The appearance of an angel to myrrh-bearing wives, Jan van Eik, 1425
- Posted by Jan van Eik
- Museum: Bojmans-van Böningen Museum
- Year: 1425
Description of the picture :
The appearance of an angel to myrrh-bearing wives is Jan van Eik. 1425. Oil. 72×89
This is the earliest of the paintings associated with his name Jan Wai Eik. Many researchers even consider her author not of Jan, but of his older brother Hubert or both of them together. Filled around 1420, “The Appearance of an Angel to the Myrrh-bearing Wives” was once part of a triptych or frizo-like series of paintings: the golden rays from the lost neighboring composition are visible at the right edge. The series was scattered early, and already at the end of the 15th century, “Poverty-Bearing Wives” existed as a separate one, independent work; it was at this time that the coat of arms of its then owner Philip to Commin was added to the lower right corner, Advisor and chronicle of the last Burgundy Duke Karl Smelogo and his enemy — French King Louis XI .
The role of the landscape is very great in the picture. Brown-willed rocks surround the central scene from all sides. A dark landscape, like a wide, deaf frame, “calm” the image, introduces a note of solemn restraint and mystery. In the distance, it becomes brighter and more spacious; to the right the road rises to the castle on a hill, to the left in the lowland the city will be cluttered: densely standing houses, towers, temples under semicircular eastern domes. On the left, a weak morning light flows down on the pink towers of Jerusalem and a transparent sky shines. This is the first in world painting and, moreover, an amazingly subtle image of morning lighting.
As if sliding along the rocks, three women approaching the tomb, bringing sacred oil – the world to cajole the body of the deceased Christ. The angel sitting on the lid of the sarcophagus tells them that Christ has risen and left the tomb.
Warriors sleep here, assigned to guard her. The round tender face and soft lush hair of an angel are characteristic of the type of beauty that we are well acquainted with the reliable works of Jan van Eik. If he really took part in the work on the picture, then the work of his hands could also be a stocky, fat warrior with a halberd and a magnificent helmet on the ground next to him; for this they say both the living character and volumetric plastic of the figure, and the material persuasiveness of things. Ian could walk a brush and through the sky, adding that cloud, then a jamb of flying birds. Finally, in a more free than the rest of the landscape, painting, a lawn with a road to the castle and fluffy trees next to it, his hand is also felt.