yellowish stone with an inscription carved on it and a word tγμμ.ωοεος, and the end of this word enters the crack in stone. It is unclear whether the name is it, or the nickname of the character (Timofey), or the motto (the god). The lowest inscription reads: "Actu [M] An [N] O DNI.1432.10.DIE OCOBRIS.A.IOH DE EYCK (this is done in the year of our Lord of our 1432th, on the day of October 10, John de Eikom)" . Unknown, no one is depicted in this portrait, nor what stat status. There is an assumption that it is either a humanist unknown to us, or a musician from Filipp's kind Speet.

"Leal Souvenir" or "Timofey"

"Portrait of a man in Red Turban" was created in 1433. The picture is inscribed in a complex frame, the vertical sides of which and the central panel is actually one piece of wood. On the top of the frame, ALC IXH XAN (as I can) is a kind of pun in the name of the master. This motto meets on other pictures of Wang Eyka. Below, the inscription on Latin Johes De Eyck Me FECIT ANO MCCCC.33. 21. Octobris - Yang Van Eyk did me on October 21, 1433. The letters are written so that they look out carved on the tree.

It is assumed that this is a self-portrait of the artist. For the first time, this version was expressed in 1655, but still there is no consensus. Clothes are quite suitable for a person of such a social status, which he occupied Jan Van Eyk. By the way, in fact, a man is not a turban on the head, and the headdress is fashionable at that time - Chaperone.

"Portrait of a man in red turban"

Around 1435, a portrait of Bodoyna de Lannua was written, who served at the courtyard of Philip is good. He was an ambassador from Heinrich V, Governor of Lille. When in 1430, Philip is good established the Knight's Order of the Golden Rune, Boduen de Lannua came in the number of the first twenty-five cavaliers of the new Order. In the portrait, it is depicted in rich clothes and with the Order Chain on the neck.

As in many of the portrait works of this master, the character proportions are somewhat violated. The head is drawn too big to attract the attention of the viewer.

"Portrait of Bodouen de Lannua"

Giovanni Di Nikolao Arnolphin was a character of two portraits Yana Wang Eyka. For the first time, he was depicted in the double portrait with his wife (the famous "portrait of the Arnolphini couple") in 1434, and the second portrait was written in 1438.

Giovanni Arnolphin was a merchant from Lucca in Italy. IN early age To keep a family business, he arrived in Brugge, who was then the Center for Trade in Northern Europe, and lived there until the end of his life. He is rich in silk trade, tapestries and fabrics, but then his affairs, most likely stunned, as in 1442 Arnolphini signed an agreement for which, for a reasonable fee, he became a resident of Bruges, promising not engaged in trade.

In the portrait, he is depicted in the Red Chaperone with superimposed Brerela, turning a headdress into something similar to the Turban. It is interesting that the magnitude of the burlene corresponded to the degree of knowledge of his owner - the more Burlele, the higher the person standing on the social staircase.

"Portrait of Giovanni di Nikolao Arnolphini"

One of the last surviving works of the Master is a portrait of Margaret Van Eyk, the artist's wife. On the frame inscription in Greek: "My husband Johannes completed me in 1439 on June 17," and again the motto "how can I". Margaret dressed in an elegant red woolen dress with a fur torn. "Horned" Annen is decorated with lace.

From a modern point of view, Margaret was not beauty, but she impressed a bright personality. Her maiden name unknown, but probably she had quite high social status. It is known that the couple got married in 1433, they had several children. Margaret survived her husband for fifteen years, but no information was preserved as she spent these years.

"Portrait of Margaret's wife"

J. Hyoving "Autumn Middle Ages"

Jan Van Eyck (Notherl. Jan Van Eyck, Ok. 1385 or 1390, Maaseik-1441 Brugge) - the Netherlands painter of early Renaissance, Master of Portrait, author of more than 100 compositions on religious plots, one of the first artists who have mastered painting techniques with oil paints.

Biography Yang Wang Eyka

Yang Van Eyk Loud brother of the artist and his teacher Hubert Wang Eyka (1370-1426). The exact date of the birth of Jan Wang Enik is unknown. Born in the Northern Netherlands in the city of Mashaik.

He studied at the elder brother Hubert, with whom he worked until 1426

He began its activities in the Hague at the courtyard of the Netherlands Counts, was first mentioned between 1422 and 1426 as "Master Yang" in the rank of chamber-junker at Count Johann III.

