Biography[edit]

He was born to a peasant family and was originally apprenticed to an

icon painter in Mogilev. By sheer luck, he was able to enroll at
the Moscow School of Painting, Sculpture and Architecture (MSPSA),
where he studied from 1847 to 1858 under the direction of Sergey
Zaryanko and Apollon Mokritsky.[1] After 1850, he was certified to serve
as an art teacher in the public schools. In 1855 he was awarded the title
of "Artist" and, in 1858, became a "Free Artist".[citation needed]
In 1860, he became an "Academician" for history and portrait painting.
He settled in an apartment near the MSPSA and taught there through
1873.[2] In 1862 and 1864, he was able to travel abroad to "view art
galleries" under the sponsorship of the Moscow Society of Art
Lovers [ru]. In 1869, he collaborated with Alexei Savrasov to prepare a
drawing course for use in the public schools. In addition to his paintings,
he created icons and illustrations for the works of Gogol and Turgenev.[1]
Four years later, he was forced to give up teaching due to poor health.
[1]
In 1879, his fellow artists got together to provide him with a modest
pension, but he died in poverty and nearly forgotten in 1890.[2]
The Unequal Marriage[edit]
His best known painting is "The Unequal Marriage". Pukirev appears at
the far right of the canvas (possibly as best man), giving rise to the story
that it represented an episode of lost love in his own life.[2] In 1863, on
the basis of this work, he was named an honorary Professor at
the Imperial Academy of Fine Arts. It also spawned a heated debate in
the press, with his supporters praising it for presenting a serious theme
from modern life,[2] unlike the usual genre scenes, which tended to be
nostalgic or sentimental. It is currently on display at the Tretyakov
Gallery.
Arnolfini Portrait

The Arnolfini Portrait

Artist Jan van Eyck

Year 1434

Type Oil on oak panel of 3

vertical boards

Dimensions 82.2 cm × 60 cm (32.4 in

× 23.6 in); panel 84.5 cm
× 62.5 cm (33.3 in
× 24.6 in)

Location National Gallery, London

The Arnolfini Portrait (or The Arnolfini Wedding, The Arnolfini

Marriage, the Portrait of Giovanni Arnolfini and his Wife, or other
titles) is a 1434 oil painting on oak panel by the Early
Netherlandish painter Jan van Eyck. It forms a full-length double
portrait, believed to depict the Italian merchant Giovanni di Nicolao
Arnolfini and his wife, presumably in their residence at the Flemish city
of Bruges.
It is considered one of the most original and complex paintings in
Western art, because of its beauty, complex iconography,
[1]
geometric orthogonal perspective,[2] and expansion of the picture
space with the use of a mirror.[3][4] According to Ernst Gombrich "in its
own way it was as new and revolutionary as Donatello's or Masaccio's
work in Italy. A simple corner of the real world had suddenly been fixed
on to a panel as if by magic... For the first time in history the artist
became the perfect eye-witness in the truest sense of the term".[5] The
portrait has been considered by Erwin Panofsky and some other art
historians as a unique form of marriage contract, recorded as a painting.
[6]
Signed and dated by van Eyck in 1434, it is, with the Ghent
Altarpiece by the same artist and his brother Hubert, the oldest very
famous panel painting to have been executed in oils rather than
in tempera. The painting was bought by the National Gallery in London
in 1842.
Van Eyck used the technique of applying several layers of thin
translucent glazes to create a painting with an intensity of both tone and
colour. The glowing colours also help to highlight the realism, and to
show the material wealth and opulence of Arnolfini's world. Van Eyck
took advantage of the longer drying time of oil paint, compared to
tempera, to blend colours by painting wet-in-wet to achieve subtle
variations in light and shade to heighten the illusion of three-
dimensional forms. The wet-in-wet (wet-on-wet), technique, also known
as alla prima, was highly utilized by Renaissance painters including Jan
van Eyck.[7] The medium of oil paint also permitted van Eyck to capture
surface appearance and distinguish textures precisely. He also rendered
the effects of both direct and diffuse light by showing the light from the
window on the left reflected by various surfaces. It has been suggested
that he used a magnifying glass in order to paint the minute details such
as the individual highlights on each of the amber beads hanging beside
the mirror.
The illusionism of the painting was remarkable for its time, in part for
the rendering of detail, but particularly for the use of light to evoke
space in an interior, for "its utterly convincing depiction of a room, as
well of the people who inhabit it".[8] Whatever meaning is given to the
scene and its details, and there has been much debate on this, according
to Craig Harbison the painting "is the only fifteenth-century Northern
panel to survive in which the artist's contemporaries are shown engaged
in some sort of action in a contemporary interior. It is indeed tempting to
call this the first genre painting – a painting of everyday life – of modern
times".

