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Home , Chaperon (headgear), Hubert van Eyck, Jan van Eyck, Vera Icon (van Eyck)

Inspiration pack for teachers in nursery, primary and secondary education Dear teacher,

“Johannes de eyck fuit hic”, or in other words: “ was here.”

The artist painted this well-known catchphrase in elegant handwriting above the on his portrait of the Arnolfinis. It was a revolutionary act that marked the presence of the painter in art history, once and for all. “Johannes de eyck fuit hic” – you bet he was! Since 2012, the MSK has been hosting one of Van Eyck’s most illus- trious works: the or the Adoration of the Mystic Lamb. Here we will call it the Mystic Lamb for short. A decision was made to restore the altarpiece a few years ago, and the MSK offered to give it a temporary home. The restorers from the Royal Institute for Cultural Heritage (KIK) comprehensively examined and treated the panels and combined their findings. Given the spectacular results of the restora- tion, we are honouring this masterpiece by displaying the restored outer panels in a major exhibition: Van Eyck. An Optical Revolution. With the focus on these outer panels, the Mystic Lamb and the new research that has been conducted, paintings and drawings by Van Eyck are making their way to Ghent from all over the world, to be exhibited along with works by his contemporaries from Italy and the . This will demonstrate how important the Mystic Lamb was in the past and still is today. Don’t miss this opportunity to explore the world of Van Eyck with your pupils! This inspiration pack is designed to help you get started in the classroom and to introduce or wrap up your visit to Van Eyck. An Optical Revolution. It is a collection of information, facts and assignments that you can use in the classroom to get your pupils looking forward to the exhibition or to set up a final project. The assignments are designed to encourage pupils to become familiar with Van Eyck’s late mediaeval world. You can choose your own approach: depending on your teaching methods, you can either integrate all the assignments or select a few interesting ones. Although we have suggested the most appropriate age group for each assignment, they can of course be used for pupils of various ages.

We hope to welcome many of you to the museum for Van Eyck. An Optical Revolution!

2 Letter to teaching staff MSK For very young children, a museum visit is quite an adventure. What is a museum anyway? What can you see there? And what kinds of things can you do and experience? These are questions that children tend to ask spontaneously in conversations about the museum. Just try it out in class. Start a class discussion to introduce the topic of ‘the museum’ to the lessons. Use targeted questions to steer the conversation:

Who has been to a museum before? What did you see there? Was it exciting? When you think of a museum, which words spring to mind? What are the rules for visiting a museum?

Let us tell you a bit more about our museum. The Museum of Fine Arts (MSK) in Ghent is the oldest museum in . It has some 9,000 works in its collection, dating from the to the first half of the 20th century. Visual art from the Southern Netherlands takes centre stage, with sculptures, drawings and prints as well as paintings from what is now Belgium and Europe well represented in the collection. The museum is also a centre of knowledge for 19th century, fin de siècle and early 20th century art, with a special focus on Belgian art. In the MSK, old masters such as , Peter Paul Rubens and Anthony van Dyck hang along- side Impressionists, Surrealists and Modernists such as James Ensor, Auguste Rodin, Emile Claus, René Magritte and George Minne. Exhibitions, lectures, guided tours and countless other activities are organised at the museum. There is also a fun museum shop and a restau- rant. What is more, the green Citadel Park is just outside.

Explore the MSK floor plan with the group (see page 36). What could this be? How many rooms does the MSK have? What is the structure of the museum? What kinds of things belong in a museum? Can you buy things at a museum? Where can you leave your belongings? Who works at a museum? Which jobs do the museum workers do?

In this way, the children will learn that many things also happen behind the scenes of the museum.

3 MSK Museum architects -> Nursery

The pupils will be introduced to images of the MSK. This will teach them to identify a floor plan.

Material – reproduction of the front façade of the MSK – wooden blocks – large sheet of paper – paint

Assignment 1. Take a look at the façade of the MSK with the nursery pupils. What parts of it can you name? Which geometric shapes can you find together? 2. First use blocks to make a copy of the façade of the MSK. If it proves too difficult to stack the blocks, you can also make the façade on the ground. 3. Then get the children to design a new museum, by arranging the blocks on the sheet of paper in the same way first and then printing them with paint. Each child will print their own façade.

For more advanced pupils 1. Based on the floor plan of the museum, design your own floor plan. Work symmetrically and use the block shapes to print the walls of the various rooms.

Curator for a day -> Nursery / Primary

The aim of the assignment is to encourage the pupils to think about how a museum works. Which objects do the children think are very important? Which criteria do they use in their selection? What image do the pupils get of each other by looking at the objects?

Assignment Ask the pupils to bring all kinds of personal belongings to class with them. These will be objects that tell a story about the person or bring pleasant memories to mind. In class, create a small exhibition of the objects and place cards next to them, showing the title of the object and an explanation by the pupil (one or two sentences). Let the pupils come up with a name for their museum. Afterwards, half the class will visit the museum designed by the other half. Swap over after 15 minutes. The pupils must stick to the rules of the museum when walking from one museum to the other. The teacher will act as the museum guard.

4 MSK Introduction The exhibition Van Eyck. An Optical Revolution features themed rooms. Each room highlights a different aspect of Jan van Eyck, his environment and his legacy. The themes are as follows:

Myth and inspiration Court and City The Fall of Man and Redemption Interior Spaces Mother and Child The Word of God The in the Church The Painted Image The Individual Vera Restoration

Each topic is briefly explained in this inspiration pack and supported by a number of assignments that tie in with the theme. The teacher can select a number of topics to work with in the classroom.

5 Introduction In the mood for Van Eyck -> Nursery / Primary / Secondary

The main purpose of this assignment is to gain an overview of the topics that will be covered in the classroom and at the exhibition.

Assignment In the classroom, create an inspiration wall on the theme of Van Eyck. On this wall, you can stick things that you associate with the Middle Ages and Van Eyck. By the end, you will have created a well-filled and inspiring mood board. Encourage the pupils to take the initiative themselves and spontaneously post things that they connect with the theme. This will make their ‘journey’ with Van Eyck a visual experience, allowing them to see in a single glance what they have achieved. The mood board will become an active tool and support in the classroom. The teacher might also subtly hang things up to announce the next themes. Keen-eyed pupils are sure to notice!

