INVESTIGATING AND ANALYZING THE ARNOLFINI

PORTRAIT 1

Investigating and Analyzing the Arnolfini Portrait

Annika Hillyard

Arizona State University

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Abstract

In the following essay, I will discuss the varying theories proposed over the years

intended to explain the meaning of what appears to be symbolism within the Arnolfini Portrait.

Additionally, I determine within this essay, what I believe to be the most likely explanation

based on historical evidence as well as objective interpretations.

Keywords: symbolism, theories, Arnolfini Portrait

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Investigating and Analyzing the Arnolfini Portrait

In a detail-rich scene of a small room littered with wealth, a man and his wife, draped in

finery, stand centered as he gently grasps his wifes hand and greets the viewer through a lazy

hand gesture. The Arnolfini Portrait, at first glance appears to be a straightforward scene of a

northern European couple displaying their wealth and marriage through means of a painting. Yet,

within this seemingly ordinary portrait lies one of the biggest riddles in art history. Within this

portrait lies an abundance of symbolism which has attracted people eager to decipher it for

centuries. For years, scholars believed the Arnolfini Portrait to be a record of a wealthy couples

marriage, as well as a testimony to their love and a future full of prosperity, however, in recent

years, a new theory has come to light, suggesting that the Arnolfini Portrait was not in fact a

testimony to the couples marriage but rather a memorial for Giovanni Arnolfinis late wife.

Despite the worlds obsession with the Arnolfini Portrait, in the scheme of things,

relatively little is known for sure about it. For centuries, people around the world have been

playing a guessing game. Here is what we know: It was painted in 1434 by Jan van Eyck, a

Flemish influential painter of the Northern Renaissance, and it is currently presumed that this

portrait was commissioned by a wealthy merchant, Giovanni Arnolfini.

There is an abundance of detail and items within this small portrait however, the first

thing your eyes are drawn to is a couple standing in the centre of a bedroom. The man and

woman in the painting are dressed in what appears to be their finest winter clothes, however as

your eyes move to the left, you will notice through the window that it is actually sunny and fruit-

filled tree can be seen. This same fruit appears on the table below the windowsill. If we move our

glance over to the floor, we notice a pair of wooden shoes lying casually on the wooden planks
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as well as a small dog standing between the couple. Littered throughout the background are

various decorative religious pieces as well as a reflective convex mirror in the centre of the back

wall. Jan van Eyck also chose to include a small inscription above the mirror which in English

translates as 1434, Jan van Eyck was here. Hanging from the ceiling is a glimmering golden

chandelier, however, only one candle is lit. The woman standing beside him is assumed to be his

wife, however, specifically who this woman was, remains up to speculation. One part in

particularly that makes this painting the subject of investigation and speculation is the tiny

reflection of the convex mirror on the back wall. Within this reflection, the Arnolfinis can be

seen, as would be expected, however, also present in the room are two mysterious figures, that

were not visible before. The identities of these figures are surrounded in much speculation;

however, no one knows for sure who they are.

Because of the seemingly random details and objects which Jan van Eyck chose to

include, scholars believe that Jan van Eyck was trying to convey a message through these

symbols. Had this been a simple portrait with the sole intention of depicting a couple in their

home, it would be highly unusual to incorporate so much clutter, so to speak. Consequentially,

art historians as well as ordinary people alike have been struck by this mysterious painting and

have come up with many theories to make sense of it over the years

In 1934, 500 years after Jan van Eyck painted this portrait, Erwin Panofsky, an important

art historian of the time, proposed a new theory. He believed he had at last discovered that the

identity of the couple in this painting as the wealthy Italian merchant Giovanni Arnolfini and his

wife Giovanna Cenami. Additionally, he argued that this portrait was intended as a legal

document of their marriage. According Panofsky, two witnesses would have been required to
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provide proof of the marriage and if one looks closely two additional figures can be seen in the

convex mirror. Jan van Eyck also signed above the mirror, providing proof that he was a witness

to the marriage, according to Panofsky. Not only does Panofsky believe this to be a record of the

couples marriage, however, he also suggests that van Eyck was depicting the sacredness of their

union. He points to many details within the room to support this belief. All of the seemingly

extraneous items serve a purpose. The convex mirror in the back, which captures the entire room

in its reflection symbolizes the presence and omniscient eye of God, whereas the singularly lit

candle on the chandelier represents Gods presence in the room as well as within the marriage.

The couple has taken off their shoes indicating that they are in a sacred place- within the

presence of God. Within the room, a small dog can be seen at the couples feet which Panofsky

suggests indicates fidelity, and the oranges on the table symbolize fertility (Blake). Fertility is

also depicted by many of the religious figures in the room, such as the carved bedpost of St.

Margaret, patron saint of child birth.

Additional theories have arisen over the years as well, however, such as one which

suggests that this painting is doing nothing more than displaying the wealth of the Arnolfini

couple (The many questions surrounding Jan van Eyck's Arnolfini Portrait, 2017) . From the

expensive finery which both individuals wear, to decorative items speckling the house, the

Arnolfinis were obviously quite well off. The woman in this painting is draped in a long and

fashionable dress embellished with fur, which would have been of great value at the time.

Arnolfini also is draped in an expensive cost, also lined with fur. The two wear minimal jewelry,

demonstrating their wealth yet also identifying them as of the merchant class as excessive

jewelry would have been reserved for aristocrats. It is also suggested that Arnolfini may have

sold oranges (also extremely expensive at the time), which is why oranges can be seen lying on
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the table beside him. The room is decorated quite exquisitely as well, from the red drapery

hanging from the bed, to the religious wooden carved icons and convex mirror.