Describing the picture

The painting depicts a couple, which holding of hands. Although the
woman looks to be pregnant. The couple is warmly and finely dressed
with fur, even though the fruit outside the windows on the tress suggest
that it is summer time.

Картина в целом находится в очень хорошем состоянии, хотя и с небольшими потерями

оригинальной краски и повреждениями, которые в основном были
ретушированы. Инфракрасные рефлектограммы картины показывают множество мелких
изменений, или пентименти , в подрисовке : обеих сторон, зеркала и других элементов. [9] Пара
изображена в комнате наверху с сундуком и кроватью в начале лета, о чем свидетельствуют
плоды вишневого дерева за окном. Комната, вероятно, служила приемной, так как это было
модно во Франции и Бургундии.где кровати в приемных использовались для сидения, за
исключением, например, случаев, когда мать с новорожденным принимала посетителей. Окно
имеет шесть внутренних деревянных ставней, но только верхнее отверстие имеет стекло с
прозрачными выпуклостями в синих, красных и зеленых витражах. [9]
The painting is generally in very good condition, though with small losses of original paint and
damages, which have mostly been retouched. Infrared reflectograms of the painting show many
small alterations, or pentimenti, in the underdrawing: to both faces, to the mirror, and to other
elements.[9] The couple is shown in an upstairs room with a chest and a bed in it during early
summer as indicated by the fruits on the cherry tree outside the window. The room probably
functioned as a reception room, as it was the fashion in France and Burgundy where beds in
reception rooms were used for seating, except, for example, when a mother with a new baby
received visitors. The window has six interior wooden shutters, but only the top opening has glass,
with clear bulls-eye pieces set in blue, red and green stained glass.[9]

Обе фигуры очень богато одеты; несмотря на время года, их верхняя одежда, его накидка и
ее платье, оторочены и полностью оторочены мехом. Меха могут быть для него особенно
дорогими соболями , а для нее из горностая или минивера . Он носит шляпу из плетеной
соломы , окрашенную в черный цвет, которую в то время часто носили летом. Его гербовая
накидка была более фиолетовой, чем кажется сейчас (поскольку пигменты со временем
выцвели), и, возможно, предназначалась для шелкового бархата (еще один очень дорогой
предмет). Под ним камзол из узорчатого материала, вероятно, шелкового дамасского . Ее
платье имеет искусную выемку(ткань сложена и сшита, затем вырезана и декоративно
обтрепана) на рукавах и длинный шлейф. Ее синее нижнее платье также оторочено белым
мехом. [9]
The two figures are very richly dressed; despite the season both their outer garments, his tabard and
her dress, are trimmed and fully lined with fur. The furs may be the especially expensive sable for
him and ermine or miniver for her. He wears a hat of plaited straw dyed black, as often worn in the
summer at the time. His tabard was more purple than it appears now (as the pigments have faded
over time) and may be intended to be silk velvet (another very expensive item). Underneath he
wears a doublet of patterned material, probably silk damask. Her dress has elaborate dagging (cloth
folded and sewn together, then cut and frayed decoratively) on the sleeves, and a long train. Her
blue underdress is also trimmed with white fur.[9]

