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Van Eyck
This generously illustrated volume on the work of Jan van Eyck makes the world's greatest art accessible to readers of every level of appreciation. A 15th-century Flemish painter who spent most of his life in Bruges, Van Eyck was revered for his innovative manipulation of oil paint. Overflowing with impeccably reproduced images, this book offers full-page spreads of masterpieces as well as highlights of smaller details, allowing the viewer to appreciate every aspect of the artist's technique and oeuvre.
- GenresArtNonfictionArt History
159 pages, Paperback
First published January 1, 2007
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Displaying 1 - 10 of 10 reviews
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November 5, 2019An ok book. There is plenty to like about it, but there is also I felt nothing about it that raises it over the level of being just ok. It is printed in very small font - I was close to reaching for reading glasses.
There is a text section on the life (in so far as it is known of Jan van Eyck then a long section pp30 - 134 on the works (this is most of the book), mostly with a colour reproduction of a picture on the right hand page and some text on the left, there are some bonus close ups of details too - very useful because as I have noticed looking at The Arnolfi portrait (or marriage) unless you walk around the National gallery shouting 'fire, fire! Call the engines, call the engines', you are unlikely to be able to get close enough to the fairly small original to see the details closely. Then there is a text section called 'Van Eyck in close up' which offers a bit of analysis. This is followed by a curious 'anthology' - a section of extracts from other books that discuss van Eyck - some of these repeat what is in the analytical section so you can see that what Ferrari wrote a few pages earlier wasn't his own idea but Erwin Pankofsky's (unattributed).
Then there is a handy feature - a list of locations of known van Eycks so you can plan your own van Eyck pilgrimage, here's a sneaky spoiler for you - they are mostly in Belgium, but there are three each in Dresden, Berlin, London, Turin and Vienna (there are odd ones and the occasional couple in other cities). Finally there is a chronology and a brief bibliography, I think I might have been impressed by this book if I had read it before reading The Art of the Northern Renaissance.
Ferrai says that van Eyck was the first artist to sign and date his works (on the frame), however he did not sign and date all of them (or perhaps he did but not all the works are in their original frames) this leads to some gloriously circular statements along the lines of 'we know that such and such a painting is a genuine van Eyck because of it's masterful composition and because it is by van Eyck the composition must be masterful'. But as I recall from Painting and Experience in Fifteenth-Century Italy attribution is a difficult business, painters once established, had workshops, the artist's name was something like a brand name is to us today - I doubt that Mr Kellogg personally makes all his own cornflakes himself quite how much of a van Eyck painting was painted by Jan himself is an open question. He is recorded as working with apprentices and in the case of the Ghent altarpiece he records that his brother Hubert started the project, commentators seem to have concluded that the bits they like less of the Ghent altarpiece were painted by the brother, and the bits they like more by Jan. For what it's worth Albrecht Durer particularly liked the figure of Eve with her fine belly, and God the father (belly status unknown).
I was interested that Jan van Eyck had in his own lifetime an international reputation, not just in areas within the orbit of the Grand Duchy of Burgundy or places that he visited (certainly Portugal, possibly Jerusalem), but also in Naples and even in Tuscany (where the great geniuses often had a low opinion of the artistic qualities of painters outside of Tuscany). Perhaps word got around through businessmen like Arnolfi or the cardinal Albergati who were painted by van Eyck. Fascinating anyway.
Interestingly Ferrari says that Van Eyck, as Rubens and other painters did later, had a quasi diplomatic role on a couple of missions for the Grand Dukes of Burgundy, I suppose if you are painting a foreign dignitary, there is a lot of time to talk to them. A great deal of conjecture has been built around the few details of his life, it is uncontroversial that he was born, but when is unclear, he had brothers, but if he trained with them or with someone else is unknown, Ferrari does not offer up much here, perhaps there is so little certain information that it is not possible to argue that some conjectures are more plausible than others.