From 1425, he is an artist and court duke of Burgundy Philip III of the Good, who highly appreciated him as an artist and generously paid his work.

In 1427-1428 As part of the Ducal Embassy Yang Van Eyk went to Spain, then in Portugal.

In 1427, he visited the tour, where he was adopted with the honorable local artists guild.

Probably met with Robert Campen, or saw his work.

He worked in Lille and Ghent, in 1431 acquired a house in Brugge and lived there until death.

Creativity Eyka.

Eyky's style was based on the implicit strength of realism, served as an important approach in late medieval art.

The outstanding achievements of this realistic direction, for example, the frescoes of Tommaso da Modena in Treviso, the work of Robert Campen, influenced the style of Yana Van Eyka.

Experimenting with realism, Jan Van Eyk achieved amazing accuracy, unusually pleasant differences between the quality of materials and natural light. This suggests that its careful outline of details of daily life was made with the intention to display the magnificence of the Lord of the creations.

Some writers falsely attribute to Jan Wang Eyka. Opening of painting equipment oil. Undoubtedly, he played a key role in improving this technique, reaching with its help unprecedented wealth and color saturation.

Yang Van Eyk developed the technique of Scripture with oil. He gradually sought a pedantic accuracy in the image of the world of nature.

Many followers unsuccessfully copied his style. The distinctive quality of the work of Jan Van Eyka was a difficult imitation of his work.

Its influence on the next generation of artists, in northern and southern Europe, It is impossible to overestimate. Whole evolution flemish artists The 15th century wore a direct imprint of his style.

Among the works of Wang Eki, who have survived, the Great is the "Gentic Altar" - in the Cathedral of St. Bavon in Ghent, Belgium. This masterpiece was created by two brothers, Jan and Hubert, and completed in 1432. On the exterior panels showing the day of the bias, when Angel Gabriel visited Mary Mary, as well as the images of St. John the Baptist, John the Evangelist. The interior of the altar consists of "worship of the lamb", an outlining magnificent landscape, as well as the above pictures showing the god of the father near the Virgin, John the Baptist, angels playing music, Adam and Eve.

In all his life, Yang Van Egg created many magnificent portraits, which are famous thanks to crystal objectivity, graphics accuracy.

Portrait of Yana de Leu Annunciation Gent altar

Among his paintings: Portrait of an unknown man (1432), Portrait of a man in red turban (1436), Portrait of Yana de Liyow (1436) in Vienna, Portrait of a wife of Margarent Van Eyk (1439) in Brugge.

Wedding painting "Giovaani Arnolphin and his Bride" (1434, National Gallery London) Along with the figures shows an excellent interior.

In the biography of Wang Eyki, the artist's special interest always fell on the image of materials, as well as special quality of substances. Its unsurpassed technical believing was particularly well manifested in two religious work - "The Mother of the Chancellor Rollane" (1436) in the Louvre, the "Bogomater Canonika Van der Pale" (1436) in Brugge.

In the National Art Gallery of Washington, a picture of the "Annunciation" is presented, which is attributed to the hand of Wang Eyka.

It is believed that some of the incomplete paintings of Yana Van Eyka graduated from Petrus Kristus.

In the history of art, the "Portrait of Arnolphin Family" is one of the first pictures signed by the artist himself. "Here was Jan Van Eyk. 1434. So however, until the XV century it was not customary to sign their paintings.

Picture Jan Wang Eyka, Masters from Brugge, Flemish painter of the Epoch of the early Renaissance, - in which the hint is hidden. The picture is called the "Portrait of the Arnolphin Fau".

The picture simply shakes a huge number of details, which is quite interesting, because it is written only in 1434. And the prompt about how the author managed to make such a big step forward in the realistic image, serves as a mirror. And also the candlestick is incredibly complex and realistic.

Netherlands Polycetian Wang Eyk

Introduction

Wang Eyk Yang (about 1390-1441), the Netherlands painter. Chief Representative And one of the world's leadership of the Early Renaissance in the Netherlands. In 1422-24, he worked on the decoration of the County Castle in the Hague, with 1425 the court artist of the Burgundy Duke Philip Kind. In 1427 he visited Spain, in 1428-29 Portugal. About 1430 settled in Bruges.

The largest work of Wang Eyk is the famous "Gent Altar" (polyptypes in the Cathedral of St. Bavon in Ghent). According to the later inscription on the altar, his painter Hubert Wang Ayke began and graduated from 1432 Jan (Hubert, Senior Brother Yana, worked in the 1420s. In Ghent, where he died in 1426).