Attributed to Willem van den Broecke (Paludanus), Portrait Bust of Jan van Eyck, 1545–54. mas, .

6 Introduction 1. Myth and inspiration

Background Jan van Eyck was born into a Maasland family of artists, probably from . As well as Hubert, Jan had a younger brother Lambert and a sister Margareta, who were also painters. Jan and Hubert are always jointly named as the artists behind the Mystic Lamb, although the extent of the older brother’s participation in the work remains unclear. Hubert van Ecyk died on 18 September 1426 and was buried in the Vijd Chapel, although the Mystic Lamb was only inaugurated in this chapel 6 years later. Jan van Eyck is one of the Flemish Primitives. The term ‘Flemish Primitives’ refers to artists from the 15th and early 16th centuries in what was then known as the Southern Netherlands, which is more or less the same area as Belgium and French Flanders today. His oeuvre is characterised by a very detailed way of painting with , a technique that was perfected by the artist. Previously, artists had mainly used tempera, a type of paint made by mixing pigment with an egg yolk and water. The biggest difference between the two is that tempera is opaque and oil paint can be applied in transparent layers. This gave the paintings of the Flemish Primitives a strong sense of depth and clarity. Van Eyck’s oeuvre was forgotten over the centuries and it was not until the nineteenth century that it was rediscovered, collected and studied.

Did you know that... The name tempera comes from the Latin word ‘distemperare’, which means to mix thoroughly? In Van Eyck’s time, painters made their own paint or had it prepared by apprentices in their studio. When doing so, they used pigments to obtain the desired colour. Today you can simply buy the colours you want in tubes, but in those days natural raw materials were used. Insects known as Kermes vermilio were ground up to obtain a bright vermilion red, for example, while the colour indigo came from the Indigofera plant. The semi- hard gemstone lapis lazuli was very precious and was ground to a powder by painters to obtain the bright blue colour ultramarine. However, toxic substances were also used. For example, lead white was produced from lead and nitric acid. These days, the use of lead white is prohibited. Did you know that colours in a painting have a symbolic meaning? The colours ultramarine blue and white were associated with purity and inno- cence. In mediaeval paintings, Mary is often shown wearing blue robes. Take a look around the class to see who is wearing blue and looking a little divine today!

7 Myth and inspiration Make paint from eggs! Mail for Van Eyck -> Nursery / Primary / Secondary -> Primary

This assignment focuses on the experience Here we focus on Van Eyck as a person. This rather than the result. Look at the paint with assignment will give him a character and make the pupils, see how quickly or slowly it dries. him more tangible. As a result, Van Eyck will be Let them experiment with the paint. Does it more than just a vague figure from art history, feel the same as paint does today, for example? becoming a real flesh-and-blood artist. Reflect on the work process with them. Material Ingredients – goose feathers – eggs – ink – pigments that are soluble in water, e.g. saffron, turmeric – thick paper powder etc. – coffee grounds – paper – used tea bags – water – cardboard – palette knives or other flat mixing implements – wax – mixing pots – wine corks – cutting knives

Recipe Assignment 1. Separate the egg yolk from the white. 1. The children will prepare various sheets of paper so Slide the yolk repeatedly from one hand they can write on them. to the other, wiping your hands each 2. Wet the paper and sprinkle it with coffee grounds and time to remove most of the white. the contents of used tea bags. Use drawing pins to 2. Carefully pick up the yolk by the skin that holds it attach the paper to sheets of cardboard to stop it curling together and open it over a mixing bowl. up as it dries. 3. Then mix the pigment with water until a thick pigment paste is formed. You can use a palette knife for this. When you are mixing pigment, it’s best to do so on a smooth surface such as a glazed tile or glass plate. If you don’t have one, a flat plate or ceramic breadboard will do. 4. Then gradually add a small amount of egg yolk to the pigment paste until a smooth paint is formed.

Extension Make your own paintbrushes to use with the tempera. Look around outside the school for materials that might be suitable for making brushes (e.g. grass, leaves, ropes, feathers, pine needles etc.). Collect or provide a number of straight twigs that you can attach the found materials to.

Attach the found materials to the twigs. You can use string or fine iron wire for this. Make sure that the mate- rial can be attached to the twig tightly enough to ensure that the brush is firm.

3. The children will make pens out of goose feathers. 4. Get the children to write a letter to Van Eyck using their homemade quill pens. This assignment will work best after they have already seen some of the artist’s works. Perhaps they have a question they would like to ask Van Eyck about one of the paintings? After visiting the exhibition, the pupils will open their letters and see if they can answer their questions. 5. Seal the letters yourself using hot wax. Get the pupils to push the cork into the warm wax to seal the letter.

8 Myth and inspiration Out and about in Ghent: Family portrait -> Nursery / Primary / Secondary

Would you like to meet the Van Eyck brothers? There is a monument in Ghent to honour the artists at the Castle of Gerald the Devil (the Duivelsteen). It was created by the archi- tect Valentin Vaerwyck and the sculptor Geo Verbanck for the 1913 World Exhibition in Ghent. Jan and Hubert are sitting with their backs to the Vijd Chapel of St. Bavo’s Cathedral, the original location of the Mystic Lamb.

Take a look at the monument with the class: – How can you tell that Jan and Hubert are painters? (Paint palette in Jan’s hands and a pot of paintbrushes at Hubert’s feet) – How are they dressed? Link back to the clothing you saw in the museum (or on reproductions in class). – Take a group photo with Jan and in the background.

Valentin Vaerwyck and Geo Verbanck, monument in honour of the Van Eyck brothers, 1912-1913, City of Ghent

9 Myth and inspiration 2. Court and city

Background The Burgundian Dukes united Flanders and Burgundy through well-consid- ered arranged marriages. At the beginning of the 15th century, the cities in Flanders were thriving trading centres. Incidentally, Flanders had the most urbanised network in Northern Europe. Ghent was an important economic centre, located on several busy trade routes that linked major cities such as and Cologne. The thriving economy enabled a new kind of artist, a new art market and a new audience to emerge. As well as the church and nobility, wealthy citizens also started to commission works of art. This is also reflected in the trade of the time. Luxury goods such as miniatures, ornaments, tapestries, high-quality cloth, refined leather goods, luxurious weapons, spices, citrus fruits, silk, gems, Eastern carpets and ceramics found their way to rich merchants and prosperous citizens.

