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	Portrait of Giovanni (?) Arnolfini and his Wife ('The Arnolfini Portrait')
		This work is a portrait of Giovanni di Nicolao Arnolfini and his wife, but is not intended as a record of their wedding.
		Arnolfini was a member of a merchant family from Lucca living in Bruges.
		Arnolfini raises his right hand as he faces them, perhaps as a greeting.
	www.nationalgallery.org.uk /cgi-bin/WebObjects.dll/CollectionPublisher.woa/wa/work?workNumber=NG186 (0 words)

	Art and Optics : David G. Stork: Focal lengths
		Using standard techniques based on assumptions of the size of Arnolfini, his wife, the distance to the rear wall, and measurements of their sizes of the images shown in the famous convex mirror depicted within the painting, I estimated the focal length of that convex mirror to be about 12 cm.
		In any case, polishing a mirror the size of that depicted in the Arnolfini portrait would have been an astounding challenge, nearly a quarter millennium before the invention of reflecting telescopes by James Gregory in 1663.
		In short, the evidence given by the image reflected by the convex mirror depicted in the Arnolfini portrait does not support the use of a concave mirror in the rendering of the painting without some ad-hoc and arbitrary claims (such as the mirror was visible, but van Eyck decided not to paint it).
	webexhibits.org /hockneyoptics/post/stork5.html (1380 words)

	Mystery Painting: The Marriage of Arnolfini - Art History
		The Latin signature of the artist and his presence in the mirror appear to indicate that the purpose of the painting was to provide proof of their marriage or their betrothal.
		In addition, a historical letter indicates that Giovanni di Nicolao’s first wife, Costanza, was deceased long before the painting was executed, leading to two additional conclusions: either the painting is a posthumous representation of Giovanni’s marriage to Costanza or Giovanni had a second wife and the painting portrayed this marriage instead.
		Another possibility considered by scholars is that the painting does not depict a marriage at all but is simply a portrait of husband and wife and perhaps the gesture is merely a greeting to the witness seen in the mirror.
	www.bellaonline.com /articles/art34475.asp (1088 words)

	Portrait of Giovanni Arnolfini and his Wife by EYCK, Jan van
		"The Arnolfini Marriage" is a name that has been given to this untitled double portrait by Jan van Eyck, now in the National Gallery, London.
		Giovanni Arnolfini, a prosperous Italian banker who had settled in Bruges, and his wife Giovanna Cenami, stand side by side in the bridal chamber, facing towards the viewer.
		The cubic space in which the Arnolfinis stand is itself a prefiguration of the techniques of perspective which were still to come.
	gallery.euroweb.hu /html/e/eyck_van/jan/15arnolf/15arnol.html (502 words)

	Essay Depot - Arnolfini’s Marriage
		Second, Giovanni Arnolfini is taking her hand to lead her away towards many things, generally away into their new life together.
		There are several different interpretations of the symbolic meaning concerning his portrait of Giovanni Arnolfini and his second bride often referred to as “The Arnolfini Marriage”.
		Arnolfini is holding Jeanne de Chenany hand as an expression of his love for her.
	www.essaydepot.com /essayme/1622/index.php (839 words)

	History of Art: The Art of the Portrait - 1420-1670
		The implication here is that her name must be "Laura", an assumption already prevalent by the seventeenth century, when it was thought the painting depicted the woman loved by Petrarch.
		Agnolo Bronzino's Laura Battiferri is one of the most fascinating Italian Renaissance portraits of women.Reverting in deliberately archaistic manner to a prototype found in the early quattrocento, the artist has portrayed the sitter in profile view, a pose reminiscent of the medal portrait.
		The upper part of her body with the small head is disproportionately elongated, emphasising the projection of her strikingly large, slightly hooked nose.
	www.all-art.org /baroque/portrait7.html (1502 words)

