How To Use Eyck In A Sentence
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A side chapel holds Jan van Eyck's Adoration of the Mystic Lamb, a huge altarpiece designed to be folded into sections, painted in 1432.
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Other evidence throws doubts on the suggestion that van Eyck painted the Arnolfini portrait under a projection onto the oak panel.
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Van Eyck secured his drawing in dark, then threw a pale transparent middle tint over the whole, and recovered his _highest_ lights; all was _transparent_ except these.
On the Old Road Vol. 1 (of 2) A Collection of Miscellaneous Essays and Articles on Art and Literature
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Linda Seidel has shown, for instance, that Van Eyck's famous Arnolfini portrait is best understood as something like a marriage contract, and the "cave canem" inscription on the fierce dog mosaics at Pompeii (often cited by Gombrich as examples of "apotropaic" imagery) seems redundant in view of the image.
Notes, Mitchell, "Ekphrasis and the Other"
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Van Eyck's manner) and those painted with oil alone, or with the modern megilp, (oil and mastic varnish,) is so well known that it is scarcely necessary to allude to it.
Blackwood's Edinburgh Magazine, Volume 57, No. 357, June, 1845
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We may have one Van Eyck, [170] who will be known as the introducer of a new style once in ten centuries, but he himself will trace his invention to some accidental by-play or pursuit; and the use of that invention will depend altogether on the popular necessities or instincts of the period.
Selections From the Works of John Ruskin
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Eyck in the National Gallery all the brilliant lights are loaded; mere white, Mr. Eastlake himself admits, was always so; and we believe that the flesh-color and carnations are painted with color as _opaque_ as the white head-dress, but fail of brilliancy from not being _loaded enough_; the white ground beneath being utterly unable to add to the power of such tints, while its effect on more subdued tones depended in great measure on its receiving a transparent coat of warm color first.
On the Old Road Vol. 1 (of 2) A Collection of Miscellaneous Essays and Articles on Art and Literature
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His mature works combine features of his Bruges predecessors, van Eyck's fascination with the detail of the visible world and Memling's refinement, with some compositional elements from Hugo van der Goes.
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Panofsky's contention that Van Eyck literally painted a marriage certificate was rooted in two early accounts of the picture.
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Called Arnolfini, in honor of the Flemish painter Jan van Eyck, the bejeweled chandelier, rendered out of glass containers, including egg cups and poison bottles, suggests a phantasmagoric Still Life painting.
Out of the Gallery and Into the Home
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Van Eyck's extant single-panel portraits are all decorated on the reverse, whereas the central panels of his surviving triptychs are not.
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Other evidence throws doubts on the suggestion that van Eyck painted the Arnolfini portrait under a projection onto the oak panel.
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Those who know Van Eyck's whole oeuvre well tend to believe otherwise - that it was simply the fashion to wear this style of clothing and that her attire should hot preclude her from being seen as a virgin bride.
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Van Eyck, 63, said his comic book - style film would be a black comedy.
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Eyck's finish is saved because up to the last he is essentially impressionist, that is, he keeps a just account of relative importances and keeps them in their true subordination one to another.
The Note-Books of Samuel Butler
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Other evidence throws doubts on the suggestion that van Eyck painted the Arnolfini portrait under a projection onto the oak panel.
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No slight difference this, when we reflect on the contrarieties of practice ultimately connected with the opposing principles; above all on the eminent one that, as all Van Eyck's color, except the high lights, must have been equivalent to a glaze, while the great body of _color_ in
On the Old Road Vol. 1 (of 2) A Collection of Miscellaneous Essays and Articles on Art and Literature
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Stork notes that pinpricks show that Jan van Eyck's 1432 portrait of Cardinal Albergati was magnified mechanically, with a proportional compass.
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Poussin's use of mirroring armor to encompass something beyond the representation is self-conscious and finds its closest parallel in another work by van Eyck.
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Peter, am I remembering correctly that your time as a participant at the Jan van Eyck Akademie overlapped with Jan van Toorn's final year there?
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Award-winning chef Eyck Zimmer serves up modern European cuisine, with delicious dishes such as roast squab or crayfish risotto.
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Nothing survives which was painted by van Eyck for the Duke, but other works by him indicate that wealthy middle-class and ecclesiastic patrons followed the lead of the Burgundian Duke.
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He was said to have been a pupil of van Eyck, e.g. by Vasari and other writers, but the researches of Weale in Flemish documents proved this incorrect, and showed that Campin was Rogier's master.
The Catholic Encyclopedia, Volume 15: Tournely-Zwirner
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In their installation, a sensor detects the approaching viewer and triggers a projected image of Van Eyck to appear in the mirror.
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Other evidence throws doubts on the suggestion that van Eyck painted the Arnolfini portrait under a projection onto the oak panel.
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Although it is often described as an altarpiece, this painting is far more likely to have served as an epitaph - a potential function of this and other pictures by Van Eyck that needs further study.
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I would like to think people come to the Met to see the David Lavoisier, the Van Eyck diptych of the Crucifixion and Last Judgement, and the Velazquez Juan de Pareja.
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The Emperor's palace was a tiered tower of scaffolding covered with tubing and construction materials, and the costumes looked deliberately bizarre: the Drummer (Jamie Van Eyck) had a tiny drum with enormous drumsticks; the magenta-haired Soldier Girl (Kathryn Skemp), who falls in love with the Soldier (Julius Ahn) after the two meet on the battlefield and are unable to kill each other, sported a petaled camouflage dirndl held up by crossed bandoliers.
Writing Death's Gentle Aria in the Face of Despair
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Highlighting the van Eyck brothers' role in a landmark concord between rival schools, Cornelius buries all reference to artisanal secrecy.
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Called Arnolfini, in honor of the Flemish painter Jan van Eyck, the bejeweled chandelier, rendered out of glass containers, including egg cups and poison bottles, suggests a phantasmagoric Still Life painting.
Out of the Gallery and Into the Home
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Yet out of all the details of rivalry between Guelf and Ghibelline, between French and German, between Angevin and Byzantine, there emerges an image as crystalline as a painting by Van Eyck.
The Sicilian Vespers, by Sir Steven Runciman
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It is my contention that Van Eyck's picture is a posthumous representation of Costanza, the only wife of Giovanni di Nicolao of whose existence we find any evidence.
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Ideas from abroad - notably the playful distortions of Italian Mannerism - eventually crowd into the tradition established by Van Eyck, upsetting its careful measure.
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This figure is usually interpreted as a self-portrait of van Eyck in the act of creating the very image before our eyes.