I was walking innocently along and quite by chance I found myself mysteriously inside a bookshop, I suspect that gravity or mesmerism was involved, and I saw a book there about The Arnolfini Portrait, reader, I was tempted, but not that tempted (the title; girl in a green gown, reminiscent of girl with a pearl earring, or the girl on the train, suggested something not so impressive, besides maybe I am ready for the hard liquor of Erwin Pankofsky or to return to Johan Huizinga.
There is a text section on the life (in so far as it is known of Jan van Eyck then a long section pp30 - 134 on the works (this is most of the book), mostly with a colour reproduction of a picture on the right hand page and some text on the left, there are some bonus close ups of details too - very useful because as I have noticed looking at The Arnolfi portrait (or marriage) unless you walk around the National gallery shouting 'fire, fire! Call the engines, call the engines', you are unlikely to be able to get close enough to the fairly small original to see the details closely. Then there is a text section called 'Van Eyck in close up' which offers a bit of analysis. This is followed by a curious 'anthology' - a section of extracts from other books that discuss van Eyck - some of these repeat what is in the analytical section so you can see that what Ferrari wrote a few pages earlier wasn't his own idea but Erwin Pankofsky's (unattributed).
Then there is a handy feature - a list of locations of known van Eycks so you can plan your own van Eyck pilgrimage, here's a sneaky spoiler for you - they are mostly in Belgium, but there are three each in Dresden, Berlin, London, Turin and Vienna (there are odd ones and the occasional couple in other cities). Finally there is a chronology and a brief bibliography, I think I might have been impressed by this book if I had read it before reading The Art of the Northern Renaissance.
Ferrai says that van Eyck was the first artist to sign and date his works (on the frame), however he did not sign and date all of them (or perhaps he did but not all the works are in their original frames) this leads to some gloriously circular statements along the lines of 'we know that such and such a painting is a genuine van Eyck because of it's masterful composition and because it is by van Eyck the composition must be masterful'. But as I recall from Painting and Experience in Fifteenth-Century Italy attribution is a difficult business, painters once established, had workshops, the artist's name was something like a brand name is to us today - I doubt that Mr Kellogg personally makes all his own cornflakes himself quite how much of a van Eyck painting was painted by Jan himself is an open question. He is recorded as working with apprentices and in the case of the Ghent altarpiece he records that his brother Hubert started the project, commentators seem to have concluded that the bits they like less of the Ghent altarpiece were painted by the brother, and the bits they like more by Jan. For what it's worth Albrecht Durer particularly liked the figure of Eve with her fine belly, and God the father (belly status unknown).
I was interested that Jan van Eyck had in his own lifetime an international reputation, not just in areas within the orbit of the Grand Duchy of Burgundy or places that he visited (certainly Portugal, possibly Jerusalem), but also in Naples and even in Tuscany (where the great geniuses often had a low opinion of the artistic qualities of painters outside of Tuscany). Perhaps word got around through businessmen like Arnolfi or the cardinal Albergati who were painted by van Eyck. Fascinating anyway.
Interestingly Ferrari says that Van Eyck, as Rubens and other painters did later, had a quasi diplomatic role on a couple of missions for the Grand Dukes of Burgundy, I suppose if you are painting a foreign dignitary, there is a lot of time to talk to them. A great deal of conjecture has been built around the few details of his life, it is uncontroversial that he was born, but when is unclear, he had brothers, but if he trained with them or with someone else is unknown, Ferrari does not offer up much here, perhaps there is so little certain information that it is not possible to argue that some conjectures are more plausible than others.
I was walking innocently along and quite by chance I found myself mysteriously inside a bookshop, I suspect that gravity or mesmerism was involved, and I saw a book there about The Arnolfini Portrait, reader, I was tempted, but not that tempted (the title; girl in a green gown, reminiscent of girl with a pearl earring, or the girl on the train, suggested something not so impressive, besides maybe I am ready for the hard liquor of Erwin Pankofsky or to return to Johan Huizinga.