The question of the work of Hubert Wang Eyka and his participation in the work on the "Gent Altar" remains controversial. According to the majority of scientists, Hubert could only start working on the central parts of the altar, but in general the altar was performed by Jan Eyk. Despite the presence of archaic traits in a number of scenes, the "Gent Altar" opens up new epoch In the history of the Netherlands art. Religious symbolism is interspersed in specific, vital and tangible images. With exceptional realistic courage and untruthful truth, nude figures of Adam and Eve are depicted on the altar; The figures of singing and muscitizing angels on the side flaps are distinguished by the combination and plastic carriability; Fine poetry and skill in the transmission of space and light-air medium highlights landscape backgrounds in the scenes of the Lamb of the Lamb.

Top of creativity Wang Eka - Monumental altar compositions ("Madonna Chancellor Rollane", about 1436, Louvre; "Madonna Canonika Van der Palee", 1436, Municipal Art Gallery, Brugge). Developing and enriching the achievements of their predecessors (R. Campen, etc.), Van Eyk turns the traditional scene of the worship of the Divine into a majestic and colorful image of the visual, real world, filled with calm contemplation. Wang Eyka is interested in equally and man in all his unique personality, and the world around him. In the compositions of Wang Eyka, portrait images, landscape, interior, still life play a substantial and equivalent role. Emergency care and at the same time the bold generalization of painting detect the features and beauty of each subject that acquires the real weight and volume characteristic of the surface texture. Details and integers are in an organic interconnection: architectural parts, furnishings, flowering plants, precious stones and fabrics, adorning the clothes of Our Lady and the figures who worshiping her, as if embody a particle of the infinite beauty of the universe; Failed light and air Panoramic landscape in Madonna Rollane Chancellor is perceived as a collective harmonious image of the universe.

Art Van Eki is imbued with a deep understanding of the logical pattern of all existing, the expression of which is strict, thoughtful and at the same time the vitality of the composition of the composition, full of fine sensation of spatial proportionality. The solution of creative problems supplied by Van Eyk demanded the development of new artistic agents.

Wang Ayke One of the first mastered the plastic and expressive possibilities of oil painting, using thin transparent paint layers, put one on top of another (the so-called Flemish manner of a multilayer transparent letter). This picturesque method allowed Van Eyka to reach exceptional depths, wealth and luminosities of color, as well as the subtleties of black and colorful transitions. Sound, intense, pure colors of paints in the pictures of Wang Eyka, as it were, permeated with air and light and combined into a single harmonious colorful integer. Picturesque opening Wang Ecky played important role In the history of world painting.

Wang Ayke was one of the first large masters in Europe portrait painting. In the work of Wang, the portrait stood out in an independent genre. In the graceful portrait images created by Van Eyom (usually in three-hardest reversal), distinguished by strict simplicity and deposit of funds (Timofey, 1432, "man in a red headdress", 1433, both in the National Gallery, London; Portrait of the wife of the artist Margarent Van Eyk, 1439, Municipal Art Gallery, Bruges), impartially truthful and thorough transfer of external person, is subordinate to Zorka and the insightful disclosure of the main features of its character. Portrait images The artist reflects the deep awareness of the advantages and value of the human person. Wang Eyk created the first in European painting a steam portrait, depicting a merchant J. Arnolphin with his wife in the center of a small, performed soft light and comfort of the Burgers Room (1434, National Gallery, London).

Creativity Wang Eyka, based largely on religious ideasReflected however, the awareness of beauty, diversity and values \u200b\u200bof real life and served as a large-scale point of development of realism in the history of European painting. It has largely determined the paths of further development of the Netherlands painting, the circle of its interests and problems. The powerful impact of the art of Wang Eyka was tested not only by the Netherlands, but also Italian masters (Antonello da Messina, etc.).

Biography

"The most important artist of our century" is so called Wang Eyka<#"justify">Interesting Facts

· In the history of art "Portrait of the couple of Arnolphin<#"justify">So however, until the XV century it was not customary to sign their paintings.

