On the Arnolfini Portrait and the Lucca Madonna: Did Jan van Eyck Have a Perspectival System?
1991; College Art Association; Volume: 73; Issue: 1 Linguagem: Inglês
10.2307/3045778
ISSN1559-6478
Autores Tópico(s)Visual Culture and Art Theory
ResumoExchanges on the topic of Jan van Eyck's pictorial constructions have been going on intermittently since the turn of the century. The most recent hypothesis, put forward in 1982–83, has if anything clouded the issue further by proposing an entirely new “elliptical perspective.” The ensuing debate, which appeared in The Art Bulletin, raises fruitful questions for further research: the problem of knowing how accurate a reconstruction needs to be, and of how reconstructed lines should be interpreted. The present essay has two purposes. It attempts to settle the question of fan van Eyck's perspective, at least in the case of the Arnolfini Portrait and the Lucca Madonna, and to introduce a new, higher level of accuracy and reproducibility for perspectival reconstructions in general.1
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