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Updated: June 15, 2025
In this new delightful interest in the world as it is, he reflected the tendency of his day. The fifty years that had elapsed between the painting of Richard II.'s portrait and the work of the Van Eycks, had seen a great development of trade and industry in Flanders. Hubert was born, perhaps about 1365, at Maas Eyck, from which he takes his name.
It is believed that he made the copy of Hubert's great work which is in the Antwerp Museum; another work called by his name is in Louvain. MARGARETHA VAN EYCK is said to have been a skilful artist, but no one picture can be ascribed to her; she was buried beside her brother Hubert in the Cathedral of Ghent. Of course the Van Eycks had many followers.
The looms of Corinth, Palermo, and Lucca, in the twelfth, thirteenth, and fourteenth centuries, turned out figured silk cloths, which were so widely sought for, that you may see specimens of their work figured on fifteenth-century screens in East Anglian churches, or the background of pictures by the Van Eycks, while one of the most important collections of the actual goods is preserved in the treasury of the Mary Church at Dantzig; the South Kensington Museum has also a very fine collection of these, which I can't help thinking are not quite as visible to the public as they should be.
But it would be difficult to discover in the pictures of Masaccio, Fra Filippo Lippi, Ghirlandajo, Botticelli and the other masters of the Italian fifteenth century, with the sole exception of Fra Angelico, the same depth of religious inspiration which pervades the works of the Van Eycks and of their disciples.
Among the Netherlandish scholars and followers of the Van Eycks of whom any record has been preserved some appear to have been gifted with considerable powers, though none attained the excellence of their great precursors.
Making every allowance for the difference in the times in which the Van Eycks and Rubens were working, there is no doubt that the former lived in too rarefied an atmosphere ever to influence their fellows, and with the exception of Hans Memling they left no one worthy to carry on their tradition.
Bavon; the wings, consisting of six beautiful, tall panels, are in the Berlin Museum, and two outer compartments are in the Brussels Museum. Oil-painting had been known, it is true, a long time, but the manner of preparing the colors and the varnish used before the time of the Van Eycks was very unsatisfactory, and the improvement of these substances was the work of these masters.
There is no atmosphere of tranced solemnity surrounding them, like that which gives peculiar meaning to similar works of the Van Eycks and Memling artists, by the way, who in many important respects are more nearly allied than any others to the spirit of the first age of Venetian painting.
Medieval painters had not troubled about perspective, and were more concerned, as we have seen, to make a pretty pattern of shapes and colours for their pictures. The Van Eycks, as we noted, only acquired the beginnings of an understanding of it, and were very proud of their new knowledge. It was in Italy that all the rules were at last brought to light.
A chair with the cushion upon it, just like that, occurs again and again in his pictures, the cushion being used as a welcome bit of colour in the scheme. Most of all, the floors, whether paved with stone as in this picture, or with brick as in the courtyards, are painted with the delightful precise care that the Van Eycks gave to their accessories.
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