· There are several theories trying to explain the sudden transition to the realism<#"justify">eyk Painter Lyrics Composition

Description of pictures

One of the stages of the portrait evolution of Creativity Yana Van Eyka is the so-called portrait of Timofey. Otherwise, this picture is called a "portrait of a young man." The picture is written by an artist in 1432 by an oil on the board. This is a belt image of a ugly, quiet person, asking the view, devoid of a certain expression into space. However, the duration, purity, thoughtfulness and non-fixedness of this gaze make it feel that portrayed modesty and piety is fully opened by the world. Timothy's view establishes a certain ratio between it and the outside world. It has a bile directivity; It can be said that the outside world, penetrating through the eyes of Timofey, is implemented in the new quality - to the inner sphere of man. At the same time, as a ray, which fell into another Wednesday and refracted by it, he does not lose its nature. Timothy's opinion approves the concerns of his universe and the presence of deep spiritual life in it. We do not know anything about it, but we feel it, and it is not by chance that the eyes on the portraits of Wang Eyka most often have a shade insoluble for the viewer of mysteriousness.

In the painting of Wang Eyka - a portrait of a man in Türban, performed in 1433 (London, National Gallery), the facial expression becomes more active. Portrait close to the edge of the picture, his eyes are drawn to us (although it is still impossible to say that he looks at you). Wanging him, more closely, than Timothy, has some bitter taste, that is, its emotional painting more specifically. In the named portraits there is neither the developed characteristics or certain mental movements. They are replaced by a long, timeless contemplation. And the contemplation for Wang Eyka is not an individual model property. It is rather quality for him, which determines the person's place in the world (as for Italian portrait images, such quality was the ability to act, to the active manifestation of its internal energy). And the individual beginning in the portraits of Wang Eyka affects exclusively in how a person contemplates the world as he is facing the world. Actually, the value of a person consists of Wang Eyka in the ability to feel its undisturbed communications, fusion with the world. The general condition with this kind of perception is one thing - a kind of thoughtful sadness. But in vain to guess about its specific content. We are given only to know that Timofey looks into the world with quiet lyrical thoughtfulness, and the man in Turban is more dry and bitterly. Psychological orientation in both cases is one, but its tonality, its emotional painting is different.

In 1434, Jan Wang Ayk wrote a portrait, usually considered an image of an Italian merchant from Lucca, a representative of the interests of Medici's home in Brugge, Giovanni Arnolphini and his wife John (London, National Gallery). This portrait not only captures both Arnolphin, but also represents them in a certain storyline and household situations: the master portrayed the moment of marriage. Spouses are in the room. Giovanni Arnolfini holds the hand of John (or Giovanna) Chenny, his young bride. Little dog, homemade shoes, fruits on the windowsill, the only candle hanging on a nail rosary, floor boards and a carpet - everything is discharged with jewelry accuracy. Perhaps the picture was ordered by the artist to perpetuate this happy union, and, like a witness in the marriage ceremony, he subscribed to the long wall: Johannes de Eyk Fuit Hic (Jan Van Eyk was here). In the mirror below, the inscription is reflected from the back of a couple of newlyweds and the third figure, allegedly the artist, witness the event. The image of Giovanni is tricked similar to the portraits of Timothy and a man in the turban. But the master brought his eyes - and he no longer goes into space. Spiritual world As if closed in the man itself and shines with its own light, and not reflected by the light of the universe. Van Eyk does not list the peculiarities of the mental sphere portrayed. But he seems to be subordinate to his model, he writes it in the "character" who is responsible for her, and the picturesque manner is striking by the unusual Van Eyka, but so corresponding to the creature of Arnolphin with cold and brilliant confidence. With acute and close observation, he notes narrow, depressed whiskey, cut off the chin, a few lips curves and especially long-term facials, also a long, shrinkable, with sophisticated nostril nostrils, covered with centuries, light eyes and weakly sway on pale shots blush. Narrow, with a fixedly impressed mother's hand of Giovanni hung in the air - not moving and not stopped, hand with unfinished, even hidden character. And her hand was open to Giovanna - also thin, but completely different in his tender undevelopment. Giovanni stands with almost prayer concentration. He is not so much worth it. But we, subordinated to his blessing and warning movement, perceive it as an expression of the rigor, the seriousness of Arnolphin. On the contrary, the passive subordination gesture Giovan's gesture of her husband, a smaller concentration of her view and some idealizing attachment gives her touching and soft grounds. Smooth, reminiscent of the enamel The pictorial surface of the picture is achieved due to the imposition of pigment mixed with flaxseed oil, numerous layers of addresses. Then the picture was covered with varnish. Jan Van Eyka and his brother Hubert, who used this technique, considered the "inventors" of oil painting. Van Eyki style often imitated, but never could surpass.

