Jan Van Eyck Madonna in the Church
Madonna in a Church is a small oil panel on oak by Flemish painter Jan van Eyck. Madonna in a church was made between c. 1438-1440. Van Eyck has been traditionally credited with the invention of painting in oils, and, although this is incorrect, there is no doubt that he was the real master of the technique. The use of oil paints is very significant in this artworkʼs luminescent quality and presentation of space. The artist creates a new relationship between the viewer and the picture. There is an illusion of a modern, threedimensional scene and through this new more naturalistic, lifelike approach, the viewer becomes connected to the painting, not just in physical terms, but socially, spiritually and emotionally as well. " The minute we look at it the shimmering quality of the art stands out. Being only
12.25” × 5.5” itʼs clear why its elaboration is so astonishing. The painting is very long compared to its width, emphasizing the size of the Madonna and the tall structure of the church that it portrays. The artwork has brilliant intense warm colors, dominating brown and red and the light illustrated with light yellow.
On Madonna in a Church, the artist represents a variety of subjects with striking realism in microscopic detail. The pigment was suspended in a layer of oil that also trapped light, this way Van Eyck created a jewel-like medium. On the Madonnaʼs crown and jewelry we see shiny precious metals and gems and also, with the help of this technique he could give a life like impression to light. The colors are so luminous that the passage of five hundred years has barely diminished them. There are so many details and elements to discover on the painting that the eye has a constant exercise inside the picture. From the first view we can tell that the artwork is narrative and descriptive. Van Eyck had a sharp edged look of the world but he put this look into a fictional environment.
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The painting was stolen in 1877 and the frame was not found.
12.25” × 5.5” itʼs clear why its elaboration is so astonishing. The painting is very long compared to its width, emphasizing the size of the Madonna and the tall structure of the church that it portrays. The artwork has brilliant intense warm colors, dominating brown and red and the light illustrated with light yellow.
On Madonna in a Church, the artist represents a variety of subjects with striking realism in microscopic detail. The pigment was suspended in a layer of oil that also trapped light, this way Van Eyck created a jewel-like medium. On the Madonnaʼs crown and jewelry we see shiny precious metals and gems and also, with the help of this technique he could give a life like impression to light. The colors are so luminous that the passage of five hundred years has barely diminished them. There are so many details and elements to discover on the painting that the eye has a constant exercise inside the picture. From the first view we can tell that the artwork is narrative and descriptive. Van Eyck had a sharp edged look of the world but he put this look into a fictional environment.
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The painting was stolen in 1877 and the frame was not found.