	Arnolfini Portrait, Jan Van Eyck (1434) \| \| Guardian Unlimited Arts
		Even though its patrons and fans may be brilliant and famous - recently unveiled subjects at the portrait gallery include Jonathan Miller, Lord Winston and Germaine Greer - when they sit for a painted portrait they are doing something primitive, ancient and magical: they are subjecting themselves to a process of mummification.
		Giovanni Arnolfini, if that is his name, cannot possibly have been idealised by Jan Van Eyck.
		His watery, ill-looking face in Van Eyck's Arnolfini Portrait (1434) in the National Gallery must be pretty much what Arnolfini looked like.
	arts.guardian.co.uk /portrait/story/0,11109,739697,00.html (0 words)

	Computer People Reopen Art History Dispute
		Hockney had argued that the chandelier was too perfect to have been produced by hand and eye alone and that van Eyck probably used a concave mirror to project an image onto the canvas.
		Criminisi see it, is that the chandelier in the Arnolfini portrait is hardly painted in perfect perspective.
		After looking at digital pictures of real chandeliers that had been photographed from "a vantage position similar to that of the Arnolfini chandelier," the scientists decided that the flaws in the van Eyck chandelier were more striking than anything that an inferior craftsman could have turned out.
	www.believermag.com /hockney/nyt_dispute.html (748 words)

	Jan Van Eyck's Arnolfini Wedding Portait
		For Giovanni Arnolfini marrying into such a prominent family as the Cenamis was undoubtedly a significant boost to his financial fortunes.
		Whether this is a wedding portrait or not it is important to see the painting in the context of the social and institutional attitudes towards marriage.
		Compare the Arnolfini bedchamber to that belonging to the wife of a merchant described by Christine de Pizan in her Livre de la trois vertus.
	employees.oneonta.edu /farberas/arth/arth214_folder/Van_Eyck/Arnolfini.html (0 words)

	Haber's Art Reviews: Jan van Eyck and the New Art History
		On another panel, possibly even a companion panel to the Arnolfini portrait, van Eyck may have painted a nude woman—and she could be the same woman who stands so demurely for her wedding portrait.
		The portrait, she argues in proper critical jargon, "interweaves the discourses of social practice and painted imagery." Further, van Eyck worked "for a private patron.
		In the London Arnolfini portrait, then, Jan van Eyck not only achieved a concord of form, space, light and color which even he was never to surpass, but also demonstrated how the principle of disguised symbolism could abolish borderline between "portraiture" and "narrative," between "profane" and "sacred" art.
	www.haberarts.com /trueart.htm (8801 words)

	The Arnolfini double portrait: a simple solution - Critical Essay Apollo - Find Articles (Site not responding. Last check: )
		The range of responses to Jan van Eyck's Double portrait in the National Gallery is an indication of the painter's stupendous achievement (Fig.
		In 1568, Marcus van Vaernewyck described the double portrait as 'a very small panel' in which was painted 'a marriage of a man and a woman who are married by Faith'.
		The Double portrait passed by descent to Mary of Hungary, who had moved to Spain in 1556.
	www.findarticles.com /p/articles/mi_m0PAL/is_499_158/ai_109131988 (647 words)

	Content of Masterpiece Paintings Gallery Oil Painting Reproduction Art Site by Painter
		Portrait of Alof de Wignacourt with a Page-Boy
		Equestrian Portrait of Dana Maria Teresa de a Vallabriga, 1783
		Portrait of Madame Charpentier and her Children, 1878
	www.masterpiece-paintings-gallery.com /site-content.htm (0 words)

	Untitled Document
		In van Eyck's The Arnolfini Portrait, in Velázquez' Las Meninas, and in Manet's A Bar at the Folies-Bergère the mirror functions as a salient and meaningful component that establishes a connection between the subjects in the picture space and the viewer in front of the picture plane.
		They caught the reflection of a holy reliquary in a mirror and believed that this reflection, even though invisible, continued to be spiritually present in the mirror.5 Moreover, the mirror's reflection also shows the betrothal's "real witnesses," who share the viewer's vantage point in front of the picture plane.
		The Arnolfini Portrait, Las Meninas, and A Bar at the Folies-Bergère are separated by centuries, and consequently, they differ in subject matter, in style, and in the techniques employed by the artists.
	www.csuchico.edu /art/contrapposto/contrapposto99/pages/essays/mcmanus1b/stengelmanet.html (1721 words)

