The Madonna with Canon Van der Paele

One of Jan van Eyck's most elaborate paintings, The Madonna with Canon Van der Paele depicts the wealthy Canon kneeling before the Virgin and Child. The figures of Saint Donatian and Saint George flank him.

This painting is similar to the Madonna and Chancellor Rolin (see Related Paintings below) in that it presents us with a vision of God in our physical world. Van der Paele has a manuscript in his left hand and his glasses in his right as he probably just finished reciting from the book.

Canon Van der Paele is shown in his home environment, his church of St. Donatian, experiencing the divinity of God through Mary and Christ the Child.

Iconography:
All of the Depictions on the throne represents God's plan for salvation;
- Adam and Eve - Sin
- Samson overcoming a lion - Redemption from sin through faith
- Abraham Sacrificing Isaac - Shows the goodness and grace of God

Flower: Mary expressing her love for Christ by giving him a gift.

St. Donatian: Represents the church

Salvation: Mary is holding a nosegay and Christ holds a parrot. These items reflect the Garden of Eden.

The painting was commissioned, or rather donated, by the Canon Van der Paele for the Church of Saint Donatian in Burges.

It is thought that the canon might have hung the painting on the altar of the church.

It has also been argued that in northern tradition a painting was usually, if not always, commissioned by the Church to commemorate it in some way and would not be placed inside the altar.

Either way the commissioning of The Madonna with Canon Van der Paele was probably an attempt by Van der Paele to improve his divine experience.

Another impressive and innovative use of oil paintings, this work demonstrates van Eyck's mastery of indirect light, detail and realism.

Use of light:
The light comes into the image from the upper left of the painting. Mary and the Child are illuminated giving them prominence in the scene.

The use of indirect light is spectacular - the light hitting Saint Georges' armor is reflected and refracted many times over.

Technical innovations:
With the use of oil paints Jan van Eyck was able to push perspective, coloring and shades of light even further.

Layering the paints gave van Eyck almost complete control and allows him to create subtle differences in colors. Also, the oils often act as a glaze which has the ability to trap light which van Eyck takes advantage of by using indirect light and sometimes two different light sources.

Mood, tone and emotion:
The figure of the Canon Van der Paele is shown as the next point to observe after Mary and Christ. This was probably done to depict some short of ranking as Van der Paele appears to have wanted to be inducted or experience something divine.

Perspective:
The surfaces are one of the most intriguing aspects of the painting. The clarity with which we see Saint Georges' armor and from the clothing, to the wood and then back to the clothing - each piece of texture is perfectly identifiable.

Natural vs. Artificial Imagery:
Here, like with some of van Eyck's other works, the detailed presentations of the religious figures bring the whole scene to life.

Today van Eyck's technique with oil painting has not been surpassed. In terms of detail and realism, his achievements are unrivalled in the history of art.

Although much of his technique has been copied and added to throughout the centuries, his complex use of iconography is still a hot topic of discussion.

Other works by van Eyck on the same theme include;

Ince Hall Madonna, 1433

Madonna and Chancellor Rolin, 1435

Madonna Lucca c. 1437

Born sometime around 1385 Jan van Eyck most likely studied under his brother, Herbert van Eyck. Jan worked under Philip the Good, Duke of Burgundy, and is responsible for the Ghent Altarpiece and the Arnolfini Portrait, two of the most famous paintings of the early Northern Renaissance.

On his voyages for the Duke, van Eyck served as a painter, traveler and diplomat. Probably traveling to Italy, Spain, Portugal and the Holy Lands, it is thought that the artist picked up different styles and inspiration but it is the minimalist style tha he is famous for and this came to define the Northern Renaissance.

Although Jan van Eyck worked under the Duke he still accepted commissions from various autocrats and was one of the first to produce portraits. He developed the 3/4 profile view in the portrait, a technique which is still used today.

For almost a thousand years Europe lay in the dark ages under a feudal society without any significant advancement. Sometime in the 14th Century Europe serfs were living as free men, the printing press was invented, commerce was taking off and new ideas arose.

With mobility, the rise of the merchant class led to an increase in ideas, philosophy, artistic advancements and scientific innovations.

North and South:
Old religious ideas were beginning to change again, especially in the north which would be home to the Reformation.

In Italy the Renaissance in architecture and sculpture had already taken off with the innovations made by Donatello and Brunelleschi. Insights in perspective and mathematics taken from the classics were being to show humanity in a new light.

The Renaissance would take hold across both sides of Europe, although fundamentally in different manners. Later, ideas from the north and south would mix and spur along further advancement.

To find out more about the life and works of Jan van Eyck please refer to the following recommended sources.

• Borchert, Till-Holger. Jan van Eyck. Taschen Deutschland Gmbh, 2008
• Borchert, Till-Holger. Renaissance Realist (Taschen Basic Art Series). Taschen GmbH, 2008
• Graham, Jenny. Inventing Van Eyck: The Remaking of an Artist for the Modern Age. Berg Publishers 2007
• Harbison, Craig. Jan Van Eyck: The Play of Realism. Reaktion Books, 2011
• Nash, Susie. Northern Renaissance Art (Oxford History of Art). OUP Oxford, 2008
• Schmidt, Peter. Jan Van Eyck: The Ghent Altarpiece. Ludion Editions NV, 2001