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• Title: History of Art: Lecture IV: Mid-European and Southern Art
  Matching lines:
  • instance, of Van Eyck. These Madonnas — their facial
  • Eyck lifts it into the still more deeply human, so as to seize the
• Title: History of Art: Lecture VI: Dutch and Flemish Painting
  Matching lines:
  • Jan Van Eyck,
  • when we turn our gaze to the Brothers Van Eyck.
  • In the two Van Eycks —
  • Hubert van Eyck to begin with, and later in his brother Jan —
  • Although Hubert van Eyck was not the sole inventor of oil-painting,
  • light. Thus in the profoundly Germanic brothers, Van Eyck, we have the
  • The brothers Van Eyck
  • importance. To the people out of whom the brothers Van Eyck arose, the
  • brothers Van Eyck we still have comparatively primitive, rudimentary
  • Altar-piece of Ghent, by the Brothers Van Eyck.
  • 1. The Brothers Van Eyck. Altar-piece. (St. Bavo. Ghent.)
  • in the first third of the 15th century. Hubert Van Eyck died in 1426;
  • 7. The Brothers van Eyck. Adoration of the Lamb.
  • Eyck, and there arises in this period one of the greatest of all works
  • Very beautifully Van Eyck
  • 9. Brothers van Eyck. The Knights and Judges. (From
  • 10. Brothers van Eyck. The Pilgrims and Hermits. (From
  • Hubert van Eyck died in
  • aspect. We now come to another picture by Van Eyck.
  • 11. Jan van Eyck. Madonna. (At Bruges.)
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