Art is beautiful, inspiring and uplifting. Mysteries are exciting, making the amateur
detective within you try to solve events which have left everyone else in wonder. Though when you combine art and mystery through
one of the medieval period’s most analyzed paintings, it takes our curiosity to new heights
of interest. Welcome to the fascinating mystery of The
Arnolfini Portrait. During the Flemish Primitives artistic period,
one painting was created which to this day both mystifies and delights those fortunate
enough to gaze upon its genius. When one admires The Arnolfini Portrait, its
striking composition makes your heart race in genuine appreciation of true artistic talent. No other recognized medieval painting has
drawn so many important questions as The Arnolfini Portrait. Who are these people? What is the painting about? And why can we still not answer vital concerns
about its many symbols and secrets? Hello everyone. My name is Craig, host of MedievaltoModern. We feature fascinating information from civilization’s
medieval ages which entertains and provides knowledge for our audience. The Arnolfini Portrait is an oil painting
by Jan Van Eyck which holds many secrets within its masterful brushstrokes. As we begin our quest for answers to its mysteries,
we should remember that a gifted medieval artist like Jan Van Eyck left no details to
chance. Though with this complex painting, where does
symbolism give way to deeper, personal meanings upon which the viewer should quietly reflect? To begin our journey, let us briefly learn
about the artist himself. Highly respected in his time, Jan Van Eyck
enjoyed famous patrons who regarded his portraits as a desired status symbol. However, this Middle Ages painter is just
as mysterious as The Arnolfini Portrait. For instance, it is not known with certainty
where and when he was born, or who he studied under to learn his stunning technique. Today we assume he was born into relative
privilege sometime before the year 1395 in the Flemish region of Belgium. He eventually settled in the thriving city
of Bruges during 1429. While living in Bruges, Jan Van Eyck enjoyed
a successful artistic career until passing away on July 9th, 1441. For such a famous artist, it is remarkable
that only 20 of his paintings have survived. Now, let us dive into the ongoing mystery
of The Arnolfini Portrait by figuring out who these two people are? Over the years there has been a number of
possibilities, though today there are three main options. Either this is Giovanni di Arrigo Arnolfini
and his wife Jeanne, as suggested in an 1857 book and an accepted assumption for more than
a century afterwards. The second choice, which happened because
the marriage of these two figures did not happen until 1447, six years after Jan Van
Eyck’s death is that it is Giovanni di Arrigo Arnolfini with an unknown first wife. Though it is the third possible scenario that
MedievaltoModern favors and is gathering increasing support. This third proposal which has been recently
advanced by art theorists is that the man is Giovanni di Nicolao Arnolfini and his first
wife Costanza Trenta, who passed away in 1433. Why do we support this third scenario on the
couple’s identity, and not scenarios with his cousin Giovanni di Arrigo Arnolfini? We feel compelling existing research and symbolism
contained throughout this masterpiece agree with this option. There is also the striking resemblance of
this man in another Jan Van Eyck painting, Portrait of Giovanni di Nicolao Arnolfini,
leading one to assume they are the same person. Based on that key assumption, we can move
forward to further examination of The Arnolfini Portrait. We should note that these are only theories,
as no one can say with certainty the real answers to these questions. Unfortunately, the chances of retrieving correct
responses were lost when Jan Van Eyck passed away in 1441. At the time of this painting, Mr. Giovanni
di Nicolao Arnolfini was a wealthy merchant based in Bruges, which at the time was an
international trading center. Using the assumption this is a portrait of
Giovanni di Nicolao Arnolfini and Costanza Trenta, the painting is not a wedding portrait,
since they were married in 1426. However, this creates another oddity. Costanza Trenta passed away in 1433, one year
before the painting was completed. So, does this mean the woman is not Costanza
Trenta? Not necessarily. We note once again the year of Costanza Trenta’s
passing was 1433. This painting was completed in 1434. Looking at the meticulous detail in the painting,
one notes The Arnolfini Portrait was not made in a month. There was planning involved, and a painter
such as Jan Van Eyck would not rush a masterpiece. Which leads one to ask if this painting could
have been started in 1433, when Mr. Arnolfini’s wife was still alive? Then, while this oil on oak board painting
was in the process of being created, she passed away? If so, this painting may be a tribute to their
past relationship, having changed its original purpose while Jan Van Eyck was in the process
of creating a more joyous scene. Again, this is proposed by art theorists who
recognize this couple as Giovanni di Nicolao Arnolfini and Costanza Trenta, Looking at the lady’s white linen headdress,
it is a typical indication of a married woman at that time. Speaking of clothing, the obvious signs of
prosperity in the amount, make and tailoring of this couple’s garments gives us no doubt
about their financial position. Fur lined robes, oranges and carpeting are
also shown to emphasize their possession of abundant wealth. Here is an understated display of overflowing
bounty. From fur to expensive dyes used to color their
clothes, they are dressed to define an emerging type of wealth which needed its own identity. With this growing merchant class, the idea
of being born into nobility to possess wealth was facing a paradigm shift. Giovanni di Nicolao Arnolfini and Costanza
Trenta clearly showed the fruits of commercial success. Nevertheless, during this medieval period,
it was important even with wealth to be aware of one’s status in a way which did not challenge
convention. So, there are no pretenses to nobility in