Хотя простое золотое ожерелье женщины и кольца, которые они носят, являются
единственными видимыми украшениями, оба наряда были бы чрезвычайно дорогими и
оценены современным зрителем. В их одежде (особенно у мужчин) может быть элемент
сдержанности, соответствующий их торговому статусу — портреты аристократов, как правило,
изображают золотые цепи и более украшенную ткань, [9] хотя «сдержанные цвета одежды
мужчин соответствуют тем, которые нравятся Герцог Филипп Бургундский»
Although the woman's plain gold necklace and the rings that both wear are the only jewellery visible,
both outfits would have been enormously expensive, and appreciated as such by a contemporary
viewer. There may be an element of restraint in their clothes (especially the man) befitting their
merchant status – portraits of aristocrats tend to show gold chains and more decorated cloth,
[9]
although "the restrained colours of the man's clothing correspond to those favoured by Duke Phillip
of Burgundy".[10]

Интерьер комнаты имеет и другие признаки богатства; латунная люстра большая и сложная
по современным меркам и стоила бы очень дорого. Вероятно, у него был бы механизм
со шкивом и цепями наверху, чтобы опустить его для управления свечами (возможно,
опущенный на картине из-за недостатка места). Выпуклое зеркало сзади в деревянной раме
со сценами Страстей, нарисованными за стеклом, показано больше, чем такие зеркала могли
быть сделаны в то время - еще один сдержанный отход ван Эйка от реализма. Также нет
признаков камина (в том числе и в зеркале) и нет очевидных мест, где его можно было бы
поставить. Даже апельсинынебрежно расположенные слева - признак богатства; они были
очень дорогими в Бургундии и, возможно, были одним из товаров, которыми торговал
Арнольфини. Дальнейшими признаками роскоши являются искусно выполненные драпировки
и резьба на стуле и скамье у задней стены (справа, частично скрытая кроватью), а также
небольшой восточный ковер на полу у кровати ; многие владельцы таких дорогих предметов
ставили их на столы, как это делают до сих пор в Нидерландах . [9] [10] Там существовала
дружба между Джованни Арнольфини и Филиппом Добрым, который послал своего
придворного художника Яна ван Эйка изобразить Двойника Арнольфини. Отношения,
возможно, начались с заказа гобелена , включающего изображенияСобор Парижской
Богоматери в обмен на хорошую плату. [7]
The interior of the room has other signs of wealth; the brass chandelier is large and elaborate by
contemporary standards, and would have been very expensive. It would probably have had a
mechanism with pulley and chains above, to lower it for managing the candles (possibly omitted
from the painting for lack of room). The convex mirror at the back, in a wooden frame with scenes
of The Passion painted behind glass, is shown larger than such mirrors could actually be made at
this date – another discreet departure from realism by van Eyck. There is also no sign of a fireplace
(including in the mirror), nor anywhere obvious to put one. Even the oranges casually placed to the
left are a sign of wealth; they were very expensive in Burgundy and may have been one of the items
dealt in by Arnolfini. Further signs of luxury are the elaborate bed-hangings and the carvings on the
chair and bench against the back wall (to the right, partly hidden by the bed), also the small Oriental
carpet on the floor by the bed; many owners of such expensive objects placed them on tables, as
they still do in the Netherlands.[9][10] There existed a friendship between Giovanni Arnolfini and Philip
the Good who sent his court painter Jan van Eyck to portray Arnolfini Double. The relation possibly
began with a tapestry order including the images of Notre Dame Cathedral in return of a good
payment.[7]