	A picture worth many thousand words
		Harbison has written about the portrait four times and is incubating a fifth consideration of the piece.
		The painting's likely subjects, Giovanni Arnolfini and Giovanna Cenami, were wealthy merchant-class Italians who became well-connected in the Duke of Burgundy's court.
		When Harbison was nearing tenure, he began to look beyond Panofsky's approach to criticism in general and to the Arnolfini portrait in particular.
	www.umass.edu /chronicle/archives/00/04-14/harbison28.html (1357 words)

	CGFA- Jan van Eyck
		Portrait of Cardinal Albergati, 1431, silverpoint on white paper, Gemäldegalerie at Dresden.
		Portrait of a Young Man (Tymotheos), 1432, The National Gallery at London.
		Portrait of Cardinal Niccolo Albergati, 1435-38, oil on wood, Art History Museum, Vienna.
	cgfa.sunsite.dk /eyck (173 words)

	Highbeam Encyclopedia - Search Results for The Arnolfini Portrait (Site not responding. Last check: )
		Family members and political allies: the portrait collection of Margaret of Austria.
		BYU art instructor youngest finalist in national portrait competition
		When Suffering for Art Means Sucking in Your Gut: The Existential Experience of Sitting for a Wedding Portrait Produces a Model Son-in-Law
	www.encyclopedia.com /SearchResults.aspx?Q=The+Arnolfini+Portrait (504 words)

	Cauls, Truncated and Butterfly Henins, and theories
		Portrait of a lady 1460 by VanderWeyden This is the portrait that really looks as if the hat is made of some kind of basketwork.
		Van der Weyden's Portrait of a Lady from 1460 looks as if the hat is actually some sort of uncovered basketry.
		One is an elaborately beaded headdress from Florence, and two others are on Italian women; one a single portrait with an opaque veil, and the other many young women with transparent veils.
	www.virtue.to /articles/arnolfini.html (3100 words)

	The Finding of the Saviour in the Temple and Pre-Raphaelite Compositional Schemes
		Closely related to this schema in which the wall behind the figures is pierced by a window, is the use of a mirror to open and expand the interior space.
		This device derives directly from the Arnolfini Portrait and appears in Hunt's The Awakening Conscience, Fanny Holman Hunt (1869), Il Dolce Far Niente, and the various versions of The Lady of Shalott he created between 1856 and 1896.
		The use of an open window or area leading into a distance was a conventional device of contemporary portraiture and is present in Sir Francis Grant's Portrait of General Sir Josiah Champagne.
	www.victorianweb.org /victorian/painting/whh/replete/finding1.html (1538 words)

	BYU NewsNet - BYU art instructor youngest finalist in national portrait competition (Site not responding. Last check: )
		Hayward, a part-time faculty member in the Department of Visual Arts, painted a portrait of himself and his wife, "Young Marriage," which tied for fourth place in the Outwin Boochever Portrait Competition, the first national competition held by the Smithsonian's National Portrait Gallery.
		The Portrait Gallery chose to use "Young Marriage" as the poster child for the competition.
		A copy of the double portrait resides on the huge promotional banner hanging outside the gallery, enticing passer-bys to visit the exhibit, which opens July 1.
	newsnet.byu.edu /story.cfm/60245 (518 words)

	Art and Optics : David G. Stork: Arnolfini portrait
		Two views of the creation of the Arnolfini portrait
		From my analysis, for the Arnolfini portrait we must choose between two mutualy exclusive cases:
		that neither Arnolfini nor his wife (nor of course van Eyck) left records remarking on the difference between the way the painting was executed (with mirror, dark tent, etc.) and what actually appears in their painting
	webexhibits.org /hockneyoptics/post/stork8.html (468 words)

