Arnolfini Portrait By Jan Van Eyck

Jan van Eyck was able to create a naturalism and religious feeling in his oil painting, which made him one of the most famous painters in fifteenth-century. The “Arnolfini Portrait” was painted in 1434 by van Eyck in the style of oil on panel. This piece has various interpretations because of the different objects and layout in the painting.
In this painting there are two main figures of a man and women. “Images represent a man and woman standing in a richly furnished room, equipped with a brass chandelier, a mirror, and a canopied bed” (Janson 483). There are identified as Giovanni Arnolfini and Giovanna Cenami (Arnolfini’s wife). There are also two male figures reflected in the mirror in-between the two main figures in the foreground. Many scholars believe, “that one of these men must by Jan van Eyck himself, perhaps the figure wearing the red headdress. The combination of the signature, with its flourishes and phrasing, and image of the men in the mirror suggests to some that Jan is acting as a witness to whatever is occurring in the room” (Janson 484). Some historians have doubts that the women in the painting isn’t Giovanni Arnolfini because that
marriage took place much later than 1434, which was the date the piece was signed. Historians are also uncertain about what this panel represents, whether it is a wedding portrait or an announcement of engagement between the man and women. Not only were they questioning the figures in the piece, but also the realistic feel of the painting including small details.
There are many objects found in this piece. Many historians believe that some have more meaning than others. The little dog present in the lower middle part of the painting could be interpreted as fidelity or a beloved pet between the couple. The fruit on the wall could be seen as wealth of the couple or temptation of Adam & Eve. Some religious symbolism includes shoeless figures and small medallions in the mirror. The shoeless figures are a resemblance of people standing on the “holy ground”. According to the textbook, “Moses removing his sandals at the burning bush on Mount Sinai; that is, in the presence of God” (Janson 485). Another religious symbol is the mirror that includes the medallions. The medallions are a representation of the station of the cross. During one of your lectures, you mentioned that the dog is a symbol of faith and the fruit symbolizing sexuality. You also mentioned that the mirror is convex which is a religious symbol that God sees everything. That symbolism would give a feeling that God is present in the room the piece was painted in. Directly above the mirror there is a line of script text. The text reads, “Jan van Eyck was here, 1434” (Janson 483). His signature effects the interpretation of the two men reflected in the mirror.
This piece is so complex that many historians’ interpretations vary.
The joining of hands and raised right hand could represent solemn oath. According to the textbook, “Scholars have argued that this panel represents either the wedding or the engagement of the couple shown, either of which would have required a legal and financial contract between their two families” (Janson 484). Understanding what is happening in this image isn’t clear. Another interpretation according to the book, “ The woman’s gesture to lift her heavy gown may suggest her wishing for children, and the bed behind her may suggest the consummation of the marriage” (Janson 485). This could also be a portrait of his wife that died during birth that he wanted her painted like St. Margaret, who was a pregnant women who prayed for a safe
delivery. In conclusion, no one really knows who is in the image and what all the symbols mean. This painting looks like simple room painting, although it has more things that historians still don’t know. To this day people are still trying to understand the composition of this piece.