Procrastinating before a 72-hour-exam is a must. I bored of trawling Instagram, desiring something (marginally) more productive...And a blog post is good essay-writing practice, right?
Today I finally caught 'Reflections: Van Eyck and the Pre-Raphaelites' at the National Gallery. It explores the influence of the famous (or infamous, through its numerous kitsch reproductions, which doubtless we've all seen more of than the painting itself) Jan van Eyck’s 'Arnolfini Portrait' on the Pre-Raphaelite Brotherhood.
The latter, as the helpful introductory video at the beginning of the exhibition demonstrates, desired a move away from the emphasis on heroic mythological subjects inspired by models from antiquity, in favour of a particular definition of realism. This was interpreted in terms of highly veristic detail, with everything in the composition depicted with equal attention, and a shift toward different subjects; initially religious, but gradually concerned with scenes of everyday life. The acquisition of the 'Arnolfini Portrait' by the National Gallery in 1842 then, which was at the time the only Early Netherlandish portrait in the collection, provoked intense discussion among the students of the Royal Academy, then housed in the adjacent wing.
Van Eyck's style was perceived as an aspect of the naturalistic primitivism associated with medieval draughtsmanship, which the Brotherhood believed existed prior to Raphael. A return to the past, then, was a step in the direction of a radical modern style. The latter also embraced new technological developments in photography, and the exhibition does include a few exemplar daguerreotypes. I noticed that some paintings in particular drew on this aesthetic; the static, almost awkwardly staged poses make sense in this context, although it's a theme that is introduced rather than fully explored.
William Holman Hunt 'The Awakening'
It has to be said that, despite exploring an interesting theme, this exhibition sometimes shies away from truly unpicking Van Eyck's stylistic influence in favour of broader explorations. The round convex mirror in the central background of the painting becomes the focus of the exhibition's inquiry, reflecting on the mirror's capacity to create narrative possibilities, and its spiritual potential alongside its domestic purpose in the numerous middle-class homes it was gradually occupying.
This is undoubtedly a worthwhile topic of contemplation; mirrors reflect but also distort. To what extent do they conceal or reveal? Who are the figures we glimpse in this tiny scene? Is it this intriguing little peek into the unknown that renders this painting so iconic, much like Velazquez's 'Las Meniñas' masterpiece?
Let us not forget though, that in the pursuit of relating paintings through objects, we must be careful not to overlook the importance of closely studying the paintings themselves. Sometimes, in the theoretical emphasis of the exhibition, we feel that Van Eyck's mastery and influence has been somewhat lost.
It is at this point when we must return to the vividly naturalistic Arnolfini masterpiece itself, displayed lower and without the customary barrier that normally restricts one's view in the Gallery's permanent collection.
Be sure to also spend some time with 'Mariana' by John Everett Millais; it is here that we see the wonderful potency of colour so apparent in Van Eyck's mastery of glazes.
An interesting concept and a visual feast then, but perhaps not as fully fleshed out as one might hope for such a fascinating premise.
Sir John Everett Millais 'Mariana'
'Reflections: Van Eyck and the Pre-Raphaelites' is on display until 2 April 2018 in the Sunley Room of the National Gallery.
Tascha von Uexkull