Did you know that... Many mediaeval cities really stank? There was no sewer system at the time so you had to go to the toilet in a bucket or chamber pot. Sometimes you just emptied it out on the street. Rubbish was also thrown onto the street, so you had to watch where you put your feet.

Anonymous, Panoramic View of Ghent in 1534, c. 1534. STAM, Ghent.

10 Hof en stad Mediaeval city King (or Queen) of -> Nursery / Primary the Castle! The pupils will get to know the setting in -> Primary which Van Eyck lived, namely the (late) Middle Ages. This will help them to imagine what a Material mediaeval city looked like. – clay – work surfaces Material – paint – cardboard boxes in different sizes – paintbrushes – egg cartons – drawing paper – contemporary images of a mediaeval city – pencils – historical images of a mediaeval city – crayons – scissors – examples of mediaeval castles – glue – examples of coats of arms – cutting knives (nursery: teacher, primary: teacher/pupils) Assignment – paint (black and white) 1. The children start by drawing the top, front, left, right – paintbrushes and rear view of the castle they want to make. This will – various kinds of textiles help them to visualise their castle when they start to – toothpicks/wooden skewers build it in clay. 2. Then the pupils make the different panels they need Assignment to create the walls of their castle. And don’t forget that 1. Start with a class discussion about what a mediaeval a clay base will be needed to keep the walls standing. city might look like. Use contemporary photos Make sure the walls are thick enough. Attach the walls of mediaeval cities (e.g. Ghent, Bruges, Cologne, to each other while the clay is still wet. Get the pupils to Carcassonne etc.) and mediaeval paintings depicting help each other! cities. On page 10 of this pack, you will find a panoramic 3. While the castles are drying, the children can design view of Ghent from 1534. Compare the two: what their own coat of arms. You can do a long version of this similarities and differences can you see? Name the exercise (see 5. Mother and Child: coat of arms) or let battlements, defence towers, ramparts, castle etc. the children come up with their own designs. Limit the 2. Create a mediaeval city together using shoe boxes colour palette to a maximum of 3 colours. and other cardboard boxes. As far as possible, let the 4. When the castle is completely dry, the pupils can paint children find solutions for themselves: how can I make either the entire castle or the inside of the castle in the a bridge, a house, a battlement? Where do the defence colour that occurs most frequently in their coat of arms. towers go? Both options will give a good result. 3. Paint the mediaeval city. Each child can paint his or her own creations in black, grey or white. Let the paint dry Extension properly. The pupils can then paint stones onto their This assignment can be linked to a larger project in creations using a fine brush. which the pupils can create flags, a knight’s armour, 4. Add the perfect finishing touch by getting the pupils to jewellery etc. make flags to adorn the houses and towers. Let them choose a piece of fabric themselves and stick it to a toothpick or wooden skewer so they can attach it to a building.

Anonymous, Panoramic view of Ghent in or after 1534 (details), STAM Ghent

11 Court and city Battles Around the world Primary / Secondary Primary / Secondary -> -

The pupils will be given a brief introduction to This assignment has a primarily social focus. the political situation in Europe. Battles were Linking the mediaeval city to the present day fought to conquer land. This is an enjoyable, brings it closer to the world the pupils live in. light-hearted activity in which the whole class can participate. Material – spices (pepper, saffron, cinnamon, ginger etc.) Material – citrus fruits (oranges, lemons) – popsicle sticks – copies of a world map – elastic bands – felt-tip pens/crayons – toilet roll tubes – containers with holes in them – projectiles, such as balls of screwed-up paper Assignment Assignment 1. Bring products with you that were introduced to A mediaeval city had to be defended. Along with your Flanders during the Burgundian period: oranges, pupils, make real catapults out of lolly sticks and elastic lemons, pepper, saffron, cinnamon, ginger etc. Put the bands and organise a ‘battle’ between two warring products into opaque containers so that the pupils can cities. Divide the class into two groups: these are smell them. Divide the pupils into groups and ask each the cities. group to guess the spices. Place toilet roll tubes into which battlements have 2. Each group is given a blank world map. First, get them to been cut in the middle of each group. These are the city indicate on the map in green where they think the spice towers. The children sitting in each group are the inhab- comes from. Then get them to search on the internet, itants of that city. Get the pupils to set up their catapults look up the origin of the spices and mark them in yellow. and shoot at each other’s cities. They must aim at the 3. Then go to the supermarket and look at the products on other city’s towers to bring the city down. The city with the shelves. Where do they come from? Pin photos of the fewest projectiles in its towers is the winner. the products to a map to make it clear. Together with the pupils, investigate how these products reach Belgium from their country of origin. 4. Draw a comparison between the past and now. How has the world (economy) changed over the centuries? Is this good or bad? Provide reasons (you can link this to the environment and mass consumption).

Out and about in Ghent Take a walk through the city, past some well- known mediaeval buildings. Explore the Castle of the Counts together and compare it with the historical images of mediaeval cities. And be sure not to miss Ghent’s three towers: St. Nicholas Church, the Belfort and St. Bavo’s Cathedral. Can you find the three towers on the panoramic view of Ghent? (see page 10)

Extension In combination with the previous assignment, the pupils are divided into two groups and must first build a complete mediaeval city out of cardboard boxes. As a second step, they have to make catapults so they can attack each other’s mediaeval city.

12 Court and city 3. The Fall of Man and Redemption

Background The Bible says: After God created the world, He saw that it was good. Until the first humans appeared, that is, and took advantage of their freedom to try to rival God. Encouraged by Satan – in the form of a snake – Adam and Eve were tempted to eat the forbidden fruits of the tree of the knowledge of good and evil. As a punishment, they became mortal and were driven out of aradise. When the panels of the Mystic Lamb are open, you can see Adam on the left and Eve on the right. Van Eyck depicts them at the very moment they became aware that they were naked. The bodies of Adam and Eve are painted in a very detailed and realistic way. Can you see that Adam almost seems to be stepping out of the frame? Start a group discussion on the subject of ‘sin’. What does ‘sin’ mean today? What do the pupils understand when they hear the word ‘sin’? Get them to look for examples in the media, seeking out things they would define as ‘sin’. The modern meaning of the word ‘sin’ is ‘breaking the rules’ or ‘being guilty of something’.

