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	Arnolfini portrait - Wikipedia, the free encyclopedia
		The Arnolfini Portrait, The Arnolfini wedding or Portrait of Giovanni Arnolfini and his Wife is a 1434 painting in oil on oak panel by Early Netherlandish painter Jan van Eyck.
		This painting is a portrait of Giovanni di Nicolao Arnolfini and his wife in a Flemish bedchamber.
		This painting was long believed to be a portrait of Giovanni di Arrigo Arnolfini and his wife Giovanna Cenami in a Flemish bedchamber, but it was established in 1997 that they were married in 1447, thirteen years after the date on the painting and six years after van Eyck's death.
	en.wikipedia.org /wiki/The_Arnolfini_Portrait (1291 words)

	Mystery Painting: The Marriage of Arnolfini - Art History
		A recently discovered historical document indicates that Giovanni di Arrigo, previously thought by all to be the subject of the painting, did not marry until several years after the painting was executed.
		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 (1080 words)

	BBC - Renaissance Secrets
		In courtly circles (we know Giovanni Arnolfini certainly was a courtier) love was not taken seriously.
		When I found the mention of the Arnolfini marriage in my notes, of course, my eyes lit up because it overturned the interpretation of the picture which had been held for over a century - which had firmly been established by Panofsky.
		For most of the century certain "facts" have hardly ever been disputed - that this is a portrait of Giovanni Arnolfini and his wife Giovanna Cenami, painted in 1434 by Van Eyck.
	www.open2.net /renaissancesecrets/marriage_script4.html (835 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)

	Giovanni Arnolfini - Wikipedia, the free encyclopedia
		Giovanni moved to Bruges in Flanders at an early age to work in the family business and lived there for the rest of his life.
		The Arnolfini were a powerful family in Lucca, involved in the politics and trade of the small but wealthy city, which specialised (like Florence) in weaving expensive cloth.
		Giovanni de Arrigo Arnolfini married Jeanne or Giovanna Cenami, and this was the couple thought to be the subject of The Arnolfini Portrait' between 1861 and 1994.
	en.wikipedia.org /wiki/Giovanni_Arnolfini (691 words)

	History of Art: The Art of the Portrait - 1420-1670
		Arnolfini has his hand raised in what appears to be a gesture of blessing.
		Arnolfini faces the spectator, although his gaze itself is averted; Giovanna Cenami's eyes are meekly lowered.
		Its counterpart in folklore was the "rod of life", a symbol of fertility, strength and health, with which the bridegroom was ritually beaten in order to ensure the couple was blessed with a large number of children.
	www.all-art.org /baroque/portrait3.html (2329 words)

	theArtWolf.com - 50 masterworks - 10: Jan van Eyck: The mariage Arnolfini
		That in the heart of quattrocento, a merchant from Italy, country of exceptional artists, called Giovanni Arnolfini, chose a Flemish painter - Jan van Eyck- to paint a portrait of his wife and himself was not as exceptional as it could seem, since the commercial contacts between both countries favored these contacts.
		First, it is not clear if the man in the portrait is Giovanni Arnolfini or his brother Michele and his wife Elisabeth.
		The apparent state of pregnancy of the lady has also caused debate, since many experts think that such pregnancy does not exist, and that it is not more than a canon of beauty from the 15 th century.
	www.theartwolf.com /masterworks/eyck.htm (263 words)

	Jan Van Eyck's Arnolfini Wedding Portait
		In 1461, Giovanni became a councillor and chamberlain to the duke, and he was knighted in 1462.
		Giovanni died in 1472 and was buried in the chapel of the Lucchese merchants at the Augustinian church in Bruges, where he and his wife had endowed daily and anniversary masses in their name.
		For Giovanni Arnolfini marrying into such a prominent family as the Cenamis was undoubtedly a significant boost to his financial fortunes.
	employees.oneonta.edu /farberas/arth/arth214_folder/van_eyck/arnolfini.html (1907 words)