In the altar work "Madonna Chancellor Rollane", the artist's method acquires greater complications. The painting "Madonna Chancellor Nicola Role" (Museum of Louvre, Paris) was created by Jan Wang Eyk in 1435. Not very large (0.66x0.62 m), it seems like more of its real sizes. Images are tougher and definite. The infinitely leaving panorama solemnly opens through three arched spans. The architectural landscape part is not with people lyrical and harmonic unity, but acts as an important, independent image: Rolenu is opposed to a landscape with residential buildings, Mary - Panorama of churches, and the line located along the central axis of a distant bridge with moving figures of pedestrians and riders moving around I would establish a connection between the role and the blessing gesture of the Baby of Christ. The growth of the definiteness of images (Rolls is one of the toughest images of Van Eki) and the conscious underscore of the unity of a person with the universe indicate that the artist stands before the need for further development or modification of his painting system.

Actually, the picture "Madonna Canonika Van der Palee" is written on the order of Canonik George van der Pale. The implementation of these new trends occurred about 1436. In any case, in 1436 the Master created an altar composition, in many ways other than his previous works, "Madonna Canonika Van der Palee" (Bruges, Museum). Rhythms and forms here were enlarged, they became harder and dimension. Yang Van Eyk in the picture "Madonna Canonika Van der Pale" managed to create an explicit domination of the spirit of calm and static equilibrium. The participants of the scene are peculiar to the representativeness, unconditional, not requiring dignity.

Comparatively with the same heroes of Van Eyki, they are not so much looking at themselves as they allow the viewer to overcome their smooth semicircle. They are no longer afraid to obscure the landscape or to close the perspective. For a change in young, not like mothers, but at the older sisters the Madonna of the previous years came another - the majestic, quietly holding the main part of the painting. Four participants of the scene (Madonna, Holy Domitsian, St. George and Donator Palaley) acquired an increased material massiveness. Arched spans do not open any distant expanses or complex architectural aspects. Yang Van Eyk brought the heroes of his paintings to us and limited them the field of our view. The prospect of "Madonna Chancellor Rollane" was closed, the window of Dresden Triptych was closed.

But Jan Van Eyk went even further. With all its significance, Chancellor Roles (in the aforementioned altar) is not a major hero. Its image is equal to the image of the Madonna and is inferior to the artistic activity of the landscape panorama. In Madonna Van der Palee, the artist turned Donator in hardly the main face of the composition. The crankshaft van der Pale domes in the picture. Maria and Holy Domitian are addressed to him, his highlight in white closure attracts our attention, and the elegant cartridge of the canonika - Saint George, happily raising his helmet, represents him Madonna. The same, removing the glasses and laying a finger the right prayer pages, raised the sullen, severe reflecting gaze. He does not contemplate, but reflects. And in this permutation of the accent from the conversion of a person to the world on his immersion in itself - premises subsequent trends of the Netherlands art. Color and here lifts an image on a certain highest level. But its activity and at the same time density are special. The velvet vestment of the Holy Domitian acquires incredible color thanklook. Its covered with sun folds blue than it is possible for real color. And combined with red - Mary's robes - and white - canonika, - they form a powerful shining chord. But it precisely because of the ultra of this chord, it arises in it the features of a new - self-sufficient color activity, impossible in those works where the master fully subordinate his art is the idea of \u200b\u200bthe Universe.

All the works of Jan Van Eyka after 1436 carry the szvuk pathos objectivity, which in such a sharp form manifested itself in the picture "Madonna Canonika Van der Pale". But self-reliable significance of the image is combined with some prosecution of the interpretation. The person depicted by the artist becomes more specifically, characteristic. Portrait of Yana De Leuve, despite the very small dimensions, it seems monumental: to such an extent in the model, the foundation of the appearance and harsh directness of the inner world are emphasized. Jan De Leuwa looks not in the world, but on us. Next to him, Timofey and a man in turbans seem remote and unattainable for live contact. Increasing the concreteness and reality of a person's image in the later works of Jan Van Eyka proceeds unusually quickly and manifests itself differently. In the incomplete "Saint Varvar" (1437; Antwerp, the Museum), it is noticeable in the interpretation of the second and third plans, where the construction of the temple is thoroughly depicted, and the distant hills receive a clear and ordered solution. In the picture "Madonna at Fontana" (1439; Antwerp, Museum), it can be seen in the desire to neutralize the activity of promising background construction (with the help of figures of angels holding curtain, and colors) and focus on man's image. The picturesque decision emphasizes not so much the beauty of the universe, how much the decorative wealth of the picture. Color acquires strength, juiciness, still unprecedented power of sound, but for him we no longer feel the ones - touching and shy - the admiration of the artist Yana Van Eyka.