Did you know that... The term Adam’s apple comes from the Latin word ‘malus’ which means ‘apple’, but also ‘bad’? Legend has it that a piece of apple stuck in Adam’s throat, creating a lump. This is why the protrusion in men’s throats is called an Adam’s apple.

Hubert and Jan van Eyck, Adam and Eve, The , 1432. Sint-Baafskathedraal, Ghent.

13 The Fall of Man and Redemption Apples and snakes The story of the Lamb -> Nursery / Primary -> Primary / Secondary

A light-hearted assignment that will intro- The aim of this assignment is to stimulate the duce children to the theme of the fall of man. pupils’ imagination. Before the teacher tells The assignment will call upon the technical the full story of the Mystic Lamb, it’s important skills of the pupils. to get the pupils excited about the exercise using original details from the altarpiece. Material – cereal boxes or other thin cardboard Material – split pins – two dice depicting details of the Mystic Lamb – poster paint – reproduction of the Mystic Lamb – bubble wrap – small paint rollers Assignment – paintbrushes On page 15 of this pack, you will find two dice. Cut them out and stick the pieces together. These dice feature Assignment enlarged details of the Mystic Lamb. In small groups, the 1. Each pupil is given an empty cereal box or another type children will throw the dice. A pupil who has thrown the of thin cardboard. The pupils will measure out 6 equal dice will make up a story about the details that end up strips measuring 5 x 20 cm. For preschoolers, the strips facing upwards. The dice are then passed on to the next can be cut in advance. pupil and the process starts again. 2. Paint the strips in different colours. Mix the colours to 1. Now look at the Mystic Lamb with the whole group. Get create a marbled effect. Let the paint dry properly. the pupils to look for the details on the dice in the actual 3. Give each pupil a piece of bubble wrap and a small paint painting. Start a class discussion. roller. The pupils choose two colours in advance which 2. How many panels are there on the altarpiece? the teacher pours onto a mixing plate. The pupils roll 3. Who is depicted? their paint rollers in the paint and then onto the bubble 4. What story would the various characters in the Mystic wrap. Then they use the bubble wrap to print onto the Lamb like to tell? strips, creating a scaly pattern. 5. Perhaps you could stand or sit in the posture of some 4. Attach the various strips to each other using split pins. of the characters. What does that tell us about the characters in question? 6. After the group discussion, tell the story of the Mystic Lamb and the people depicted in this work. Does it match the pupils’ stories? What similarities and differences are there?

5. Get the pupils to design their own unique snake head. Note that the head needs to be in two parts (see drawing). Provide some images of snake heads as a source of inspiration. Attach the head to the rest of the body using glue. Pushing the end of the snake’s body will create a hinge effect and make the snake jump forward!

14 The Fall of Man and Redemption cut fold

Hubert and Jan van Eyck, The Adoration of the Mystic Lamb, 1432, St. Bavo’s Cathedral, Ghent

15 The Fall of Man and Redemption 4. Interior spaces

Background In the section on ‘Myth and inspiration’, we have already discussed the fact that Van Eyck perfected the technique of . One of the inno- vations he introduced was the way in which he portrayed indoor spaces. He used a very instinctive system in which the interior was shaped from various different perspectives. The result was an interior would actually be impossible in reality, but nevertheless forms a coherent visual image. In the classroom, explore the laws of perspective. Give each student a sheet of paper showing a picture of a building with clear outlines (e.g. an apartment block or a modern building by the architect Frank Lloyd Wright). Get them to lengthen the lines of the building using a ruler and a pen. If the vanishing points do not fit onto the sheet of paper, attach a few extra sheets. What stands out? What happens to the different vanishing points? The pupils will see that the vanishing points of the building come together at various points. If you connect them together, you determine your horizon line. These are the laws of perspective that apply to any building, environment or viewpoint. Now try the same experiment using Jan van Eyck’s The (page 17). Extend the straight lines of the tiles. Towards the ceiling of the interior, you will also find a few straight lines that you can continue. The top of the capitals of the interior pillars can also be extended. What stands out this time? Do the vanishing points all coincide at the same point? And is this point on the horizon? You can just see the horizon in the background. Van Eyck developed a very unique conception of space that was not in line with reality. He succeeded in painting an elaborately detailed interior without giving viewers the feeling that something was wrong.

Did you know that... People in Italy greatly admired the oil paintings by the Flemish Primitives? Some artists even came to our region to learn the art of oil painting. Conversely, artists from the Southern Netherlands learned about math- ematical perspective from the Italians. A lot of ideas were exchanged between the Italian and Southern Netherlandish artists in the 15th century.

16 Interior spaces Jan van Eyck, Annunciation, c. 1430–35. of Art, Washington, Andrew W. Mellon Collection.

17 Interior spaces Landscape mosaic Light in the darkness -> Secondary -> Nursery / Primary / Secondary

The pupils will become acquainted with This assignment focuses on experimenta- concepts such as foreground and back- tion and the pupils’ conclusions. It will help ground. In a Van Eyck landscape, they will pupils to understand the difficulties artists be able to distinguish between elements had to overcome in the Middle Ages when they that form the foreground and those in the had to work in poor light. background. Material Material – torches – cameras – candles – printer – black paper (A3) – white crayons Assignment The pupils will photograph details of the landscape, Assignment the sky etc., paying attention to the near, middle and Darken the classroom as much as possible and experi- far distance and putting the image back together ment with the use of light with the pupils. completely afterwards to create a new representation of 1. First turn on the torches. the landscape. 2. What can you do with a torch? 3. What kind of light does it produce? Variation 4. Is it hard light or soft light? A scene was often formed using various sketches. 5. Is it a constant light? The pupils can work in the same way. One pupil could form the subject of the photo collage technique. With Then light a candle. this pupil constantly moving around and adopting 1. Compare the two. different poses, the other pupils will take pictures (pupil 2. What kind of light is this? + surroundings, close up + far away). Use the poses of 3. Would this have been harder or easier to use in Van the characters in Van Eyck’s paintings as a source of Eyck’s time? inspiration. 4. Do you think it was easy to paint by candlelight? Then try to create a single image using the various different photos. Can you see the pupil several times in If you compare the two light sources, you will have the collage? reached a number of conclusions together at the end of the experiment. The light of a torch or any other modern Background light source is continuous and can be easily controlled Van Eyck intensively studied the effect of light and by pressing a button or moving it around. The light how it behaves in a room or on the folds of a robe. It is produced by a candle, on the other hand, is more erratic. extremely difficult to reproduce the correct refraction The flame flickers and it’s hard to direct the light. or incidence of light in a painting, but Van Eyck made a 1. Also take a look at the shadows cast by various objects masterly success of it. Along with the class, look at the using the two light sources. light in the precious stones of the ’ robes in the 2. Can you see a difference? Mystic Lamb. In the altarpiece, Van Eyck has taken into 3. What do their shadows look like? account the actual incidence of light in the place for which the work was intended, namely the Vijd Chapel. For nursery school children, for example, you can ask them to bring along a favourite soft toy so they can direct the light source at it. Changing the position of the torch or candle will also start to change the appearance of the object.