February 11, 2018
Jan Van Eyck is one of the most impactful figures across the world of art. We can see Vermeer and Velazques works were clearly influenced by this great artist, 200 years after his death. His vanguards and experimentation with oil painting techniques enabled him to use the paint surface to express a previously unknown depth and luminosity never seen before. Also the use of symbolism, the mirrors and the elevation on detailed landscape painting makes Eyck the greatest painter of his time, well sought after by nobles and bourgeois for comissions.
The book goes through all his works, the year they were produced and gives a detailed description and some context. It could have gone further in the socio-political-economic framework to explain how can such a talent been nurtured on early 15th century Flemish region. It does a good job in giving a overview through all his works with decent quality prints.
The book goes through all his works, the year they were produced and gives a detailed description and some context. It could have gone further in the socio-political-economic framework to explain how can such a talent been nurtured on early 15th century Flemish region. It does a good job in giving a overview through all his works with decent quality prints.
January 25, 2016
Includes many illustrations of Van Eyck's paintings.
January 10, 2019
Possibly the most gifted painter, and my favourite, is given a concise treatment of his works here, with a better-than-general overview of his works. A must own for fans.
May 27, 2025
My self-imposed re-education of art history goes on. About a year ago, I learned about Van Eyck after seeing his Arnolfini Potrait. This book spends a lot of time elaborating on his work for the Arnolfini family and other high ranking Lords and merchants. I was very pleased to learn much more about the piece, elaborating on imagery I hadn't even acknowledged when I saw it in the flesh.
Mostly, this book is a testament to the work carried out by art historians. How even mysterious men like Van Eyck can have their lives pieced together over half a century later. From tracking his employment through Royal Court payments and tracking signatures on art pieces.
The format of the book was very consumable, with a brief history of the piece set on the left side and the actual work on the right, where relevant, specific parts were picked out on subsequent pages. An ideal companion if you ever visit a gallery which displays his work.
Mostly, this book is a testament to the work carried out by art historians. How even mysterious men like Van Eyck can have their lives pieced together over half a century later. From tracking his employment through Royal Court payments and tracking signatures on art pieces.
The format of the book was very consumable, with a brief history of the piece set on the left side and the actual work on the right, where relevant, specific parts were picked out on subsequent pages. An ideal companion if you ever visit a gallery which displays his work.
November 15, 2019
I decided to read this book because I am really into art, and different artists. Another reason I decided to read this book is because for history class, our teacher suggests us to read a non-fiction book in our free time. I decided that this would be helpful for that class, and a great opportunity to learn about different arts and artists. It was very informative and I learned about many different artists, including Van Eyck. One thing that was very interesting about this text was that it would explain a type of art style, and then there would be a picture of it, so you could really grasp what that style was. Also, it would talk about a artist, and then show their artwork, which I thought was really cool. I think this book would be great for anyone who likes art, and different artists. I also think that reading non-fiction books really benefit your reading skills.
August 1, 2019
An account of the life and times of a famous artist.
The detail in some of the paintings was breath-taking.
Viewing / reading time around ninety minutes.
The detail in some of the paintings was breath-taking.
Viewing / reading time around ninety minutes.
January 3, 2020
Well done, concise, and with beautiful illustrations of the paintings of a master artist!
September 24, 2023
I like the size and shape of this book. Small and easy to carry, but yet packed full of beauty.
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September 22, 2014I couldn't rate it because I never got too far into the story. I borrowed the book twice months apart because of the subject matter of Rembrant and because the author had recieved a literary grant to complete the book. I didn't find anything wrong with the writing as such, but also couldn't move beyond the first chapter. I was surprised when I came here that the book, although published last year, only has one review, perhaps others had the same problem I had reading it, although I can't pinpoint what it was that made me stop reading and lose interest.
Displaying 1 - 10 of 10 reviews