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The Arnolfini Marriage (Jan Van Eyck Improvisation) by Zunuzin

Poster on canvas - The Arnolfini Marriage (Jan Van Eyck Improvisation)
  • Poster on canvas - The Arnolfini Marriage (Jan Van Eyck Improvisation)
  • Fragment - The Arnolfini Marriage (Jan Van Eyck Improvisation)
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The Arnolfini Marriage (Jan Van Eyck Improvisation)

  • 79x58 cm, archival pigment print on canvas, signed by author, limited edition of 100 

$419.00


Artwork description
The original artwork is oil painting on canvas, size 157x114 cm, and is available for sale. If you have to buy original oil artwork please e-mail to Artist.

Painting process by Zunuzin

Year created: 2005
Note: © zunuzin.com watermark is only used online and does not appear on your print or file.
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Additional print information "The Arnolfini Marriage (Jan Van Eyck Improvisation)" (oil painting on canvas)

Artwork printed by EPSON Stylus Pro 7880 (Epson UltraChrome K3 Vivid Magenta) on canvas. Each limited edition artwork that is purchased through this site will be individually signed, dated and stamped by the artist Vladimir Zunuzin. Limited edition prints of 100. Each copy has a unique ID and an original author’s signature.

Tags "The Arnolfini Marriage (Jan Van Eyck Improvisation)" (oil painting on canvas)

Additional information "The Arnolfini Marriage (Jan Van Eyck Improvisation)" (oil painting on canvas)

Jan Van Eyck - The Arnolfini Marriage

Jan van Eyck
"The Arnolfini Portrait", 1434
National Gallery, London

This work is a portrait of Giovanni di Nicolao Arnolfini and his wife, but is not intended as a record of their wedding. His wife is not pregnant, as is often thought, but holding up her full-skirted dress in the contemporary fashion. Arnolfini was a member of a merchant family from Lucca living in Bruges. The couple are shown in a well-appointed interior.

The ornate Latin signature translates as 'Jan van Eyck was here 1434'. The similarity to modern graffiti is not accidental. Van Eyck often inscribed his pictures in a witty way. The mirror reflects two figures in the doorway. One may be the painter himself. Arnolfini raises his right hand as he faces them, perhaps as a greeting.

Van Eyck was intensely interested in the effects of light: oil paint allowed him to depict it with great subtlety in this picture, notably on the gleaming brass chandelier. Via