Experiment with the shadows created by the object: 1. Give each pupil a sheet of black paper and a white crayon. 2. Put the sheet of black paper behind the object. 3. First, get the pupils to shine their torch on the object from a height. 4. Then get the pupils to outline the shadow that falls on the sheet of paper, using a white crayon. 5. Now do the same thing, holding the light source lower down. 6. (In bright weather, you can go outside and do the same in the playground using chalk to mark the pavement. Get the pupils to outline their shadows in groups of two. One will draw and the other will adopt a pose. You can also get them to colour in their shadows. Is it a short or along shadow? What is the position of the sun? Do they get similar results to the ones in the experiment in

18 Interior spaces the classroom? Do the same experiment at a later time. What do they notice now?). At Van Eyck’s house -> Primary / Secondary The result will be a black sheet of paper with different white lines representing the shadow of their previous This assignment will help the pupils to recog- work. The higher the light source, the shorter the shadow; the lower the light source, the longer the nise the many layers in a painting and the shadow. complexity involved in painting a work.

Extension Material Along with the class, see if you can identify where the – shoe boxes light comes from in the Mystic Lamb. – tissue paper – reproductions of Van Eyck’s work Tip – glue If you look at the shadows of the characters painted – thin cardboard on the altarpiece, you can see that they are darker on – paint the left-hand side of the figures. The right-hand side – scissors and/or cutting knives is lighter. This means that the light is coming from the – torches right. The Vijd Chapel has a high window on the right – erasers through which the light enters. When the Mystic Lamb was still in this chapel, you could see that the painted Assignment incidence of light on the altarpiece coincided with the 1. The pupils will make a diorama. The intention is to natural incidence of light from the window in the chapel. distinguish between the front, middle and rear sections of the interior. They will do so by making partitions out of cardboard. The assignment could be to create a fictional interior by Van Eyck, using various elements from the artist’s paintings. First take a look at some of the artist’s works with the class. 2. In order to create a luminous background, the back of the shoe box can be cut out and replaced with tracing paper on which the pupils have drawn a landscape. This will make it look as if daylight is streaming into the fictitious interior from outdoors. 3. Also get the pupils to create and paint things that they can put in the diorama. Ask them to think about where the light will come from. Will they cut out a window along the side of the box? Can they find a way to make the light come from above?

Extension The pupils create a charcoal drawing of their homemade diorama, paying particular attention to the contrasts between light and dark. (Where is the light source? Where are the shadows etc.?) The children can use erasers to create lighter areas in dark charcoal surfaces.

19 Interior spaces Oh, so Van Eyck! A forest on the page -> Secondary -> Nursery / Primary

This experiment will help the pupils to under- Van Eyck’s style was very true to nature. stand the importance of the incidence of In this exercise, the children can accurately light in a painting. trace various plant shapes.

Material Material – torches – leaves, branches, grass etc. – cameras – thin paper – charcoal Assignment Darken the room as much as possible. Divide the pupils Assignment into groups of three and, armed with a camera and 1. Head out into nature with your pupils in search of a light source (torch or desk lamp), ask them to take all kinds of interesting shapes and structures. Take photos of someone sitting in a chair. Then get them to charcoal and large sheets of thin paper with you. If the compare the photos. What stands out? What happens if pupils find an interesting piece of bark or a stone with an the position of the light source changes? unusual structure, they can put their sheet of paper on it and rub over the paper with charcoal. Changing the light source in a portrait also changes the 2. This will create a lifelike impression. subject’s facial expression, without the person actually 3. Be sure to collect enough prints! moving their face. 4. When you return to the class, put the various sheets of paper together. Get the pupils to look at the Background charcoal prints. Jan van Eyck paid a huge amount of attention to the 5. Can the pupils recognise things? way he presented the surroundings. Vegetation, rocks, 6. Did everyone see the same thing, or not? bushes and other natural elements were important and he painted them with great precision. No other work Extension by Jan van Eyck features a greater variety of plants and Use the sheets as raw material for a landscape collage. flowers than the Mystic Lamb: at least fifty different Give the pupils the freedom to decide what to do, but species can be identified in this work. emphasise that it must be a landscape. Later, they can also add figures or animals using charcoal.

Did you know that... On the Kouter in Ghent, there are 18 works of art that refer to plants found in the Mystic Lamb? The American artist Jessica Diamond gave the leaves the name ‘Mystic Leaves’. Between the veins of the leaves, you can read the names of the plants and flowers in Middle Dutch.

Jessica Diamond, Mystic Leaves, 1998–2000, City of Ghent © Michiel Devijver

20 Interior spaces 5. Mother and Child

Background Devotion to the Virgin Mary was important in the . This is evident from the many works of art on that theme. In Van Eyck’s painting The Madonna at the Fountain, everything revolves around Mary, the perfect, virginal mother. Mary is standing in the centre of the work, wearing bright blue robes. Think back to the symbolism of this colour in a painting. Mary is holy, as can be seen from the brocade cloth which she is standing on and which is being held up by the angels. In the ‘enclosed garden’ where Mary is standing, you can see all kinds of flowers that are symbolic refer- ences to here. There are peonies, roses, blue irises, buttercups and lilies of the valley. – In the exhibition, can you find these flowers in other paintings that feature Mary? Go and find them with your class! – If you look closely, you can see the words ‘ALC IXH XAN’ on the painted frame. – Try to work out with the pupils what this means. Does it look like any Dutch words we know? – These words form the painter’s motto: ‘As I can’ which means ‘To the best of my ability.’ – Make up a class motto or personal motto with the pupils.