	Arnolfini Portrait, Jan Van Eyck (1434) \| \| Guardian Unlimited Arts
		Giovanni Arnolfini, if that is his name, cannot possibly have been idealised by Jan Van Eyck.
		It was always thought to be of the merchant Giovanni di Arrigo Arnolfini and his bride Giovanna Cenami.
		Perhaps it is another member of the same merchant family, Giovanni di Nicolao Arnolfini, and his unnamed second wife.
	arts.guardian.co.uk /portrait/story/0,11109,739697,00.html (758 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 (845 words)

	van Eyck, Jan: The betrothal of the Arnolfini (Site not responding. Last check: 2007-10-25)
		One of his most famous portraits is ["The betrothal of the Arnolfini"], which represents an Italian merchant, Giovanni Arnolfini, who had come to the Netherlands on business, with his bride Jeanne de Chenany.
		The young woman has just put her right hand into Arnolfini's left and he is about to put his own right hand into hers as a solemn token of their union.
		Probably the painter was asked to record this important moment as a witness, just as a notary might be asked to declare that he has been present at a similar solemn act.
	www.artchive.com /artchive/V/van_eyck/arnlfini_text.jpg.html (372 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)

	Portrait of Giovanni (?) Arnolfini and his Wife ('The Arnolfini Portrait') (Site not responding. Last check: 2007-10-25)
		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 (176 words)

	[No title] (Site not responding. Last check: 2007-10-25)
		His wife, on the other hand, stands next to the bed, a symbol of her role as caretaker of the house.
		The dog at her feet can be seen as an emblem of lust, signifying the couple's desire to have a baby in that big red bed, as the art historian Craig Harbison has argued.
		Some scholars believe that the mirror was painted like this to reflect the presence of two other people in the room, proving that the requisite number of witnesses were present to make the wedding legal.
	vr.theatre.ntu.edu.tw /hlee/course/th9_207/9401board/view3.asp?id=28 (527 words)

	ws2boguesymbols
		Giovanni Arnolfini was a wealthy Italian merchant based in Flanders.
		The portrait that resulted from van Eyck's association with Arnolfini is one of the most famous works to come out of the Renaissance.
		Their rediscovery in relationship to the subjects of this double portrait changed it from one of the most intriguing pictures ever painted into one of the most impressive pictures in the world.
	www.hannibal.k12.mo.us /hhs/faculty/sbogue/ws2boguesymbols.html (620 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.
		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.
		Edwin Hall's The Arnolfini Betrothal: Medieval Marriage and the Enigma of Jan van Eyck's double portrait was published in 1994 by the University of California Press.
	www.haberarts.com /trueart.htm (8800 words)

	Jan van Eyck: man in a Red Turban Pg. 628 Fig. 17-13
		Van Eyck exploited the qualities of oil as never before, building up layers of transparent glazes, thus giving him a surface on which to capture objects in the minutest detail and allowing for the preservation of his colours.
		Nowhere is this better displayed than in this portrait of Giovanni di Arrigo Arnolfini, a merchant from Lucca and a frequent visitor to Bruges, and his wife Giovanna Cenami.
		The signature on the back wall in latin- 'Jan Van Eyck was here, 1434' - and his reflection in the mirror has led many to believe that he was a witness to their marriage.
	www.personal.kent.edu /~rlokay/National/page3.html (176 words)

	Jan van Eyck. Biography - Olga's Gallery
		Giovanni Arnolfini was a silk merchant from Lucca in Tuscany, who had settled in Bruges and was a friend of Jan van Eyck, who it seems attended the wedding of Giovanni Arnolfini and Giovanna Cenami.
		Nicolas Rolin (1376?-1462), Chancellor of Burgundy and Brabant, was born into a bourgeois family.
		The Arnolfini Betrothal: Medieval Marriage and the Enigma of Van Eyck's Double Portrait (Discovery Series, 3)
	www.abcgallery.com /E/eyck/eyckbio.html (587 words)

	Jan Van Eyck (Arnolfni Ananlysis)
		The Marriage of Giovanni Arnolfini and Giovanna Cenami", also known as simply, the "Arnolfini Wedding Portrait", is a painting showing the betrothal between Giovanni Arnolfini and Giovanna Cenami in a bedchamber.
		Although this is the probable meaning, some scholars disagree and believe it may be "Arnolfini conferring legal privileges on his wife to conduct business in his absence" (University of New York ).
		Other scholars have translated different messages, but the betrothal translation is the most supported, because is it supported by the Disguised Symbolism of the picture.
	www.asds.org /2005A/Katie/analysis.htm (293 words)

	Van Eyck - Arnolfini Marriage (1434) on Flickr - Photo Sharing!
		Giovanni (or possibly Michele), a representative of the Arnolfini banking family of Lucca, Italy.
		It may be that this portrait is of Michele's unknown bride, which could explain the "left-handed" marriage and unusually humble surroundings.
		In our ASFA art history textbook, this was called Giovanni Arnolfini and his bride." That book focused on the fact that it was van eyck in the convex mirror, and that you can actually see his easel too.
	www.flickr.com /photos/dystopos/33535379 (733 words)

