Decoding the Symbolism in Van Eyck’s Arnolfini Portrait
The Arnolfini Portrait: A 15th-Century Masterpiece
Jan van Eyck’s Arnolfini Portrait, dated 1434, is a renowned oil painting that depicts the Italian merchant Giovanni Arnolfini and his wife in their Bruges home. This seemingly simple portrait is rich with symbolism, sparking much debate among art historians about its true meaning.
The Scene: Marriage or Exorcism?
The painting presents the couple standing in a well-appointed room, illuminated by a window on the left. Giovanni Arnolfini, dressed in a dark cloak and broad hat, raises his right hand as if taking an oath or giving a blessing. His left hand holds that of his wife, Giovanna, who is richly attired in a bright green gown with a white veil. Her prominent belly has led many to believe she is pregnant.
A small dog stands at the couple’s feet, and in the background, we see the corner of a carpet and the canopy of a bed. A single lit candle burns in the chandelier hanging from the ceiling. On the back wall, a circular mirror reflects the entire room, including two figures who may be witnesses to the event depicted. Above the mirror, a Latin inscription reads: “Johannes de Eyck fuit hic, 1434” (Jan van Eyck was here, 1434).
Unpacking the Symbolism
The Arnolfini Portrait is filled with symbolic elements, some of which are listed below:
- Two pairs of wooden shoes: One pair is next to the bed (hers), and the other is in the foreground (his). Bare feet were thought to symbolize fertility, a common theme in this era.
- Colors: The predominant colors are also symbolic. Green represents fertility, while red signifies passion.
- The dog: A clear allusion to fidelity within marriage.
- The lamp: The single lit candle may refer to Jesus Christ or the flame of love.
- The rosary: Hanging to the left of the mirror, it refers to the importance of prayer.
- The mirror: Circular in shape, it reflects the opposite perspective of the room, showing the backs of the couple and two witnesses. This suggests a double bond in the presence of witnesses, one of whom could be the painter himself.
- The tassel and Giovanna’s belly: Both are clear allusions to fertility. The figure on the headboard of the bed could be Saint Margaret (patroness of childbirth) or Saint Martha (patron of the household).
- The gargoyle: A gargoyle with a smiling attitude appears above the couple’s hands. Some believe this represents an exorcism to ward off the evil of childlessness.
- Giovanni Arnolfini’s wealth: The luxurious clothing, furniture, carpet, room decoration, and the presence of oranges (a luxury in 15th-century Flanders) all point to the merchant’s wealth and extensive geographic relationships.
The Flemish Primitives and the Bourgeoisie
Giovanni Arnolfini was a wealthy Italian merchant from Lucca who settled in Bruges, attracted by the commercial possibilities of the area. He achieved remarkable fortune, as reflected in the painting. This is the context in which the “Flemish Primitives,” of whom van Eyck is the greatest exponent, developed their art: a consolidated bourgeoisie, prosperous in business, and attracted by interior decoration, including paintings and portraits.
A Lasting Mystery
The Arnolfini Portrait continues to fascinate and intrigue art historians. The abundance of symbolic elements and the difficulty in interpreting some of them have led to ongoing debates about the painting’s true meaning. Is it a record of a marriage ceremony, or is it a depiction of an exorcism ritual? The answer remains elusive, adding to the enduring allure of this 15th-century masterpiece.