Jan van Eyck, The Madonna at the Fountain, 1439. Koninklijk Museum voor Schone Kunsten Antwerp

21 Mother and Child Mummy and me, Coat of arms me and Mummy -> Nursery / Primary -> Nursery A coat of arms is a sign or shield featuring a symbol that refers to a noble family, a city, This assignment introduces the children to a country… something that connects the the Mother and Child theme in a simple way. members of a family with each other. In the Material Middle Ages, for example, this was a way of – pencils recognising each other on the battlefield. – paper Material Assignment – cardboard You will find a frame in the appendix to this inspiration – paint pack. Ask the children to draw a portrait of themselves – paintbrushes with their mother in the frame. Get them to reflect on – coloured paper their relationship with their mother. What kinds of – crêpe paper things do they do together? – glue – scissors

Class discussion Ask the pupils about their family life. If there are pupils Tableau vivant in a complicated family situation, open it up to their -> Nursery / Primary companions or group of friends.

The pupils will use drama to portray the Assignment painting and step into the shoes of the char- 1. The pupils will create a coat of arms for their family based on the characteristics of the family members acters. How do the people in the painting feel, (chatterbox, brave, lazy etc.). what are they doing, etc.? 2. The pupils will divide their coat of arms into as many sections as there are family members. For example, if Material (variable) the family has four members (mum, dad, a sister and – fabrics the pupil), the pupil will divide the coat of arms into four – rope sections. In each section, they will draw an animal or – etc. object that is strongly associated with this person. They will then use the crêpe paper to make some parts stand Assignment out. This will allow them to emphasise the feathers of a Create a ‘tableau vivant’ (‘living picture’) with the bird, the mane of a lion, flowers, etc. pupils in groups of five, based on the painting. Provide 3. The coats of arms can then be placed on display in the various props such as fabric etc., but also let the pupils’ classroom, just like in a real mediaeval hall. imagination run free! What could they use as a crown, wings, a fountain…? Get the children to divide the roles Tip between themselves. If the pupils came up with a personal motto at the museum, they can incorporate this into their coat of arms.

22 Mother and Child Madre Mundo -> Secondary

This assignment has more of a social char- acter. The pupils will examine the similarities and differences between various cultures.

Material – computers

Class discussion With the pupils, discuss the role of the mother in the family. Does everyone share the same views? Do you agree or disagree with some statements?

Implementation Ask the pupils to investigate the role of mothers or women in various different cultures and compare it with the role of mothers in Western society. To what extent are there similarities or differences? Also ask the pupils to look up other works of art on the theme of ‘mother- ’, throughout the centuries. If you get the pupils to work in small groups and give each group a different continent, you can let the pupils speak after they have done their research.

Do the other groups agree with the findings?

23 Mother and Child 6. The Word of God

Background

The Word of God is the announcement by the Archangel to Mary that God has chosen her to be the mother of his son. The is dressed in a beautifully embroidered robe and Jan van Eyck also incorporated a rainbow into his wings. Once again, Mary is wearing bright blue robes. The dove represents the Holy Spirit who, according to the gospel, was responsible for the Christ’s conception in Mary’s womb. The dove is flying through a stained window that has remained intact; this symbolises Mary’s ‘virginity’.

Jan van Eyck, Annunciation, c. 1430–35. , Washington, Andrew W. Mellon Collection.

24 The Word of God Fantastical birds Hot off the press Primary / Secondary Nursery / Primary / Secondary -><-

The pupils will create a fantastical bird that This assignment can be regarded as a will send a message. summary of the exhibition.

Material Material – pencils – paper – white A4 paper – scissors – glue sticks Assignment – adhesive tape 1. The teacher will fold sheets of paper into three sections – wooden skewers in advance. – overhead projector 2. The pupils will then sit at the table and are each given a – room that can be darkened folded sheet of paper. 3. When the teacher gives the start signal, everyone will Assignment draw the bird’s head on the first section. Fold the first 1. Create a news story featuring all kinds of events that section over and indicate where the next pupil can happened in the time of Van Eyck or can be found in start drawing. the scenes he painted, such as the Annunciation, 4. The second person will draw the body and wings and battles, the engagement of the man wearing the blue the third pupil will draw the legs of the bird. , etc. 2. Use actual categories found in today’s news reports: domestic and foreign news, sport, culture, etc ., but use the paintings you have seen/will see in the MSK as inspiration. It might be a good idea to watch a news broadcast with the class and then name the categories together. 3. Divide the class into small groups. Each group will get one section of the news. There will always be one newsreader who reads out the facts while the others support the report by performing a shadow play. You can use an overhead projector for this or, if you are in a classroom which is easy to darken, a white sheet and a light source. 4. Get the children to look at the characters in Van Eyck’s paintings in order to create their own figures on black paper. If you provide several reproductions of the paintings in the classroom, the pupils can also cut out elements from these reproductions.

5. At the end, the teacher will count down and the pupils will all reveal their fantastical birds at the same time. Lots of fun guaranteed!

Extension for Primary/Secondary Get the pupils to write a letter to each other on the back of the drawing. All the letters will be collected and each student will be able to take a bird and letter home with them.

25 The Word of God 7. Madonna in the Church

Background Here, a giant Mary is depicted in a Gothic church interior. The proportions are inconsistent with reality and tell their own story. The most plausible hypothesis is that Mary was presented as the personification of the Church as an institution. Under her deep blue coat, she is wearing a red robe deco- rated with gemstones. Mary is depicted in one of the most ingenious archi- tectural interiors painted by Jan van Eyck. We are looking at the nave of a church with a view of a side aisle and transept; behind it is the chancel. Van Eyck painted the various Gothic structural elements and ornaments very precisely. Everywhere you look, you can see an ingenious interplay between shadows, light and optical effects. Many paintings by Jan van Eyck formed sources of inspiration for other artists. For example, in the exhibition you can see an anonymous copy of Madonna in the Church.