The most consistently new features of the method are embodied in the last portrait of the master - the portrait of the wife Margret Wang Eyk. Here, the characteristics of the appearance begins to explicitly draw the analysis of the character. If in the portraits of Timothy and a person in the Red Turban, the image of portrayed was only part of a more general image (the image of a person as part of the universe), then the creation of an individual image exhausts the artist's intelligence. Such objective portraits Wang Ayke has not yet created. And he never turned to such an unusually thin, while rather refined than the deep range: red with a purple tint fabric - gray fur edge - gray-pink with a very pale lip's face. The picture of the artist "Portrait of his wife Margret Wang Eyk" completes the first stage of the Netherlands Renaissance and testifies to the entry of Van Eyka to a new, characteristic already for the 1440s phase of the development of the art of the Netherlands. Death in 1441 interrupted him further activities. Brothers Yang and Hubert Van Eyk in modern art occupy an exceptional place. But they were not alone. Simultaneously with them, other painters worked in Northern Flanders, stylistically and in the problematic attitude of them related.

Gent Polypties Van Eyk brothers (St. Bavon Cathedral, Ghent) - central work Art of the Northern Renaissance. This is a grand, many natural structure, size of 3.435 per 4.435 meters. The multicate altar was originally intended for the side chapel of John the Baptist in Saint-Bavo in Ghent. Attentive analysis of the altar made it possible to distinguish between both brothers - the province and yana in it. The governor who began working in 1426, the altar was completed in 1432. Jan, who performed the panels that make up the outside of the altar, and in a large degree of the inner side of the side flaps (however, the hand of Yana is distinguishable in a number of scenes written by the province , And the total integrity of the polyptic indicates the leadership role of the older brother). When comparing the procession on the inner side of the side flaps with the stage of worshiping, the Lamb can be noted that in the work of Yana figures are grouped freely. Yang pays more attention to man than the province. The figures written by them are distinguished by greater harmony, they are more consistently, evenly reveal the precious nature of the human and the world.

On the festive days, the sash moved away. A light air scene in the room Mary has revealed - literally and portable - in the very essence of its own. The altar becomes twice as much (due to opened sash), it acquires a wide and solemn multi-eyed. It lights up in deep flower shine. The transparent luminous scene "Annunciation" replaces the majestic and magnificent series of figures. They are subordinated to special patterns. Each figure is like an extraction, concentration of reality. And each subordinate to the joyful, triumphant hierarchy, headed by God. It is the center of the whole system. He is larger than all, he will move deep into and elevated, he is still being, and the only one, turned outdoor altar. His face is serious. He rushes his eyes in space, and its steady gesture is deprived of chance. This is a blessing, but also approval of the highest need. It stays in color - in red burning color, which is spilled everywhere, which flashes in the most hidden corners of polyptic and only in the folds of his clothes acquires its highest burning. From the figure of God-Father, as from the beginning, hierarchy solemnly unfolds.

Maria and John the Baptist, depicted beside him, are subordinated to him; Also sublime, they are deprived of its sustainable symmetry. In them, plastic is not defeated by color and endless, deep colorfulness of the color does not go into intense, flaming burning. They are larger, they are not fused with the background. The following are angels. They are like junior sisters Mary. And the color in these flaps is fading and becomes warmer. But, as if to replenish weakened color activity, they are represented by singing. The accuracy of their facial expressions makes a visual viewer, as if actually perceived height and transparency of the sound of their chants. And the stronger and the material and the phenomenon of Adam and Eve. Their nagging is not simply indicated, but it is presented in all its evidence. They are in growth, convex real. We see how the leather on the knees and the hands of Adam's hands is robbed, how the forms of Eve are rounded.