their fashion. Their poses and features in this painting
indicate wealth, though also the establishment of a pious household. Continuing on the topic of clothing, one notes
the lady appears to be showing another kind of abundance. Though if you think she is pregnant, that
is not the case. With this style of medieval women’s clothing,
holding up bulky gowns makes the person appear to be expectant. Though it is also seen by some as indicative
of displaying a fertile female body. Unfortunately, it could also indicate the
reason for Costanza Trenta’s passing, which could have been through childbirth. Jan Van Eyck would not have missed putting
this symbolic message into his painting, challenging us to realize the deeper meaning of her pose. Gazing towards the feet of Costanza Trenta
we see a dog whose breed is Brussels Griffon. During this period, the dog was a symbol of
fidelity and loyalty in a relationship. It was also an indication the couple wishes
to have children. Though its position, shown at her feet, brings
additional meaning. If we follow the theory this is Costanza Trenta,
she would have already passed away by the time this painting was finished. In this case, the dog would symbolize aiding
her into the afterlife. Dogs were commonly seen on full length women’s
tomb carvings from this period. Looking further, one eyes the chandelier between
the couple. Chandeliers were an expensive item rarely
seen outside churches. Though look closer. The candle on his side is still burring to
signify life, while on her side the candle is snuffed out. Does this signify her passing? The chandelier is also used to symbolize the
couple’s devotion to one Christian God through one lit candle. Below the chandelier, we feel as if this whole
scene is being watched by a silent witness. It is that mirror positioned between this
couple which provides even more intrigue. The mirror was a clever technique to link
the painting scene to the outside world around it. Gazing with focus, we see ten roundels surrounding
the mirror. They are painted with scenes from the Passion
of Christ in meticulous detail. Curiously, those scenes from after Christ’s
death and resurrection are on roundels situated to Costanza Trenta’s side of The Arnolfini
Portrait. As for the mirror itself, it hosts another
mystery. The mirror reveals two other people in the
doorway entering the room. Who are they? Why do they appear? Could it have something to do with Giovanni
di Nicolao Arnolfini’s raised right hand? Are they arriving to witness a solemn occasion
or a vow? Or is Mr. Arnolfini greeting them as they
enter the room? Above the mirror, written in Latin is the
phrase “Jan Van Eck was here.” It seems this is more than a painting signature,
perhaps even a formal declaration. Assuming Jan Van Eyck is one of the figures
entering the room, who is the second? An assistant perhaps, or even us, the viewer,
gazing upon the scene with Jan Van Eyck in wonderment? Now it is time to introduce some more interesting
information about The Arnolfini Portrait. In recent decades The Arnolfini Portrait was
inspected with infrared technology. That process allowed researchers to study
the underdrawing or preliminary sketches which guided Jan Van Eyck while painting this masterpiece. What they found may help give more credibility
to the theory this is Giovanni di Nicolao Arnolfini and his first wife Costanza Trenta. The first surprise unveiled through using
this technology is that the Brussels Griffon dog was not in the underdrawing sketch, and
was added during the painting process. This would indicate it was an adjustment Jan
Van Eyck made while painting. Certainly, the death of Costanza Trenta would
qualify as a significant event this meticulous painter would make adjustments for in The
Arnolfini Portrait. If the death was due to childbirth, the previously
mentioned fertility symbolism shown throughout the painting suggests this creation became
a memorial rather than its original intent. In addition, the chandelier is not present
in the underdrawings, so the symbolism of the extinguished candle light on Costanza
Trenta’s side of the lighting fixture also indicates the end of life. Again, this leads one to think Costanza Trenta
passed away while Jan Van Eyck was painting The Arnolfini Portrait. Then, in memory of her passing, these symbols
conveyed she had passed on. Even the behead shown behind Costanza Trenta
contains a carving of St. Margaret, who is known as the patron saint of childbirth. Once more, this item was not present in the
underdrawing and was added while painting. Furthermore, infrared technology shows Mr.
Arnolfini’s hand was originally sketched outwards, as if in greeting. The adjusted positioning in the painting reminds
one of the taking of a solemn oath or vow. Then the people in the mirror could also be
witnesses to this important occasion, The Arnolfini Portrait is a relatively small
painting, measuring 82 cm by 60 cm. However, this double portrait is without compare
in the Middle Ages when one considers the many details of mystery contained within its
meticulous canvas. Jan Van Eyck shows his mastery of oil painting,
perfecting its use in stunning ways. The exquisite use of brushstrokes, light and
meticulous detail make one feel the figures in this painting are lifelike, waiting for
you too to enter their enigmatic story. MedievaltoModern believes The Arnolfini Portrait
poses more questions than answers, compelling us time and again to examine its intricate
characteristics. To see this painting as a memorial portrait
to the relationship between Giovanni di Nicolao Arnolfini and Costanza Trenta is only speculation,
just like thousands of people have made their opinions known as to the meaning of this mysterious
painting. The Arnolfini Portrait was purchased by the
National Gallery in London during the year 1842, and has remained there ever since. Be sure to watch our next episode or one shown
at the end of this video. Also, be sure to like, subscribe, comment
and spread the word about this channel so we can create more exciting content. I wish you good tidings as we remember that
sharing knowledge has been a noble deed throughout the ages. And thank you for supporting us at MedievaltoModern.
