7 minutes ago5 min read

The Arnolfini Portrait: Witness To A Wedding, Or A Death?

Cropped segment of the Arnolfini Portrait

Almost a century before Leonardo da Vinci, there was another artist who, through his work, redefined the possibilities of oil portraiture with astonishing talent and precision. Jan van Eyck (born in Liège in 1390) became a groundbreaking master of oil painting, pioneering techniques that allowed him to achieve unparalleled realism. Van Eyck’s deft manipulation of this versatile medium enabled him to build layer upon layer of translucent glazes, capturing textures, light, and subtle tonal shifts with meticulous detail, setting a new standard for lifelike depiction that would influence generations of artists. The Arnolfini Portrait (or The Arnolfini Wedding, The Arnolfini Marriage, the Portrait of Giovanni Arnolfini and his Wife, or other titles) is one of his most famous paintings – or, rather, infamous, due to the mystery and uncertainty its contents and history are shrouded in. The Arnolfini Portrait is an oil painting on an oak panel, dated 1434 – one of the oldest very famous panel paintings to have been executed in oils rather than in tempera. The painting was bought by the National Gallery in London in 1842.

The Arnolfini Portrait is rightfully celebrated as one of Western art’s most complex works, known for its intricate symbolism, geometric perspective, and expanded spatial depth achieved through a mirror. Van Eyck’s technique of layering thin, translucent glazes gave the painting a rich tonal intensity and highlighted the luxurious world of the Arnolfinis. He exploited oil paint’s slow drying time to blend colours wet-on-wet, achieving subtle light and shadow effects for a three-dimensional realism. This medium allowed him to capture detailed textures and lighting, even possibly using a magnifying glass to achieve the minute highlights, such as on the amber beads near the mirror. However, the main reason for its fame remains the controversy surrounding this painting, which is rooted in its hidden details - playful symbolism and clever visual effects that offer a fascinating insight into 15th-century Flemish society.

Who are the subjects of the Arnolfini Portrait?

The Arnolfini Portrait is a full-length double portrait believed to depict the Italian merchant Giovanni di Nicolao Arnolfini and his wife, likely in their Bruges residence. The Arnolfini family, originally from Lucca, Italy, amassed wealth through the luxury fabric trade. Although initially thought to show Giovanni di Arrigo Arnolfini and his wife Jeanne de Cename, later documents revealed they married in 1447, thirteen years after the portrait’s completion. Art historian Erwin Panofsky popularized the “Arnolfini Wedding Portrait” interpretation, viewing it as a wedding scene. However, Margaret Koster later suggested it as a mournful piece of art, a commemorative portrait for Giovanni di Nicolao’s wife, Costanza Trenta, who died in 1433, a year before the painting was dated. This theory raises questions about the woman’s true identity and the portrait’s intent, adding to the mystery of the painting.

Wedding or Funeral?

For a long time, the portrait has been considered by Erwin Panofsky and some other art historians as a unique form of marriage contract, recorded as a painting. Panofsky’s analysis focuses on the couple’s hand positioning, with their right hands joined in a gesture known as dextrarum iunctio - an ancient Roman symbol of union. Unlike modern marriages, Renaissance unions didn’t always require a priest or witnesses—only mutual consent.

The two figures are lavishly dressed, their outer garments trimmed with costly furs—possibly sable for the man and ermine or miniver for the woman. The man wears a straw hat dyed black, and his once-vibrant purple tabard, likely silk velvet, has faded over time, layered over a patterned silk damask doublet. The mystery woman’s gown features decorative dagged sleeves and a long train, with a blue underdress also lined in fur. Although their visible jewellery is minimal, both outfits would have signalled immense wealth to contemporary viewers. Romantic symbols, such as St. Margaret (the Patron of Childbirth), the cherry tree outside, and red bed sheets, hint at themes of love and fertility.

Nevertheless, the funeral theory remains quite strong as well. Art historian Margaret Koster suggests the handholding might represent the husband clinging to his wife as she slips away in death. The nearby gargoyle further hints at the couple’s tragic fate. In support of this theory, the symbolism of the small dog and the candles has been intensely debated. Regarding the dog, Panofsky sees it as a symbol of marital fidelity, while Koster argues it recalls dogs found on ancient Roman tombs, believed to guide women to the afterlife. This interpretation aligns with the dog’s position closest to the woman, suggesting it symbolises her death. The analysis for the candles would be a bit more complex - the single burning candle in the chandelier, positioned above Giovanni di Nicolao Arnolfini, signifies life, while the empty spot for another candle, with wax drips, represents her death, placed directly above her. Panofsky suggests that the candle also symbolises God's omniscience and relates to Flemish marriage customs, where lighting a candle invokes the Holy Spirit.

How is the artist's signature above the mirror relevant for unveiling the painting's mystery?

Another indication that the Arnolfini Portrait may be a wedding depiction is Jan van Eyck’s signature, which translates to “Jan van Eyck was here.” According to Panofsky, this acts as a literal marriage certificate, as van Eyck included his name and the date. His signature appears above the mirror, which reflects what may be van Eyck and a witness. By signing the painting, van Eyck demonstrates his self-awareness of his talent and the significance of artists during this period, suggesting that one of the figures in the mirror could be him. During the Renaissance, artists occasionally concealed self-portraits within their works, which could explain why the signature was positioned above the mirror.

This convex mirror stands out as its most famous and enigmatic feature. Measuring 5.5 cm, it depicts ten episodes from the Passion of Christ, highlighting the painting's religious significance. The mirror also symbolises Mary's virginity (speculum sine macula) and, by extension, the bride's purity. Reflected in the mirror are two figures just inside the door, with the one in red presumed to be the artist (assumption is supported by similar figures in red headdresses found in other works by van Eyck), however, he does not appear to be painting.

Is the mystery woman pregnant?

The Arnolfini Portrait often prompts art history newcomers and experts alike to ask: is the woman in the painting pregnant? The short answer is no - her gathered skirts, pressed to her abdomen, create a domelike silhouette, while her hand position reflects the Renaissance ideal of mo

desty, not pregnancy. Renaissance customs avoided depicting literal pregnancy – still, the portrait does hint at fertility through symbolic objects: ripened fruit on the windowsill and Saint Margaret, patron of childbirth, on the bed frame, alluding to future family aspirations – which would be extra proof of the painting being a marriage portrait rather than depicting a funeral.

What is the final answer?

The answer continues to elude art scholars, as the conclusions remain inconclusive, and no single interpretation has resolved its layered symbolism and ambiguous elements. Nonetheless, the Arnolfini Portrait endures as one of Jan van Eyck’s most complex and debated works, blending meticulous technique with layers of symbolism that explore themes of marriage, wealth, and perhaps even mortality. Whether a wedding contract, commemorative piece, or something more, the painting’s mysteries and mastery continue to captivate and intrigue audiences centuries after its creation.

Edited by Oisín McGilloway, Editor-in-Chief