Jan van Eyck (~1390-1441) painted the <i>Arnolfini Wedding </i>portrait around 1434 and portrays expert realism with subtle allegory in a secular setting (Carrier 236, 237). Without being formally trained in linear perspective which was popularized in Florence, van Eyck achieved incredible realism with his own attempts in perspective and an oil-based, layered painting technique. The <i>Arnolfini Wedding</i> depicts a man and woman holding hands as the subjects of the piece in a secular setting, a room furnished with furniture and commodities that serve symbolic purposes in establishing the social influence of particularly Giovanni Arnolfini. The woman in the piece was thought to be his wife but her identity has been debated as time goes on. Jan van Eyck’s degree of realism was aided by his unique perspective system which “has attracted no less than six different hypotheses.” (Elkins 53). These different ideas include debates on van Eyck’s method of painting and the tools used, such as a convex mirror to allow Eyck to reproduce lines and vanishing “areas” for a consistent perspective despite lack of a linear approach (Carleton). The <i>Arnolfini Wedding </i>by Jan van Eyck should be preserved for future generations because of the combination of realism and symbolic allegory, the unique context, and mastery of a new medium of painting.<!--more-->During the early Renaissance, artists were emerging with amazing talents from southern Europe. Deemed the Italian Renaissance, the movement began a new era in all aspects of living for all classes of society; as wealth grew for the elite, the middle class found new potential by moving to more urban areas, and the peasantry, feeling left in the medieval age, was ripe for revolt. This emerging merchant class gained power and influence as they began commissioning artists to paint and sculpt for them portraits and biblical figures, a phenomena that occurred in northern Europe in the late 15<sup>th</sup> century as well. It was the merchant Giovanni Arnolfini who commissioned him in 1434 to create the wedding portrait which remains the subject of many art scholars today (Fiero).

Further east, the Ottoman Empire captured the city of Constantinople in the early 15<sup>th</sup> century, shirking Byzantine influence and inciting travelers to search overseas for trade routes to the east. The findings of Portuguese and Italian traders across Africa, to India, and to as far as Japan helped to establish trade monopolies that allowed for new expansive policies of the governments they worked for. Powers organized as nation-states and rivalries emerged causing a new tension in society; competition became a part of everyday life for all of society. (Foner)

The <i>Arnolfini Wedding </i>was one of few northern works that showed such an eye to detail with innovative optical techniques. Since he was no trained in linear perspective, van Eyck had to achieve his realism in other ways such as a possible use of lenses and oil-based paints. His work was on par with those of the Italian Renaissance, the dynamic lighting and proportioned human figures are similar to Renaissance formal properties whereas the background of the work is indicative of the time as well (Carleton).

The work differs from others of its time by the way van Eyck achieved his realism with subtle symbolism and his method of creation. The secular nature of the work is apparent; two people are shown in a room with various commodities surrounding them indicative of their social status. However, allegories are hidden throughout the room in various symbols. The single candle lit on the chandelier is strange in a realistic scenario, but could symbolize the couple’s ongoing bond. The convex mirror has surrounding it the stations of Jesus Christ in microscopic detail, assuming a sort of holiness in the scene. Secular symbols have also been deduced from figures in the work as well. The dog could be a symbol of fidelity, or more naturally, a rare breed establishing status of the subjects of the portrait. The oranges have been interpreted as both an optimism for the harvest of the oncoming season, indicative of the bond being made in the portrait, or also another rare commodity displaying again the couple’s material wealth (Carrier 238).

During it’s time, the <i>Arnolfini Wedding</i> is assumed to have been received very well considering a few factors. Simply who the work was commissioned for tells that a high-paying customer was willing to receive it, upon knowing of van Eyck’s earlier and popular works of the time. Another important consideration is the work’s ownership after Giovanni Arnolfini to multiple important figures in Spain, France, Italy, and now England where it resides in the National Gallery at London (Campbell).

Today, the work is studied and analyzed widely among art scholars and currently resides in the National Gallery in London. Many articles have been written about the work, proving its worth in the art community as a valuable piece worthy of preservation for the past six hundred years and hopefully the next six hundred (Carrier, Carleton, Elkins, and Campbell). Many controversies have been examined in this work, such as the identity of the woman in the painting, being debated up until the late 1980’s. (Carrier 237, 238). Art critics have also been debating the nature of van Eyck’s total realism versus an allegorical work like others of its time well into the 20<sup>th</sup> century, meaning that the work has relevance in today’s art critic’s mind (Carrier 238-247).