Вид в зеркале показывает две фигуры прямо за дверью, на которую смотрит пара. Вторая
фигура, одетая в красное, предположительно является художником, хотя, в отличие
от Веласкеса в «Менинах» , он, похоже, не рисует. Ученые сделали это предположение на
основании появления фигур в красных головных уборах в некоторых других работах ван Эйка
(например, «Мужской портрет» (Автопортрет?) и фигура на фоне Мадонны с канцлером
Роленом ). Собака является ранней формой породы, теперь известной как брюссельский
гриффон . [9]
The view in the mirror shows two figures just inside the door that the couple are facing. The second
figure, wearing red, is presumably the artist although, unlike Velázquez in Las Meninas, he does not
seem to be painting. Scholars have made this assumption based on the appearance of figures
wearing red head-dresses in some other van Eyck works (e.g., the Portrait of a Man (Self
Portrait?) and the figure in the background of the Madonna with Chancellor Rolin). A dog is an early
form of the breed now known as the Brussels griffon.[9]

На стене над зеркалом картина подписана, надписана и датирована: « Johannes de eyck fuit
hic 1434 » («Ян ван Эйк был здесь в 1434 году»). Надпись выглядит так, как если бы она была
написана крупными буквами на стене, как это делалось с пословицами и другими фразами в
этот период. Другие сохранившиеся подписи ван Эйка нарисованы тромп-л'илом на
деревянной раме его картин, так что кажется, что они были вырезаны из дерева. [9] [11]
The painting is signed, inscribed and dated on the wall above the mirror: "Johannes de eyck fuit hic
1434" ("Jan van Eyck was here 1434"). The inscription looks as if it were painted in large letters on
the wall, as was done with proverbs and other phrases at this period. Other surviving van Eyck
signatures are painted in trompe-l'œil on the wooden frame of his paintings, so that they appear to
have been carved in the wood.[9][11]
The painting is generally in very good condition, though with small
losses of original paint and damages, which have mostly been
retouched. Infrared reflectograms of the painting show many small
alterations, or pentimenti, in the underdrawing: to both faces, to the
mirror, and to other elements.[9] The couple is shown in an upstairs
room with a chest and a bed in it during early summer as indicated by
the fruits on the cherry tree outside the window.

The two figures are very richly dressed; despite the season both their outer garments, his tabard and
her dress, are trimmed and fully lined with fur. The furs may be the especially expensive sable for
him and ermine or miniver for her. He wears a hat of plaited straw dyed black, as often worn in the
summer at the time. His tabard was more purple than it appears now (as the pigments have faded
over time) and may be intended to be silk velvet (another very expensive item). Underneath he
wears a doublet of patterned material, probably silk damask. Her dress has elaborate dagging (cloth
folded and sewn together, then cut and frayed decoratively) on the sleeves, and a long train. Her
blue underdress is also trimmed with white fur.[9]
Although the woman's plain gold necklace and the rings that both wear are the only jewellery visible,
both outfits would have been enormously expensive, and appreciated as such by a contemporary
viewer. There may be an element of restraint in their clothes (especially the man) befitting their
merchant status – portraits of aristocrats tend to show gold chains and more decorated cloth,
[9]
although "the restrained colours of the man's clothing correspond to those favoured by Duke Phillip
of Burgundy".[10]

Пара, изображённая на полотне ван Эйка, принадлежит к зажиточному бюргерству. Это

особенно заметно по одежде. На женщине платье (т. н. «пелисон»), подбитое мехом с
длинным шлейфом, который при ходьбе должен был кто-нибудь нести. Передвигаться в
таком платье можно было лишь при соответствующем навыке, который был возможен
только в аристократических кругах. Белое подвенечное платье вошло в моду только с
середины XIX века. Её округлый живот, возможно, не является признаком беременности,
как может показаться зрителю, не знакомому с идеалом женской красоты
поздней готики[21]. По мнению некоторых исследователей, левая рука, поддерживающая
на животе тяжёлые складки платья, — это не более чем ритуальный жест,
соответствующий отношениям к семье и браку, и обозначает плодовитость, поскольку
двойной портрет был написан по случаю свадьбы этой пары[22]. Цвета костюма женщины
— синий и зелёный — в эпоху позднего средневековья символизировали молодость,
красоту, верность и влюблённость[6][23][24].