A new assessment of the inventive and influential artist Jan van Eyck. Jan van Eyck (1390–1441) was one of the most inventive and influential artists in the entire European tradition. The realism of his paintings continues to astound observers more than six centuries on, even though our world is saturated by high-resolution images. However, viewers today are as like to be absorbed by Van Eyck’s personality as his realism. While he sometimes directly painted himself into his works, he also suggested his presence through an array of inscriptions, signatures, and even a personal motto. Incorporating a wealth of new research and recent discoveries within a fresh exploration of the paintings themselves, this book reveals how profoundly Jan van Eyck transformed the very idea of what an artist could be.

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Molly Faries, Indiana University & Groningen University, Re-reading the Evidence: Perspectives on Technical Studies of Early Netherlandish Painting Ron Spronk, Harvard University Art Museum, Standing on the Shoulders of Giants: The Early Years of Conservation and Technical Examinations of Netherlandish Paintings at the Fogg Art Museum J.R.J. Van Asperen de Boer, Professor Emeritus, Groningen University, Slowly towards Improved Infrared Reflectography Equipment Peter Klein, University of Hamburg, Dendrochronological Analyses of Netherlandish Paintings E. Melanie Gifford, Susana Halpne and Suzanne Quillen Lomax, National Gallery of Art, Issues surrounding the painting medium: a case study of a pre-Eyckian altarpiece Teri Hensick, Harvard University Art Museums, The Fogg's Copy After a Lost Van Eyck: Conservation History, Resent Treatment and Technical Examination of the Woman at Her Toilet Gianfranco Pocobene and Ron Spronk, Harvard University Art Museums, The Fogg's Virgin and Child from the Workshop of Dirck Bouts: Findings from Technical Examinations and Recent Conservation Treatment Henry Lie, Harvard University Art Museums, Digital Imaging for the Study of Paintings: Experiences at the Straus Center for Conservation Maryan W. Ainsworth, Metropolitan Museum of Art, What's in a name? The Question of Attribution in Early Netherlandish Painting "The volume brings together the connoisseurship and experience of outstanding scholars and leading scientists. It will highly benefit to all working in the field of technical examination." (H. Verougstraete in Sehepunkte, 5 (2005), nr. 2, 15.02.2005)u

This book aims to analyze the genesis and evolution of late Gothic painting in the Crown of Aragon and the rest of the Hispanic kingdoms, examining this phenomenon in relation to the whole context of Europe in the second half of the fifteenth century. The authors consider the influence of the Flemish primitive movement on the art produced by their Spanish colleagues, the artistic relations and interchanges with the Netherlands and other countries, and the introduction and development of the Flemish language in the Spanish lands. The book also examines altarpieces, considering topics such as changes in shape and structure and liturgical links, along with offering stylistic analyses supported by new technologies. Contributors are Joan Aliaga, Maria Antonia Argelich, Marc Ballesté, Judith Berg Sobré, Carme Berlabé, Eduardo Carrero, Ximo Company, Francesca Español, Francesc Fité, Montserrat Jardí, Nicola Jennings, Fernando Marías, Didier Martens, Isidre Puig, Nuria Ramón, Pedro José Respaldiza, Stefania Rusconi, Tina Sabater, Albert Sierra, Pilar Silva, Lluïsa Tolosa, Alberto Velasco, and Joaquín Yarza (†).

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In Anonymous Art at Auction, Anne-Sophie V. Radermecker takes the opposing view of the superstar economy by examining contemporary sales of Early Flemish paintings with unknown authorship and the effects of various substitutes for real names on price formation.