ARS 102 Renaissance to Modern: Module 2 Video 6

• Ghent Altarpiece

• Theme of Redemption in the Ghent Altarpiece

Ghent Altarpiece
With that background, I'd like to begin to talk about the Ghent Altarpiece in some detail.
 Jan Van Eyck. The Ghent Altarpiece, closed (Retable de L' Agneau Mystique fermé.). completed 1432. Artstor, library-artstor-
org.ezproxy1.lib.asu.edu/asset/ALUKASWEBIG_10313648875

Note that this panel painting—and the Ghent Altarpiece is a panel painting—mixes both
tempera and oil. But again, it's oil paint that really allows van Eyck to achieve some of these
technical feats and I'm sure you will be impressed. These paintings are still very impressive in
terms of the tremendous detail that van Eyck was able to concentrate in the various scenes that
he depicts.

So, let's look at the first part of the altarpiece, that is the outside. This is actually the earliest
known piece by Jan van Eyck. Again, completed in the year 1432 for an official in the city of
Ghent, by the name of Vijd—difficult for me to pronounce—Jodocus Vijd and his wife Isabel
Borluut.

And actually, the two donors—again, we have a donor portrait that's included on the exterior or
the outside of this altarpiece, and you'll see them in the lower quadrants on the lower right hand
the lower left. So, the Vijds are depicted here, devout, and also, then depicted on the painting—
the altarpiece that they have paid for, that they commissioned.

Now we also know, in addition to his use of oil paint and tempera, that van Eyck worked in a
technique, which is called glazing—and I'll have a little bit more to say about that in an
upcoming lecture because it's another technique that Leonardo da Vinci for example, also made
extensive use of.

The Ghent Altarpiece is an extremely complex work. It presents a number of different scenes
on the exterior and the interior. On the exterior, you might notice on the upper register—that is
the very top portion—these little lunettes include figures of the prophets. And actually, van
Eyck presents us here with both pagan and biblical prophets. So that's the very top level, the
third level way on top. The second register, or second level, is again, a scene of the
Annunciation—which we have seen depicted several times before in our lectures.

Notice though, that the archangel here is depicted way on the left, and Mary is depicted way on
the right. And they are rather separated. They're in the same room, but separated by the
different panels that van Eyck has created for the altarpiece.

And if you take a close look in your book, which I highly recommend—because again, this is
an incredibly detailed composition—you'll notice that Eyck pays incredible attention to a
number of details. We are inside an interior, an early 15th century Flemish interior here, but
also, you'll notice that the angel—holding a lily, and also raising his hand—is speaking.

Because van Eyck depicts the words as a text that flow out of his mouth, and they float across
the space of the room. And then you'll notice that Mary on the right—and notice that the Holy
Spirit is hovering above her, that's that bird form that you see.

Notice that she cocks her head to her right, and she is actually listening to these golden words
that flow into her ear. So, this is an incredible visualization of sound. And I've always found
that really remarkable, and actually quite beautiful. And I hope that you check that out. In the
lower register, I've already mentioned that we have a donor portrait on the left and on the right,
the Vijds are depicted.

But in the middle, we have, in grisaille—that is, in black and white tones, so notice that there
is no color there—and so actually these figures are depicted as sculptures without any color.

We have two figures: John the Evangelist, and John the Baptist—that is, St. John the Baptist
and St. John the Evangelist.

Now let's open up to the interior which is, again, just a splendid depiction, that had particular
relevance to one time of the church calendar that is in the year.

Jan Van Eyck. The Ghent Altarpiece, open (Retable de L' Agneau Mystique Ouvert.). completed 1432. Artstor, library-artstor-
org.ezproxy1.lib.asu.edu/asset/ALUKASWEBIG_10313646550

Theme of Redemption in the Ghent Altarpiece

And usually this altarpiece was only opened at that time—it was only opened at Easter time—
because that is the theme that is celebrated here, that is, the theme of Easter, and the theme of
redemption. Again, the biblical story of Easter has to do with the Resurrection from the dead, of
Jesus, who is then basically—he is first sacrificed, he is crucified, and then he is resurrected
from the dead, he comes back from the dead—that is the theme of the interior of the Ghent
Altarpiece.

Notice, first of all on the upper register, and we'll start with that upper register on the extreme
left and right. We have two nude figures. You might again, remember them from Masaccio.
This is Adam and Eve, both of whom then hide their nudity. And so, this is a reminder of
original sin.

If you look up above, that is, in the small Lunette above the figure of Eve and above the figure
of Adam, you'll see, in grisaille, a scene depicted.

What van Eyck is showing you here is the killing of Abel by Cain, and of course, Cain and
Abel were the offspring of Adam and Eve.

So, it's a continuation of the idea of sin and disobedience to God. Now this original sin, this
original disobedience—also murder as a terrible sin—necessitates the need for redemption,
right. And the only redemption within Christian theology is in the Resurrection of Christ.