	The Finding of the Saviour in the Temple
		In his careful portrayal of the Rabbis who resisted Christ's message, Hunt chose to reveal the many ways in which the old faith had indeed corrupted itself and the world.
		These seven men and their attendant musician provide a gallery of psychological as well as physical portraits of the Pharisees of Christ's time and of all ages.
		Both Hunt and Stephens were proud of Hunt's ability to record archeological and ethnographical fact, and Stephens devoted a great deal of space in his pamphlet to demonstrating the accuracy of Hunt's observations and hypothetical reconstructions of costumes, architecture, and physiognomy.
	www.victorianweb.org /victorian/painting/whh/replete/finding2.html (2996 words)

	The OU Guide to the Renaissance (Site not responding. Last check: )
		The infra-red photography used in the examination of the Arnolfini Portrait, for example, provides a means of looking at the preliminary drawings artists made before they began to paint.
		This might seem no more than a technical curiosity, but differing styles of underdrawing can provide the key to attributing a painting to a particular artist, to its date and even its authenticity.
		The absence of underdrawing for the dog in the Arnolfini Portrait, for example, tells us that Van Eyck decided to include it at a later stage - though, in this case, not why or what that change of mind might signify.
	www.open.ac.uk /Arts/renaissance/investigation.htm (172 words)

	The Arnolfini Betrothal: Medieval Marriage and the Enigma of Van Eyck's Double Portrait:0520082516:Hall, ...
		Commonly known as the "Arnolfi Wedding" or "Giovanni Arnolfi and His Bride", Jan van Eyck's double portrait in the National Gallery, London, painted in 1434, is probably the most widely recognized panel painting of the fifteenth century.
		His pictures are jewels in themselves, crafted in luminous colors on wooden panels with a newly perfected oil technique, achieved by the application of transparentglazes over more opaque underlayers of pigment, permitting each detail to be rendered with astonishing verisimilitude.
		The Arnolfini double portrait is Van Eyck's quintessential work and a striking example of how art and its meaning endure and engage us for centuries.
	www.ecampus.com /bk_detail.asp?isbn=0520082516 (292 words)

	Art and Culture (Art 151) - Cornell College
		This assignment focuses on the iconography or subject matter of a work of art.
		Each writer considers the possible meaning and/or symbolism found in the Arnolfini Wedding Portrait and the social context.
		Read the articles and excerpts, dating from 1934 to 1996, and incorporate references to at least five of them in your essay.
	www.coloradocollege.edu /Library/ACMassign/art151.html (1459 words)

	\| HISTORY OF ART \| Chapter 11
		Portrait of Giovanni Arnolfini (?) and His Wife (?).
		Portrait of Giovanni Arnolfini (?) and His Wife (?), detail
		Unicorn at the Fountain, from the Hunt of the Unicorn tapestry series.
	www.ou.edu /class/ahi1113/html/ch-11.htm (81 words)

	Realism & The Renaissance
		Detail, from Van Eyck's Portrait of Giovanni Arnolfini and his Wife.
		This genre of art is often referred to as Renaissance classicism, and (in addition to Michelangelo) had its other chief proponents in Leonardo da Vinci and Raphael.
		Another equally important but less well-known figure of the Renaissance was Flemish painter Jan van Eyck who is often attributed with "bringing the Renaissance North" with near photo-realistic depictions of people and everyday household objects as seen in Portrait of Giovanni Arnolfini and his Wife.
	www.chiff.com /a/renaissance-art.htm (265 words)

	Art and Optics : David G. Stork: Technology
		Insufficient capital: The convex mirror in the Arnolfini portrait was a rare and precious item, included in the portrait to indicate Arnolfini's great wealth.
		While some painters with patrons may have been able to afford such a mirror, many others might not have been so fortunate.
		Slow learning curve and high opportunity cost: Artists might fear that it would will take too long to learn this new method and that during such time competing painters might secure the next portrait commission.
	www.webexhibits.org /hockneyoptics/post/stork12.html (374 words)

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