[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"painting-portrait-of-a-man-in-a-red-turban":3,"painting-artists-portrait-of-a-man-in-a-red-turban":89},{"title":4,"id":5,"artists":6,"slug":40,"date":41,"description":42,"height":43,"image":44,"inPrivateCollection":45,"isLocationUnknown":45,"originalTitle":46,"popularity":47,"width":48,"wikipediaId":49,"collections":50,"genres":51,"museum":56,"movements":82,"mediums":84},"Portrait of a Man in a Red Turban","df89e1a4-e1a5-4b9f-aa31-dcaf9a9fc540",[7],{"name":8,"id":9,"nationality":10,"slug":14,"biography":15,"born":16,"death":17,"image":18,"popularity":19,"sex":20,"wikipediaId":21,"movements":22},"Jan van Eyck","dcaa8a57-e61f-4eb6-b2a9-43110e6f1ca1",{"id":11,"name":12,"slug":13},"a9c6c9dc-fe5f-46ac-ad89-5121979f7bb7","Dutch","dutch","jan-van-eyck","Jan van Eyck (\u002Fvæn ˈaɪk\u002F van EYEK; Dutch: ; c. before 1390 – 9 July 1441) was a Flemish painter active in Bruges who was one of the early innovators of what became known as Early Netherlandish painting, and one of the supreme figures of the Early Northern Renaissance. Such was his legacy, that he has been called “the inventor of oil-painting” by Vasari, Ernst Gombrich, and others, although this claim is now considered an oversimplification.\n\nSurviving records date his birth at around 1380 or 1390, in Maaseik (then Maaseyck, hence his name), Limburg, which is located in present-day Belgium. He took employment in The Hague around 1422, when he was already a master painter with workshop assistants, and was employed as painter and valet de chambre to John III the Pitiless, ruler of the counties of Holland and Hainaut. Some time after John's death in 1425, he was appointed as court painter to Philip the Good, Duke of Burgundy, and worked in Lille before moving to Bruges in 1429, where he lived until his death. He was highly regarded by Philip, and was dispatched on several diplomatic visits abroad, including one to Lisbon in 1428 to discuss the possibility of a marriage contract between the duke and Isabella of Portugal.\n\nAbout 20 surviving paintings are confidently attributed to him, as well as the Ghent Altarpiece and the illuminated miniatures of the Turin-Milan Hours, all dated between 1432 and 1439. Ten are dated and signed with a variation of his motto ALS ICH KAN (As I (Eyck) can), a pun on his name, which he typically painted in Greek characters.\n\nVan Eyck painted both secular and religious subjects. His works include altarpieces, painted panels—diptychs (dismantled), triptychs, and polyptychs—and commissioned portraits. He was well paid by Philip, who wanted the painter to have the financial security and artistic freedom to paint \"whenever he pleased.\" Van Eyck's early work shows influence from the International Gothic style, which he soon eclipsed, in part through a greater emphasis on naturalism and realism. He achieved a new level of virtuosity through his developments in the use of oil paint. His style and techniques profoundly altered the development of the Early Netherlandish school.","c. 1390","1441-07-09","jan-van-eyck\u002Fjan-van-eyck",25,"MALE","Jan_van_Eyck",[23,28,32,36],{"name":24,"id":25,"slug":26,"dates":27},"Early Netherlandish Painting","24038ee7-da2f-4447-868d-70c6d0157300","early-netherlandish-painting","",{"name":29,"id":30,"slug":31,"dates":27},"Renaissance","24126a7a-8a45-44f0-9585-e8378dd206e2","renaissance",{"name":33,"id":34,"slug":35,"dates":27},"Northern Renaissance","4c419af9-b643-419d-ae72-d8d323eade1d","northern-renaissance",{"name":37,"id":38,"slug":39,"dates":27},"Dutch and Flemish Renaissance Painting","e3e309cb-5cb4-4677-9666-883b94d423fd","dutch-and-flemish-renaissance-painting","portrait-of-a-man-in-a-red-turban","1433","Portrait of a Man (Self Portrait?) (earlier Portrait of a Man in a Red Turban) is the title given to a small oil painting by the Early Netherlandish painter Jan van Eyck, completed in 1433 in Bruges. The inscription at the top of the frame, which is original, contains his motto Als Ich Can (intended as the pun \"as I\u002FEyck can\", perhaps implying \"as only I, van Eyck, can\") was a common autograph for van Eyck. However this is his first known usage of the term, and it is unusually large and prominent. This and the sitter's unusually direct and confrontational gaze have been taken as an indication that the work is a self-portrait.