Madonna Of Chancellor Rolin Analysis

The Madonna of Chancellor Rolin is an oil painting by Netherlandish master Jan van Eyck. The revolutionary Flemish master founded the Flemish School of Painting and was the court painter for Duke Phillip the Good of Burgundy. Jan Van Eyck primarily focused on oil paintings during his career. He was so good at manipulating oil glazes that people would mistakenly give credit to Jan van Eyck as the founder of oil painting. The painting that gave recognition to Jan van Eyck’s career dated back to 1435, commissioned by Nicolas Rolin who was the chancellor of the Duke of Burgundy, The Madonna of Chancellor Rolin. It stayed at Notre-Dame Du Chatel in Autun and remained until the church burned down in 1793. The painting was moved to Musee du Louvre
Jan van Eyck painted a realistic figure of the chancellor. His drape is velvet color with fur decorated in gold designs, symbolizing wealth and his position in the country during the time. In the commission of this painting, Rolin wanted his portrait to be show equal level with the Virgin Mary, rather than below her. This decision gave Rolin many criticisms. Chancellor Rolin’s gaze is what strikes the viewer at first. The expression from his face is concentrated into one thing. It’s strong and piercing face enhances the deep eyebrows of the Chancellor. His nose and cheekbones are sharp, with large ears protruding behind the face. His haircut is almost like a traditional bowl cut which is quite funny compared to the modern ages. However, there is no doubt that the bowl like haircut is the trend in the early Renaissance. There is a purple cushion on top of the prayer stool standing in front of the chancellor. It is most likely that the book on top of the cushion represents the Book of Hours. The book is lying open with brief texts pointing at the Chancellor. The Chancellor seems to be looking elsewhere and not directed at the Virgin Mary and her Child. The same can be said for Mary and Christ, as the three profiles do not submerge their gaze upon each
However, the original frame for this specific painting was lost. The portrait is done by oil on a wooden panel. With help from the exponential decay rule, scientists could locate when the wooden panel was used, therefore hypothesizing on when the painting was done. Based on research and data, the wooden panel was presumed to be used in 1432. There was an alteration in the painting before it was completed, showing slight changes in color and objects. Infra-red reflectography analysis showed Jan van Eyck originally wanted to include a purple purse next to the Chancellor. Rolin commissioned Van Eyck to remove it, in fear of showing too much of his wealth when he was still in office. Luxurious goods owned by individuals during the Renaissance period showed power and wealth. Nicolas Rolin wanted Jan van Eyck to paint him in ways depicting his equal status to the Virgin Mary and Christ. Rolin’s aim to look modest and humble took a toll. Jan Van Eyck fulfilled Rolin’s commission, which was to be recognized as a man equal to God. The Madonna of Chancellor Rolin was evidence of his devotion to Notre–Dame du Chatel and the Virgin Mary. The painting itself was an example of Rolin’s ego, which damaged his reputation throughout history. However, his choice in asking Jan van Eyck to level his portrait with the Virgin Mary gave him negative criticism. The depiction of Rolin and the