All of these sins then are redeemed. That is, humankind is redeemed. The slate is wiped clean,
so to speak.

So, what we have here, also on the upper register again, a depiction of sound. So, I'm heading
into the center on the right and the left. We have angels, playing the organ for example, and
gathered singing—those are those two panels. And then moving in closer to the center, we have
a depiction of basically the Last Judgment scene. We have God, The Father, who is seated on a
throne.

So, Christ and Father seated on the throne, to his right we have a depiction of the Virgin Mary
and to his left, we have a depiction of St. John the Baptist. So, notice here that although we
don't have a deep space—we don't have a deep receding space—there is a realistic depiction of
space that van Eyck shows us.

We are in a three-dimensional space here. God the Father, the Virgin, and Saint John the
Baptist are seated in a realistic space. They have mass and weight. Also look in your book at
some of the incredible detail that is rendered here—the sumptuous garments that each of these
figures is wearing. And in particular, if you look at the hem of the garment of God the Father
seated on the throne and the crown at his feet.

It is staggering as to the amount of detail that van Eyck depicts here—the glossiness, the light
playing off of precious gems, for example, is really remarkable. Now moving to the lower
register, we have basically one continuous scene that's shown to us over these five panels.

And that is a scene of the so-called Agnus Dei, that is, the Lamb of God.
 Jan Van Eyck. The Ghent Altarpiece, open (Retable de L' Agneau Mystique Ouvert.), Adoration of the Lamb, detail of
center. completed 1432. Artstor, library-artstor-org.ezproxy1.lib.asu.edu/asset/ALUKASWEBIG_10313646855

And that is symbolizing Christ, a lamb of God who is sacrificed to take away the sin of the
world. And, of course, you'll see in the center panel, there is an altar with an actual lamb on it.
That is the symbol of Christ in the middle of the landscape.

Notice too, by the way, I didn't mention this to you, the hierarchic scale that van Eyck uses
here—that is, figures that are most important are biggest.
And that's really clear in the upper register in particular, the figure of God the Father as most
important—therefore he is the largest figure.

But let's move back down, then to the lower register of this Ghent Altarpiece, the interior.
Generally, the scene is referred to as the Adoration of the Lamb by all Saints. And that is what
we see in all of these panels.

Now the other very clever thing that van Eyck has done here is that he shows in great detail the
landscape, and we are in Ghent here.

And we know that because in the right-hand side of the central panel—so we're looking off into
the distance—actually you see a number of buildings in the distance, the building on the far
right is actually St. Bavo. That is actually the church in which this altarpiece is located.

So, then Eyck is actually depicting the Flemish landscape and he is depicting the church in
which this altarpiece is located. He depicts this landscape and the disciples, the pilgrims, who
have come to worship the lamb, the Agnus Dei. That is, the sacrifice of Jesus, of the Son of
God—as a landscape of redeemed people.

We are within a community of the redeemed here, and that community inhabit the landscape of
Ghent and inhabits the congregation, right, that is, the congregation inhabits the redeemed.

So that is a very positive message for the congregation of St. Bavo, you can imagine then that
when this altarpiece was opened at Easter celebration, that this would have been a really great
moment.

Now the other thing I'd like to mention about the Adoration of the Lamb by all Saints that is the
lower panel is that there are also some references made here to passages from the Book of
Revelations. Particularly as they have to do with St. John the Evangelist who if you remember,
is also depicted on the outside, that is, on the exterior of this altarpiece.

Now I will say that there is a great deal more that can be said about this altarpiece. It's
tremendously complex but at least I hope I've opened it up a little bit for you.

And here I'm showing you also, so you can take a look at that further detail of that central
panel. And notice that basically the symbolic figure of Christ, in the form of the lamb here, is
really the center of this composition.

It's not strictly speaking in linear perspective; there is atmospheric perspective used here, as I
said, van Eyck certainly understands that.

But also, the entire composition is loosely then organized around the symbolic figure of the
lamb, or of Christ.
Image Citations
Jan Van Eyck. The Ghent Altarpiece, closed (Retable de L' Agneau Mystique fermé.).
completed 1432. Artstor, library-artstor-
org.ezproxy1.lib.asu.edu/asset/ALUKASWEBIG_10313648875

Jan Van Eyck. The Ghent Altarpiece, open (Retable de L' Agneau Mystique Ouvert.).
completed 1432. Artstor, library-artstor-
org.ezproxy1.lib.asu.edu/asset/ALUKASWEBIG_10313646550

Jan Van Eyck. The Ghent Altarpiece, open (Retable de L' Agneau Mystique Ouvert.),
Adoration of the Lamb, detail of center. completed 1432. Artstor, library-artstor-
org.ezproxy1.lib.asu.edu/asset/ALUKASWEBIG_10313646855