\n\nThe panel is possibly the pendant to van Eyck's portrait of his wife in Bruges, although her portrait is dated 1439 and is larger. It has been proposed that he created his self-portrait to keep at his workshop so that he could use it to display his abilities (and social status, given the fine clothes evident in the portrait) to potential clients. However, in 1433, his reputation was such that he was already highly sought after for commissioned work and hardly needed to advertise.\n\nThe panel has been in the National Gallery, London, since 1851, where it hangs alongside his Arnolfini Portrait (1434) and Léal Souvenir (1432). The panel has been in England since its acquisition by Thomas Howard, 14th Earl of Arundel, probably during his exile in Antwerp from 1642 to 1644.",25.5,"jan-van-eyck\u002Fportrait-of-a-man-in-a-red-turban\u002Fportrait-of-a-man-in-a-red-turban",false,"Portret van een man met rode tulband (Dutch)",110,19,"Portrait_of_a_Man_(Self_Portrait%3F)",[],[52],{"name":53,"id":54,"slug":55},"Autoportrait","14bd6c5d-53fe-4b09-bb21-ff9fbbfa14e8","autoportrait",{"address":57,"latitude":58,"longitude":59,"name":60,"zipCode":61,"id":62,"city":63,"slug":73,"description":74,"background":75,"logo":76,"phone":77,"popularity":78,"schedules":79,"website":80,"wikipediaId":81},"Trafalgar Square",51.5089,-0.1283,"National Gallery","WC2N 5DN","afe25254-17b0-42d7-a6c9-0cbbdb7d244a",{"latitude":64,"longitude":65,"name":66,"id":67,"country":68,"slug":72,"image":27},51.5074,-0.1278,"London","c51ce410-c124-4b5c-8a49-e62a40f27f65",{"id":69,"name":70,"slug":71},"2a0588c6-6b3b-49ed-9ced-8fc2a59be12a","England","england","london","national-gallery","The National Gallery is an art museum in Trafalgar Square in the City of Westminster, in Central London, England. Founded in 1824, it houses a collection of more than 2,300 paintings dating from the mid-13th century to 1900. The current director of the National Gallery is Gabriele Finaldi.\n\nThe National Gallery is an exempt charity, and a non-departmental public body of the Department for Culture, Media and Sport. Its collection belongs to the government on behalf of the British public, and entry to the main collection is free of charge.\n\nUnlike comparable museums in continental Europe, the National Gallery was not formed by nationalising an existing royal or princely art collection. It came into being when the British government bought 38 paintings from the heirs of John Julius Angerstein in 1824. After that initial purchase, the gallery was shaped mainly by its early directors, especially Charles Lock Eastlake, and by private donations, which now account for two-thirds of the collection. The collection is smaller than many European national galleries, but encyclopaedic in scope; most major developments in Western painting \"from Giotto to Cézanne\" are represented with important works. It used to be claimed that this was one of the few national galleries that had all its works on permanent exhibition, but this is no longer the case.\n\nThe present building, the third site to house the National Gallery, was designed by William Wilkins. Building began in 1832 and it opened to the public in 1838. Only the façade onto Trafalgar Square remains essentially unchanged from this time, as the building has been expanded piecemeal throughout its history. Wilkins's building was often criticised for the perceived weaknesses of its design and for its lack of space; the latter problem led to the establishment of the Tate Gallery for British art in 1897. The Sainsbury Wing, a 1991 extension to the west by Robert Venturi and Denise Scott Brown, is a significant example of Postmodernist architecture in Britain.","national-gallery\u002Fbackground\u002Fnational-gallery_background","national-gallery\u002Flogo\u002Fnational-gallery_logo","+44 20 7747 2885",3,"Daily: 10:00 AM - 06:00 PM\nFriday: open until 09:00 PM\n1 January - 24, 25 and 26 December: closed","https:\u002F\u002Fwww.nationalgallery.org.uk","National_Gallery",[83],{"name":33,"id":34,"slug":35,"dates":27},[85],{"name":86,"id":87,"slug":88},"Oil on oak