The Arnolfini Portrait, 1434
Jan van Eyck (1390-1441)
oil on wood. 82.2 x 60 cm 
National Gallery
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ART
Vol. 5
The Arnolfini Portrait


Jan van Eyck’s The Arnolfini Portrait, a small but monumental oil painting on oak now in the National Gallery London, is one of the most iconic works of the Northern Renaissance. Painted in 1434, it shows a richly furnished interior with two full-length figures, identified as the merchant Giovanni di Nicolao Arnolfini and his wife, standing in a bedroom. Though little is known about their real identities, the details shown in the canvas highlights wealth, belief, and the human presence. 


During the 15th century, a bedroom was not a private space, rather a space where one presented oneself, where guests were received, 
a stage for social display, and social identity. 

The fur-lined garments of both figures and the extraordinary length of the women’s green gown made from silk and fur speak of luxury, economic privilege, and prosperity. Despite the warm weather suggested by the fruit-bearing trees visible through the window, both figures wear heavy winter attire, signaling opulence over practicality.



Oranges, a rare and imported delicacy in Northern Europe that was once accessible only to the very rich, rest casually on the window sill.






A brass chandelier gleams above and a patterned carpet was another imported item that few households could afford, underlining the figures high status. 





The stained-glass panel inset into the window and the intricate wood carving on the bedpost likewise underscore refinement and prosperity. 


Each object became a reflection of social standing and an extension of the individuals within the space. The painter’s extraordinary control of oil glazes, attention to texture, and his capacity to capture the glint of light on surfaces make this display of wealth. 
But beyond worldly success, The Arnolfini Portrait vibrates with undertones. The two figures stand barefoot in a space that radiates sanctity.  In 15th-century Europe, removing shoes indoors was not a common custom. It was instead a symbolic act reserved for entering a holy place, portraying biblical gestures. Hence, the act of taking off their shoes suggests that the scene takes place in a spiritual space. 
A small dog faces the viewer, symbolizing loyalty and trust, emphasizing the figures' trust and faithfulness to each other. 


Perhaps the most compelling feature is the convex mirror on the back wall which expands the narrative of the painting. It shows the backs of the couple, but also reveals two additional figures who are not visible in the main composition - rather the observers of the scene. The mirror’s frame is decorated with ten small roundels, each depicting moments from the life of Christ based on biblical narratives: from birth, baptism, crucifixion, resurrection, to the Last Judgement.
Next to the mirror hang a rosary and a small brush. These objects were popular wedding gifts during the period, symbolizing the Christian virtues of prayer and labor.
Above the mirror, van Eyck inscribed “Johannes de Eyck fuit hic” (translates to Jan van Eyck was here), 
making his own presence part of the scene.

Scholars such as Erwin Panofsky famously interpreted the painting as a visual marriage contract, a legal document disguised in symbolism. 
Later art historians, however, proposed alternative readings that it could be a memorial portrait for a deceased wife rather than an actual wedding. 
The woman’s rounded belly was once thought to indicate pregnancy. Debate continues over whether the woman’s voluminous dress indicates pregnancy or simply the stylistic fashions of the day. Yet, no single answer has prevailed. 

Regardless of these interpretations, The Arnolfini Portrait stands as a pioneering example of early oil technique that layers glazes producing
 depth, light, realism unseen before.