Jan van Eyck, Madonna in the Church, Anonymous after Jan van Eyck, (ca. 1437–1439), Madonna in the Church, first half State Collections, Gemäldegalerie, Berlin of the 16th century, Musée Grand Curtius, Département d’Art religieux et d’Art mosan, Liège

26 Madonna in the Church Abstract Van Eyck Dwarves and giants -> Nursery / Primary / Secondary -> Primary / Secondary

The use of light is central to this assignment. The pupils will play with the theme of the painting in which Mary is depicted as large Material and important. – glass paint – permanent markers Material – plastic transparencies – cameras – tissue paper – reproductions of Van Eyck’s works Assignment – template of a Gothic glass window The pupils will take perspective photos in which they – coloured adhesive film play with dimensions by placing objects or themselves closer to or further away from the camera. Implementation – Give each pupil a transparency. Ask the pupils to trace They can first do this in and around the school to master a template of a glass window by sliding it beneath the the technique. transparency and tracing it using a permanent marker. – The children can draw inspiration from the reproductions of Van Eyck’s paintings. Nursery Out and about in Ghent Place the reproduction beneath the glass window. Ask the preschoolers to trace the outlines of the work Go to St. Bavo’s Cathedral and do the same with a pen or paint. They can then colour in parts or enhance them. exercise there, allowing the pupils to get the same result in an authentic environment. Be Primary/Secondary sure to apply the rules that apply to a museum Get the pupils to play with the shapes featured in the visit to the church visit (silence, no running, work. Move the reproduction and then carry on drawing. no touching anything). Work with overlapping. Then get the pupils to colour in parts, shade in or add to other parts. If they attach pieces of coloured tissue paper or adhesive film, the transparency will really start to look like a stained glass window.

Divinely cosy! -> Primary / Secondary

Material – thin cardboard – scissors – cutting knives – candles – transparencies – permanent markers in different colours

Assignment Get the children to cut a stained glass triptych from thin cardboard (see the stencil in the appendix). Paste a transparency behind the cut-out windows. Use black permanent markers to draw shapes and symbols, to create the illusion of a glass window. Use coloured markers to colour in the various sections of the glass windows. Fold the cardboard windows so that the finished piece can stand upright. Darken the classroom and place tea lights behind the windows. Enjoy the heav- enly cosiness!

27 Madonna in the Church 8. The painted image

Background Jan van Eyck played around with the portrayal of reality. Here he tries to deceive the spectator by painting two sculptures in a lifelike way. Van Eyck creates the illusion of sculptures by painting the figures in white and grey tones on a black background (). The images also appear to be protruding from their frame, which contributes to the optical illusion of the whole. The two works appear to be sculpted from alabaster, a soft, translucent stone. We recog- nise the angel Gabriel on the left and Mary with the dove on the right. It is a sculptural representation of the Annunciation.

Jan van Eyck, Annunciation , c. 1435. Museo Nacional Thyssen–Bornemisza, Madrid.

28 The painted image Out and about in Ghent Bas relief -> Primary / Secondary When you are out with the class in Ghent, go and look for sculptures on the façades of The focus of the assignment is to repli- buildings or churches. cate the illusion evoked by the in the altarpiece. Tip: The façade of the Town Hall has lots of niches, some of Material which house attractive sculptures that can be formally – papier-mâché linked to painted images by Van Eyck. – small wooden boards – old frames

Assignment 1. Dismantle the old frames and use the pieces to create Human statue new frames that fit around the wooden boards. -> Nursery Alternate pieces to create an atypical frame. It doesn’t matter if pieces protrude over the edge of the board. The focus of the assignment is the illu- 2. Use papier-mâché to craft a figure that seems to be sion evoked by Van Eyck’s grisailles in the stepping out of the frame. Think in advance about how altarpiece. to do this. Is he falling out of the frame? Is he looking out of the frame? Make sure that the pupils experiment Material with illusion. – clay – lids of shoe boxes – black paint – paintbrushes Putting on grey glasses -> Primary / Secondary Assignment The pupils will use the lid of a shoebox to serve as a The focus of the assignment is to repli- frame. The lids can be sprayed gold or any other colour cate the illusion evoked by the grisailles in in advance. The inside of the lid will first be painted the altarpiece. black, as in Van Eyck’s grisailles. When the paint is completely dry, the children will create a human figure Material out of clay to place inside the lid. – newspapers – magazines – glue – scissors – charcoal

Assignment The pupils use a copied photo (black and white) of them- selves as the starting point. The pupils will only keep the head in the picture, using charcoal to draw in the rest of the body.

Variation The pupils use a photo of themselves. They cut out their heads and use this as the starting point for their collage. Then they use magazines/newspapers etc. to look for clothes with attractive pleats/jewellery/etc. They can also simply fold newspaper to make a piece of clothing. The colours of the collage will not be taken into account at this stage. Only when the entire collage has been completed will the whole thing be photocopied (in black and white). In this way, the result will resemble Van Eyck’s grisailles.

29 The painted image 9. The individual

Background In Van Eyck’s era, more and more portraits were produced. Portraits of royalty, used by monarchs to demonstrate their power, were no longer the only type of portrait. All the social elites became important clients. On the outer panels of the Mystic Lamb, we can see Joos Vijd and Elisabeth Borluut. They commissioned the Mystic Lamb. Vijd had held office as a Ghent alderman several times and owned many estates. His wife belonged to a wealthy Ghent family. This is evident from their clothing: Joos is wearing a striking red robe finished with fur. His wife is also wearing a red dress with a green lining made of silky damask. Ordering an altarpiece of this kind and having themselves depicted in the work was intended to assure their souls a place in heaven after death. With your pupils, take a look at the way they are painted. Do the pupils like the portraits? Do they think the characters are depicted as they really were?

Did you know that... The place where the Mystic Lamb used to be displayed is still called the Vijd Chapel? When the restoration is complete, the altarpiece will be displayed in the Sacrament Chapel instead, because there is limited space in the Vijd Chapel and the conservation requirements (in terms of climate and light control) would have a serious impact on it.

Hubert and Jan van Eyck, Joos Vijd and Elisabeth Borluut, The Ghent Altarpiece, 1432. Sint-Baafskathedraal, Ghent

30 The individual Living legends -> Nursery

Material – large roll of paper – pencils – paint and brushes

Assignment The teacher provides a long roll of paper. The children lie on the roll in postures inspired by those found in the works in the exhibition. The teacher will draw around the children (they can do this themselves if they are able) to create silhouettes. The pupils will then use paint to colour in their portraits.

