The Arnolfini Marriage - 1434
National Gallery, London
This title has been traditionally been given to this painting because it was thought to be a form of "wedding certificate" for Giovanni Arnolfini and Giovanna Cenami. Their wedding took place in Bruges in 1434. He was an Italian merchant and she was the daughter of another Italian merchant. The grave, youthful responsibility in their faces is typical of the work of Jan Van Eyck.
This is one of his most famous portraits, representing the Italian merchant who had come to the Netherlands of business with his bride. In its own way, this work was as new and revolutionary as Donatello’s or Masaccio’s work in Italy. A simple corner of the real world had been suddenly fixed onto a panel as if by magic, depicted in the carpet and slippers, the rosary on the wall, the little brush beside the bed, and the fruit on the window-sill. The picture probably represents a solemn moment in their lives; their betrothal. The young woman has just put her right hand in Arnolfini’s left and he is about to put his own right hand into her left as a token of their union. More than likely the painter was asked to record this solemn and important moment as a witness. This explains the Latin words "Johannes de Eyck fuit hic" (Jan Van Eyck was here). In the mirror at the back of the room, we see the scene in reverse, and there we also see the image of the painter and the witness. We do not know whether it was Van Eyck or the Italian merchant who came up with the idea to make use of this new form of painting, which may be compared to the legal use of a photograph endorsed by a witness. Whoever it was that originated this idea, he had certainly been quick to understand the possibilities which lay within Van Eyck’s new way of painting. For the first time in history the artist became the perfect eye-witness in the truest sense of the word.