Reception today rivals with reception in the past by way of historical context. Today, individuals can be more aware of other artistic developments of the same time frame in other parts of the world and weigh the characteristics of a piece with others of the same time across the globe. When the work was first released, people were shocked at the level of detail and progressively analyzed the piece until all symbols and images were dissected into their meanings as time went on; to understand a work thoroughly first is an unrivaled thrill for most art critics for sure, but to inspect a work of art more objectively is always the ultimate goal.

I believe that this work is important in displaying the relationship between economics and power during the Renaissance era and the arts. This portrait and its future owners for the next couple hundred years explain well the nature of the arts as a treat for the wealthy and powerful. The subject matter displays well the manner of a wealthy family of the time with regards to commodities such as clothing, food, other cloths, and even animals. Portraying a deceptively secular image riddled with spiritual and religious imagery is a wonderful irony in van Eyck’s work that I would love to have thought of given the historical circumstances. I wish that I could master perspective in such a way that fooled the eye into believing three-dimensional images can occur by a two-dimensional medium, and to do so without any knowledge of the popularized method, to forge one’s own way, is an incredible feat.

This work is similar to and contrasts from many paintings of its time, particularly the Ghent altarpiece by Jan van Eyck himself and his brother Hubert van Eyck (Woodfield). The paintings are similar in artistic perspective with unique three dimensional presentation; they also are both created using an oil based paint to enhance the presence of light dynamics on the three-dimensional subjects. The paintings differ, however, in their subject matter dramatically. Jan van Eyck had his fair share of both secular and religious images painted in his lifetime.

This divergence of secular and religious subject matter is indicative of the progression of art from its use primarily for religious purposes then later for enjoyment by anyone with the wealth to pay for it. This isn’t to say that religion left art forever after the Renaissance, but the subject matter of art certainly expanded in this time to include more secular pieces such as the <i>Arnolfini Wedding</i>, <i>Mona Lisa</i>, and other portraits of non-religious figures. The person that commissioned the piece was a contrast while the subject matter remained a comparison to work of earlier times. The Ghent altarpiece was a church work but commissioned by a wealthy merchant, just as the generally secular <i>Arnolfini Wedding</i> was bought by Giovanni Arnolfini himself, and passed on to those in power after his death to the highest bidder (Woodfield).

This work displays the importance of realism and allegory in art in its subject matter. The <i>Arnolfini Wedding </i>also marks a time when art was rewarded with fortunes and social status, marking a difference in the way most artists typically live today. Only a select few are rewarded with fortunes, whereas other very talented individuals go unnoticed and unrewarded. This work marks a realistic miracle for art in all regards and should be preserved as such and reflected on for all generations to come.
<p align="center">Works Cited</p>
Campbell, Lorne. The Fifteenth-Century Netherlandish Paintings. National Gallery, 1998. Print.

- A helpful guide to the history of paintings after their creation.

Carleton, David L. "A Mathematical Analysis of the Perspective of the Arnolfini Portrait and Other Similar Interior Scenes by Jan Van Eyck." Art Bulletin 64.1 (1982): 118. Academic Search Complete. Web. 20 Sept. 2013.

- Very insightful as to how van Eyck achieved his psuedo-linear perspective in other works than the Arnolfinis

Carrier, David. "Naturalism and Allegory in Flemish Painting." Journal of Aesthetics &amp; Art Criticism 45.3 (1987): Academic Search Complete. Web. 20 Sept. 2013.

- A primary source for the intentions of the artist behind the work, also provided insight from other art critics, mainly Panovsky and criticisms of his ideas

Elkins, James. "On the Arnolfini Portrait and the Lucca Madonna: Did Jan Van Eyck Have a Perspectival System?" Art Bulletin 73.1 (1991): 53. Academic Search Complete. Web. 20 Sept. 2013.

- Another insight to van Eyck's perspective and potential theories about how he achieved his particular realism

Fiero, Gloria K., The Humanistic Tradition, Book 4, Faith, Reason, and Power in the Early Modern World. 6th. 1. New York City: McGraw-Hill Humanities/Social Sciences/Languages, 2011. Print.

- Humanities textbook that offered many historical comparisons to other works of the time and provided context with art of the era

Foner, Eric. Give Me Liberty!, Volume 1, An American History. 3<sup>rd</sup> Edition. New York City: W. W. Norton, 2010. Print.

-U.S. History 1301 textbook that gave insight to early 15th and 16th century power and economic developments for historical context