The Ghent Altarpiece”

“The Adoration of the Mystical Lamb”

1432

This celebrated masterpiece—which also holds the dubious distinction of being the world’s most stolen artwork—is a remarkable testament to the virtuosity of the Flemish painter Jan van Eyck. Not only does the “Ghent Altarpiece” astound through its use of vibrant color and texture, the painting is also the first of its kind in which an artist pays deliberate attention to detail, drawn directly from nature. Through this display of detail, the painting gave birth to a “new realism” in northern renaissance art. In this regard, then, the “Ghent Altarpiece” is one of humanity’s great artworks, with a significance to art and world heritage that ranks it as one of the most important works of art in the entire world.

The altarpiece consists of 24 framed panels and can be viewed from two sides—a front view, as pictured here, and a back view. In the upper panels we see the Virgin Mary, Christ and John the Baptist. Below, are angels singing, and playing music. Further below, are panels that comprise the adoration of the lamb with the faithful streaming forward toward the scene in separate side panels.

The Upper Panels (Center): While the identities of the Virgin Mary and John the Baptist are unmistakable, there is debate over the identity of the central figure. Most commonly understood to be Christ, art historians through the years have noticed several elements in this central figure’s portrayal that indicate that van Eyck may have intended this figure to represent a melding of God and Christ. For example, painters of the era understood that Christ’s crucifixion wounds were received on his left hand side--yet here, van Eyck has chosen to show them on the right. To add to the confusion, the figure is portrayed as wearing a triple crown—again, medieval imagery and semantics alleged that only God wore a crown. Why, then, would van Eyck portray Christ as wearing a crown unless he intended to create a figure that represents both God and Christ? Finally, there remains the question of the ornamental dress to resolve. Again, Christ was consistently portrayed as near- naked in medieval art. The fact that he is portrayed here in a resplendent cloak of richly colored wool (or velvet) only serves to add to the mystery of this central figure and as a result, art historians to this day remain divided over his true identity.

The Upper Panels (Sides): There is no mystery regarding the purpose or role of the figures in these two side panels—they are angels singing and playing musical instruments. Interestingly, just as van Eyck’s Christ figure creates confusion, the angels pictured here are so accurately portrayed that they reveal a little known fact about music performance from the Middle Ages. Historians point out that hymnals of the era would provide instructions to performers on what facial expression to strike when singing certain notes. Thanks to van Eyck’s remarkable skill at capturing human expression, art and music historians have been able to piece together the very notes the angels were singing, based on each one’s unique facial expressions. A similar observation can be made regarding the musical instruments: although the type of organ portrayed here in the foreground no longer exists, musicologists have been able to reconstruct a working replica, thanks to the accuracy of its portrayal.

Adam and Eve are easily identifiable, but their names have been helpfully inscribed above their heads. Rather than an apple, Eve holds a certain type of citrus fruit which also has for a nickname “Adam’s Apple”. Note the three-dimensional effect created by Adam’s right foot—his toes project up over the edge of the panel, giving one the impression that he is about to walk off the canvas! The Lower Panels (Center): By far the most well-known component of this masterpiece, this panel reveals van Eyck’s skill at drawing with accuracy. It has been noted that the lush landscape that surrounds the lamb realistically portrays no fewer than 24 different types of trees and greenery. Furthermore, art historians recognize—and praise—van Eyck’s skilled use of light and mist to create the effect of a town and church in the background. The church seen on the right hand side is not only taken from life, it is still visible for anyone lucky enough to visit the “Mystical Lamb” in person. Upon exiting the church where the painting is kept, if you look immediately to your right—the first spire you see is the very one captured in van Eyck’s marvelous masterpiece!

The lamb, shown standing on an altar, is surrounded by fourteen angels. The stylistic flow of blood from the lamb symbolizes Christ’s sacrifice for humankind and the redemption of sins. In the front of the lamb, sits a water fountain—with its flowing water a symbol for life and the word of God. No wonder, then, that this water, eminently priceless, flows over precious jewels in the river bed, detectable only through close examination.

The Lower Panels (Sides): Pictured here are saints, prophets, martyrs and other well-known figures. Many are recognizable through the objects that they carry. For example, St. Stephen can be spotted carrying the stones that made him a martyr. Similarly, we can spot St. Christopher, considered a “giant” (or very tall!) in his day, as the figure who towers over all in the lower right-hand panel.

Conclusion and Update: It was recently announced that the “Ghent Altarpiece” is slated to undergo restoration over the next two years. While visitors can still see the artwork, only two panels will be visible at any one time. Visitors will still have the opportunity to see whichever third panel is being restored at a separate location, close by the cathedral.

The timely restoration will afford art experts at least three unique opportunities to appreciate van Eyck’s work. One is the immediate benefit of restoring colors--darkened by centuries of grime and candle flame-- to their original vibrant hue. Secondly, art historians will no doubt use the opportunity to learn more about the artwork than ever imagined possible, thanks to innovations in technology. Finally, the restoration may provide all of us with an answer to an enduring mystery about the painting: the lower left-hand panel was stolen in 1934 and a replica was put in its place. Furthermore, the original has never been found, and opinion is divided as to whether it still exists or was subsequently destroyed…except for the following curious fact: some experts familiar with the painting have noticed in recent years that the panel has suddenly taken on a more vibrant hue— much like the other original panels. This observation has led to a hypothesis, one that art experts hope will be confirmed with the restoration…was the “new” panel replaced?…and, if so, is it possible that it was replaced by the original, stolen panel? Only technology and the expert human eye will be able to solve this enduring mystery once and for all.

Still interested in learning more? Thanks to The Getty Foundation and the wonders of macrophotography, you can now study the “Ghent Altarpiece” in all its brilliance and minute detail—as if you were only a few centimeters away! http://closertovaneyck.kikirpa.be/