Others still are unsatisfied with these theories, however, and in 1993 Margaret Carroll argued

that rather than a display of wealth or proof of their marriage, this was a legal document of

Arnolfini granting legal authority to his wife to conduct business in his name (Painting and

Politics in Northern Europe: Van Eyck, Bruegel, Rubens, and Their Contemporaries). She points

out that the Arnolfinis must have already been married, as evident by the way his wife wears her

hair. According to Carroll, unmarried women of the renaissance would have worn their hair

down, and only married women wore their hair up, signifying that she was already married. In

addition, it would have served the Arnolfinis well to allow Mrs. Arnolfini the ability to conduct

busisness while her husband was away, as it showed other potential customers that they were

reliable, as this was a time when many were skeptical of merchants. She points to their joined

hands as not a romantic gesture but rather symbolizing equal hands in business, as well as the

fact that the wife is looking at her husband, showing them to be equals, rather than at the ground

which would have displayed submissiveness.

Although these theories provide explanations for many of the mysteries within this

portrait, there are still many unanswered questions. For example, the case that argues that this

was a documentation of the marriage between Giovanni Arnolfini and his Giovanna Cenami,

suggested by Erwin Panofsky, has a very serious problem. A document only recently discovered

states that Giovanni Arnolfini and Giovanna Cenami were not married until 14 years after this

portrait was completed. Therefore, it could not have been this couple. In the case that this is

simply a couple displaying their wealth for the world to see, it leaves the viewer horribly

unsatisfied. Why does Eyck leave so many seemingly random objects in this portrait? If the
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couple is so wealthy, can they really not afford more candles for their chandelier oppose to the

measly one that lights the room? Many of the same questions apply to the idea that this was a

passing of power in business matters to the wife. Why would Eyck deliberately include so many

random items when he could simply display the couple in an uncluttered home to obtain the

same idea?

With so many unanswered questions, it is only natural that scholars would be left

unsatisfied and fiend for a solution. After much research and investigation, it is now commonly

believed that the identity of the couple is not what was once believed, but rather that of Giovanni

Arnolfinis cousin, Giovanni de Nicolao Arnolfini and his wife Costanza Trenta. In recent years,

a new theory has emerged that sheds light on this mystery. According to Margaret Koster this

was not meant to be a testament to their marriage, however, rather, to her death. Arnolfini and

Costanza Trenta were married in 1426, and unfortunately, only a few years later, in 1433, she

died, most likely in child birth as was common at the time. This led art historian, Margaret

Koster, to believe that perhaps this was a memorial to Arnolfinis late wife, who died merely a

year before this painting was completed (4/4 Northern Renaissance : The Supreme Art (Ep1),

2013). As a result, she spent much time researching and analyzing this famous portrait and

consequentially found a number of things to back up her theory. Above the couple, only a single

lit candle remains on the chandelier which had been previously thought to signify the

omnipresence of God, however, according to Koster, because there is only one candle and that

this flame and candle happens to appear over Arnolfini, it represents that he is living and his

wife, who bears no flame over her head, is not. Her light had gone out, so to speak. Additionally,

when you examine the back wall, the intricate border of the convex mirror shows scenes from

the Passion, which is the illustration of the life and death of Christ. Interestingly, on the side of
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Arnolfini, the scenes from the passion depict Christs life, while he was still living, whereas on

his wifes side, all of the scenes are of after the death of Christ, signifying in ---- mind that

Costanza Trenta was already dead. Furthermore, she points out an interesting fact. Arnolfini

appears to be quite realistic in appearance. His features are not glorified and looks as though he

could be a real person you could find in real life out in the world. His wife Costanza Trenta

appears to be almost angelic or idolized, reflecting many beauty values of the time. So much so,

that you would be hard pressed to find someone who looks like she does in real life. The reason

for this? According to Koster, only Arnolfini would have been able to model for this portrait and

therefore, only the work of the artists imagination and memory would be able to serve as a

representative of Costanza. If you examine the room, you will also notice various symbols of

fertility and pregnancy, such as the carved wooden statue of St Margaret, patron saint of child

birth, as well as the oranges placed atop the table. We also know that Costanza most likely died

in child birth, which would explain why all of these icons litter the room. Furthermore,

Arnolfinis attire seem provides additional insight. In this portrait, Arnolfini is draped in a black

garment and bares a black hat as well. This would not seem unusual to us now, however, wearing

full black at the time had not become a fashion statement, rather, was reserved exclusively for

mourning.

After thoroughly analyzing and reflecting on the various theories explaining the meaning

and purpose of the Arnolfini Portrait, I have arrived at the conclusion that only one of these

theories seems to satisfyingly answer the most questions and therefore, in my mind, appears to

be the logical choice when deciding which theory to believe. In my opinion, the Arnolfini

Portrait is a symbol of love and rememberance to the late wife of Giovanni de Nicolao Arnolfini,

Costanza Trenta.
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References

Blake, D. (n.d.). Mystery Painting: The Marriage of Arnolfini. Retrieved October 18,

2017, from http://www.dianablake.net/ArtHistoryArticles/Arnolfini.htm

Painting and Politics in Northern Europe: Van Eyck, Bruegel, Rubens, and Their

Contemporaries. (n.d.). Retrieved November 12, 2017, from

http://caareviews.org/reviews/1237#.WhnSn7aZNPM

The Many Questions Surrounding Jan van Eyck's Arnolfini Portrait. (2017,

June 06). Retrieved October 18, 2017, from

https://artstor.wordpress.com/2017/06/06/the-many-questions-surrounding-jan-van-

eycks-arnolfini-portrait/

T. (2013, October 04). 4/4 Northern Renaissance: The Supreme Art (Ep1).

Retrieved October 18, 2017, from https://www.youtube.com/watch?v=RNPBCSKIEjc