Thus, the top tier of the altar is deployed as astounding in its consistent change of the hierarchy of reality. The lower tier, depicting the worship of the Lamb, is resolved in another key and is opposed to the top. Light, apparent immense, it extends from foregroundwhere the structure of each flower is distinguishable, to infinity, where the slender verticals of cypresses and churches alternate in the free sequence. This tier has properties of panoramic. His heroes do not act as a single given, but as part of the set: from all over the Earth in the measuring movement, the priests and hermits, prophets and apostles, martyrs and holy wives are selected in the procession. In silence or with singing, they surround the sacred lamb - the symbol of the sacrificial mission of Christ. We have their solemn communities, terrestrial and celestial expanses are opened in all their colors, and the landscape acquires a worrying and new sense, greater than just a distant form, it is implemented in a kind of embodiment of the universe. The lower tier represents the other than in the upper, aspect of reality, but both of them constitute unity. In combination with the spatiality of "worship", the color of clothes of the god-father flames is still deeper. At the same time, his grand figure does not inhibit the environment - it snars, as if radiating the start of beauty and reality, he cries and the volume of everything. And as a center of equilibrium, as a point, final composite construction, placed under his figure overflowing a precious openwork crown with an entire thoughtful multicolor. It is easy to see in the Gent Altar principles of the miniature of the 20s of the 15th century, but in the polyptiche they are erected into the finished artistic, ideological system.

In the closed form, the Gent altar is a bunk composition, the lower tier of which occupies the images of the statues of two John - the Baptist and the Evangelist, on the sides of which are the cranked customers - Iodokus Waid and Elizabeth drowned; The upper tier is assigned the scene "Annunciation", which is marked with the figures of Siville and the prophets ending the composition. Lower tier of the altar due to the image real people And the naturalness, the tangibility of statues more than the upper, is associated with the environment in which the viewer is located. The color gamut of this tier seems dense, heavy. On the contrary, "Annunciation" seems to be more detached, its flavor leveled, and the space is not closed. The artist retracts the heroes - the gospeling angel and the rapid thanks to Maria - to the edges of the scene. And all the space of the room frees, fills the light. This light is even more in "Madonne in the Church", has a two-way nature - it makes the beginning of the sublime, but it also poets the clean comfort of the usual home apparel.

And as if to proof the unity of the two these aspects of life - universal, elevated and real, domestic - the central panels of the "Annunciation", weigh at the distant perspective of the city and the image of the touching detail of homemade household - washbasin with a towel hanging. The artist diligently avoids the limited space. Light, even light-touch, it continues outside the room, outside the windows, and where there is no window, it turns out to be a deepening or niche, and where there is no niche - the light lies sunny bunny, repeating thin window bindings on the wall. The entire outer part of the polyptic is subordinated to the idea of \u200b\u200bthe Annunciation, that is, the prediction of the coming to the world of Christ, and should, according to the artists, to prevent the theme of redemption. And, corresponding to this task, the closed altar is in itself a feeling of joyful inexpensive and expectations. With all the solemnity of "Annunciation" - this is just one single scene, an episode. Only the inner parts of the altar - representing the atonement of human sins - they carry the feeling of sublime and exciting overallity. It is easy to see in the Gent Altar principles of the miniature of the 20s of the 15th century, but in the polyptiche they are erected into the finished artistic, ideological system.

The desire in any scene, in any person and subject to reflect mainly the beauty of the universe was the strongest impact on the interpretation of space. Saving spatiality and airiness miniature of the 20s of the 15th century, the Gent altar informs these qualities of software principality, ideological meaning. There, a man merged with the universe in a kind of landscape unity. There is a landscaped distance, and a person, and the item of the subject possess such an underlined expressiveness, which is to some extent depriving the scene of her household naturalness, making it more "still life", gives it a huge force of artistic and emotional impact. The principles embodied in the Gentary altar appeared not in all images equally. Thus, in the Gent Altar, the author's brilliant finds miniatures of Turinsky Character gave grandiose results. And, in essence, even comparative slowness and peculiarity of the Renaissance development of the Netherlands, the lack of a cult of bright, heroic individuality, which had such important In Italy, there were unexpectedly valuable fruits here.

The picture "Annunciation" is written by the painter Jan Wang Eyk during the heyday of his talent. Essentially, the scene is also understood as an event, and as an upcoming action. In the picture, the artist depicts a gospeling angel and a praying Maria, which lies with the Holy Spirit. The picture of the artist Yana Van Eyka is filled with thin lyrism: quiet joy of angel, peaceful trepidation and excitement of Mary. Multicolored glow shine, metal gloss, deep overflows of velvet and enamel radiance of heaven more than anything else, transmit the beauty that the world is granted, the unusualness, the jewel of any particular and the whole universe as a whole.

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