panel","289086f7-4cd3-40d8-b134-6cd57cd30896","oil-on-oak-panel",[90],[91],{"title":92,"id":93,"artists":94,"slug":97,"date":98,"description":99,"height":100,"image":101,"inPrivateCollection":45,"isLocationUnknown":45,"originalTitle":102,"popularity":103,"width":104,"wikipediaId":105,"collections":106,"genres":107,"museum":112,"movements":130,"mediums":136},"The Arnolfini Portrait","67e4f374-a055-4054-a9c6-8219ddd08f52",[95],{"name":8,"id":9,"nationality":96,"slug":14,"biography":15,"born":16,"death":17,"image":18,"popularity":19,"sex":20,"wikipediaId":21},{"id":11,"name":12,"slug":13},"the-arnolfini-portrait","1434","The Arnolfini Portrait (or The Arnolfini Wedding, The Arnolfini Marriage, the Portrait of Giovanni Arnolfini and his Wife, or other titles) is an oil painting on oak panel by the Early Netherlandish painter Jan van Eyck, dated 1434 and now in the National Gallery, London. It is 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.\n\nIt is considered one of the most original and complex paintings in Western art, because of its beauty, complex iconography, geometric orthogonal perspective, and expansion of the picture space with the use of a mirror. 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\". The portrait has been considered by Erwin Panofsky and some other art historians as a unique form of marriage contract, recorded as a painting. 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.\n\nVan 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. 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.\n\nThe 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\". 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\".",82.2,"jan-van-eyck\u002Fthe-arnolfini-portrait\u002Fthe-arnolfini-portrait","Portret van Giovanni Arnolfini en zijn vrouw (Dutch)",28,60,"Arnolfini_Portrait",[],[108],{"name":109,"id":110,"slug":111},"Portrait","5e6f789a-abcd-4ef0-1234-567890abcdef","portrait",{"address":113,"latitude":114,"longitude":115,"name":116,"zipCode":117,"id":118,"city":119,"slug":121,"description":122,"background":123,"logo":124,"phone":125,"popularity":126,"schedules":127,"website":128,"wikipediaId":129},"Great Russell St",51.5194,-0.127,"The British Museum","WC1B 3DG","08f35bd0-ecf4-4e96-bb4a-f97d88c9635f",{"latitude":64,"longitude":65,"name":66,"id":67,"country":120,"slug":72,"image":27},{"id":69,"name":70,"slug":71},"the-british-museum","The British Museum is a public museum dedicated to human history, art and culture located in the Bloomsbury area of London. Its permanent collection of eight million works is the largest in the world. It documents the story of human culture from its beginnings to the present. Established in 1753, the British Museum was the first public national museum. In 2023, the museum received 5,820,860 visitors. At least one group rated it the most popular attraction in the United Kingdom.\n\nAt its beginning, the museum was largely based on the collections of the Anglo-Irish physician and scientist Sir Hans Sloane. It opened to the public in 1759, in Montagu House, on the site of the current building. The museum's expansion over the following 250 years was largely a result of British colonisation and resulted in the creation of several branch institutions, or independent spin-offs, the first being the Natural History Museum in 1881. Some of its best-known acquisitions, such as the Greek Elgin Marbles and the Egyptian Rosetta Stone, are subject to long-term disputes and repatriation claims.\n\nIn 1973, the British Library Act 1972 detached the library department from the British Museum, but it continued to host the now separated British Library in the same Reading Room and building as the museum until 1997. The museum is a non-departmental public body sponsored by the Department for Culture, Media and Sport. Like all UK national museums, it charges no admission fee except for loan exhibitions.","the-british-museum\u002Fbackground\u002Fthe-british-museum_background","the-british-museum\u002Flogo\u002Fthe-british-museum_logo","+44 (0)20 7323 8000",12,"Daily: 10:00 AM – 5:00 PM\nFriday: open until 8:30 PM\n24, 25 and 26 December: closed","https:\u002F\u002Fwww.britishmuseum.org","British_Museum",[131,132],{"name":33,"id":34,"slug":35,"dates":27},{"name":133,"id":134,"slug":135,"dates":27},"Early Renaissance","9e8d6a76-6b18-4d2c-82fe-97d6f3639353","early-renaissance",[137],{"name":86,"id":87,"slug":88}]