Background The Portrait of a Man with a Blue Chaperon is rather mysterious. The painting is attributed to Jan van Eyck as it displays all the typical features of his portraits: the head in three-quarter profile, the play of light and the special detailing. You can almost count each hair in the man’s stubble. However, the identity of the man depicted in the portrait remains a mystery. There are only a few clues. The man’s black shirt is trimmed with fur and the chaperon is painted in precious lapis lazuli, indicating wealth. The fact that he is holding a ring prob- ably indicates that this is an engagement portrait.

With the class, try to find out who the man might have Jan van Eyck, Portrait of a Man in a Blue Chaperon, c. 1430. been. Look at his clothing, what he is doing, … Where Muzeul National Brukenthal, Sibiu. would the painting have hung? You might want to come up with a new name for the man.

Hats on! -> Primary / Secondary

The assignment focuses on the individuality of the portrait.

Material – newspapers – adhesive tape – staplers – portraits by Van Eyck

Assignment We will be making portraits out of newspaper. The teacher will show a number of portraits from the exhibition and elsewhere. The striking thing about the portraits is the clothing (, turbans, robes etc.). The children can use sweaters (which they will tie around their heads), newspaper, plastic etc. The teacher will then take a photo.

Secondary The pupils will model their own headgear and period clothing. Although they can see the historical examples, they can also look up religious themes in fashion to inspire their own clothing/headgear. They will take the photos themselves using their smartphone/camera.

31 The individual 10.

Background Vera Icon literally means true face. In this themed room, you will see various images of Jesus. These works refer to an ancient legend of the Holy Appearance of the Lord. Veronica, who stood on the roadside as Christ passed by on his way to Golgotha to be crucified, wiped his face with a white cloth. His blood, sweat and tears produced an impression of his face on the cloth. It showed the image of Jesus as if it were his true face, or the Vera Icon. The name ‘Veronica’ is therefore a combination of the words ‘vera’ and ‘icon’. Van Eyck was trying to paint a divine portrait.

After Jan van Eyck, Vera Icon, 17th century. , Bruges.

32 Vera icon What big eyes you have! Post it! -> Nursery / Primary -> Primary

The children will get to know and name the different parts of the face. Material – Post-it notes Material – pencils – plastic transparencies/punched pockets – permanent markers Assignment The pupils will walk around the classroom with a Assignment block of Post-its. On the Post-it notes, they will write The pupils are each given a punched pocket in a frame the personal characteristics of the children they pass (to make it stronger). The pupils will sit down in pairs and stick them on that person’s back. After around and one of them will hold a punched pocket in front of ten minutes, the pupils will sit down and collect the their face. Post-it notes. Is the image that the pupils have of each The other will use the permanent marker to draw other correct? the eyes, nose, mouth, eyebrows etc. of the person holding the folder in front of his face. This will create a portrait with the facial features of one person in the correct place. Once the artist thinks the portrait is ready, they can swap over.

Selfie -> Secondary

The core of the assignment is the grid tech- nique, which was also used by mediaeval artists to enlarge a small image or to copy an image.

Material – photo of the pupil – paper – charcoal

Assignment The pupils divide their photos into sections using a grid. Then they apply the same grid to their sheet of drawing paper. The pupils draw their self-portraits using the grid technique. They look at each section separately and copy it to their sheet of paper. In this way, they can determine the location of their eyes, mouth, nose etc. very accurately.

33 Vera icon 11. Restoration

Background The Mystic Lamb altarpiece by Hubert and Jan van Eyck was finished in 1432. The Royal Institute for Cultural Heritage (KIK-IRPA, ) has been working to restore panels of the Mystic Lamb in the MSK since 2012. Over the centuries, the many layers of varnish that covered the entire work had got old, turned extremely yellow and cracked. The various panels of the altarpiece were first examined in detail, using modern techniques. This meant that the condition of the panel on which the work was painted could be examined as well as the paint itself. When removing the many layers of varnish, the restorers discovered a surprisingly large number of overpaintings. For example, the lamb in the middle panel had four ears. There seemed to be a second pair of ears behind the head, raising the suspicion that the head of the lamb had been completely painted over. After thorough consultation, it was decided to return the lamb as close to its original state as possible. The hidden lamb turned out to be a more expressive animal than the overpainting. The team also made numerous other discoveries that will soon be on display. The restorers have to work very carefully. Chemistry is also involved. First, solvents must be found that only remove the varnish layers without damaging the layers of paint beneath. The various compositions of the paint types used must be investigated so they can be included in the restorers’ conservation plan, and so on. Wooden sticks with soft cotton wool wrapped around them by hand are used to gently clean the work, centimetre by centimetre. Bring some wooden skewers or toothpicks and loose cotton wool to class. Try wrapping some cotton wool around a skewer or toothpick together. What difficulties do you experience?

Hubert and Jan van Eyck,The Adoration of the Mystic Lamb Hubert and Jan van Eyck, The Adoration of the Mystic Lamb (Lamb detail), 1432, St. Bavo’s Cathedral, Ghent (Lamb detail), 1432, St Bavo’s Cathedral, Ghent before restoration after restoration

34 Restoration Spot the 7 differences! -> Nursery / Primary

This assignment highlights the differences to help the children see what the restoration process does to the painting.

Material – an example of the restoration of the Mystic Lamb, before and after – pencils

Assignment 1. Give the pupils a sheet of paper showing a detail of the Mystic Lamb that has already been restored. To see details of the painting before and after restoration, visit http://closertovaneyck.kirpa.be/. This website has very detailed photos of the altarpiece, as well as the examinations of the various panels. 2. Give the pupils a pencil and ask them to indicate the differences between the two images.

35 Restoration 36 MSK floor plan MSK floor ■ Van Eyck ■ Permanent collection

V 1 19 18

3 2 17 16

5 III 13

4 14 15

6 12 13 6 7 8 L u c Tu ym i ans 7 11 II Atelier Van Eyck

8 9 1 1 2 3 Tickets Tickets

S H I O P 37 attachement: Divinely cosy! - stencil Afterword

We hope that you and your class enjoy your visit to Van Eyck. An Optical Revolution. We are naturally curious to see what the pupils come up with. Feel free to send photos to [email protected]

We look forward to welcoming you in large numbers!

Concept & illustrations: Lisa Bracke (museum guide)

Translation: Blue Lines

Museum voor Schone Kunsten / Museum of Fine Arts Fernand Scribedreef 1 9000 Ghent

Buy your ticket now at vaneyck2020.be mskgent.be

38 Afterword