Arnolfiniâs best friend
Fellowship and familiarity in Jan van Eyckâs Arnolfini portrait
In: Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek OnlineSearch for other papers by Marisa Anne Bass in
Current site
Google Scholar
Jan van Eyckâs Arnolfini Portrait (1434) has been a battleground of interpretation ever since Erwin Panofskyâs landmark 1934 essay on the painting. This article does not seek to resolve the uncertainties that remain concerning the names of the portraitâs subjects or the function that it served. Instead, it proposes to understand the relationship that the painting establishes between itself and its viewers, and to do so by considering the role of the canine companion at the coupleâs feet. The dog in The Arnolfini Portrait is not only fundamental to the fellowship that Van Eyck invites us to feel both with himself and with his work; the dogâs role within the picture also nuances our understanding of Van Eyckâs own self-awareness as an artist and signals an opportunity to reconsider the limitations of traditional art-historical method.
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| All Time | Past 365 days | Past 30 Days | |
|---|---|---|---|
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Arnolfiniâs best friend
Fellowship and familiarity in Jan van Eyckâs Arnolfini portrait
In: Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek OnlineSearch for other papers by Marisa Anne Bass in
Current site
Google Scholar
PubMed
Jan van Eyckâs Arnolfini Portrait (1434) has been a battleground of interpretation ever since Erwin Panofskyâs landmark 1934 essay on the painting. This article does not seek to resolve the uncertainties that remain concerning the names of the portraitâs subjects or the function that it served. Instead, it proposes to understand the relationship that the painting establishes between itself and its viewers, and to do so by considering the role of the canine companion at the coupleâs feet. The dog in The Arnolfini Portrait is not only fundamental to the fellowship that Van Eyck invites us to feel both with himself and with his work; the dogâs role within the picture also nuances our understanding of Van Eyckâs own self-awareness as an artist and signals an opportunity to reconsider the limitations of traditional art-historical method.
| All Time | Past 365 days | Past 30 Days | |
|---|---|---|---|
| Abstract Views | 1094 | 168 | 11 |
| Full Text Views | 356 | 33 | 1 |
| PDF Views & Downloads | 550 | 76 | 5 |