	Jan van Eyck
		He worked, not only for Philip, but for wealthy Italians resident in the Netherlands, such as Giovanni Arnolfini; his fame spread rapidly to Italy, whose humanists called him the "onore della pittura" and "il più grande pittore del nostro tempo"; Vasari wrongly credited him with the invention of oil painting.
		The casual eye is apt to read the Arnolfini betrothal portrait as a piece of genre, which looks forward to Vermeer and the Dutch intimists.
		The Arnolfini Betrothal: Medieval Marriage and the Enigma of Van Eyck's Double Portrait, by Edwin Hall.
	artchive.com /artchive/V/van_eyck.html (1782 words)

	[No title]
		The Marriage of Giovanni Arnolfini and Giovanna Cenami
		This title has traditionally been given to this painting because it was thought to be a form of ``wedding certificate'' for Giovanni Arnolfini and Giovanna Cenami, who married in Bruges in 1434.
		Even the discarded shoes are not thought to be incidental, but to signify the sanctity of marriage.
	www.arthistory.cc /auth/eyck/arnolfini (616 words)

	FIRST ART EXTRA CREDIT
		One of the most important early painters is Jan van Eyck, especially known for his Giovanni Arnolfini and His Bride..
		One of the most important early painters is Jan van Eyck (painted roughly 1420-1441) especially known for his Man in a Red Turban (left) and Giovanni Arnolfini and His Bride (See picture below)Here is a commentary on this second painter from Gardener.
		Despite the lingering questions about the precise purpose of Giovanni Arnolfini and his Bride, the painting provides viewers today with great insight into both van Eyck's remarkable skill and Flemish life in the fifteenth century.
	frontpage.montclair.edu /alvaresj/Humanities/xcredit1.html (1086 words)

	artnet.com Magazine Features - Horsing Around
		In the equation of male "equininity" and character, the mold was cast in the 15th century by Johannes van Eyck.
		His Netherlandish Double Portrait shows Giovanni Arnolfini and his wife holding hands, their mutual loyalty indicated by the small dog standing at their feet.
		Beneath the wide horizontal brim of his velvet hat, Arnolfini’s long plain face with high cheekbones has been called equine.
	www.artnet.com /magazine/features/boettger/boettger10-29-04.asp (483 words)

	Symbolism of Arnolfini Wedding
		Some scholars believe this painting to be a form of a marriage certificate, while others suggest that Arnolfini is conferring legal privileges on his wife to conduct business in his absence.
		The Arnolfini Wedding is believed to be the first painting of a civil wedding ceremony.
		Window - Arnolfini is positioned next to the window suggesting his connection to the outside world verses his bride which is placed near the bed suggesting a domestic life.
	www.menahga.k12.mn.us /rossbachart/arthistoryfolder/symbolism.html (612 words)

	Essay on Van Eyck's "Giovanni Arnolfini and His Bride". This was a discussion question response. With a small amount of ... (Site not responding. Last check: 2007-10-25)
		Essay on Van Eyck's "Giovanni Arnolfini and His Bride".
		Let's start with the pretty obvious images in van Eyck's Giovanni Arnolfini and His Bride.
		Two people, a man and a woman dressed in silks and fur, are standing next to each other in a bedroom.
	www.dedicatedwriters.com.cob-web.org:8888 /paper/Van_Eycks_Giovanni_Arnolfini-160005.html (219 words)

	Jan van Eyck Paintings, Poster, Art Wallpapers and Prints
		Portrait of Giovanni Arnolfini and his Wife, The Arnolfini Portrait - Oil on oak, 82 x 60 cm
		The Portrait of Giovanni Arnolfini and His Wife Giovanna Cenami 1434 Giclee Print
		Although numerous unsigned panels have been attributed to him, less than a dozen of these are unquestionably by him.
	www.artwallpapers.net /paintings/jan_van_eyck_paintings.htm (673 words)

	Publisher description for Library of Congress control number 92039222 (Site not responding. Last check: 2007-10-25)
		Jan Van Eyck's Arnolfini Portrait examines one of the most celebrated European paintings from a number of perspectives.
		In her lucid analysis of this seminal work, Linda Seidel considers this famous double portrait as a social record, legal document, material object and poetic fiction.
		Through the implementation of a variety of interpretive strategies, and in consultation with different types and categories of information, this innovative book informs the viewer about the function and nature of early European painting, and invites the reader to reflect on the many ways in which works of art can be studied.
	www.loc.gov /catdir/description/cam025/92039222.html (198 words)

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