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Ghent Altarpiece by Jan van Eyck

Ghent Altarpiece

Jan van Eyck·1432

Historical Context

The Ghent Altarpiece, completed by Jan van Eyck in 1432 (with possible contributions by his brother Hubert), is one of the most important works in Western art history. This monumental polyptych in Saint Bavo's Cathedral, Ghent, comprises twelve panels depicting the Adoration of the Mystic Lamb and was revolutionary in its mastery of oil painting technique. It has been called the most stolen artwork in history, having been targeted in thirteen crimes including Napoleon's seizure and Nazi looting.

Technical Analysis

Van Eyck's unprecedented command of oil glazing creates luminous, jewel-like colors with extraordinary detail in textures—from fabrics to gems to landscape—establishing a new standard for naturalistic representation in European painting.

See It In Person

Munich Central Collecting Point

Munich, Germany

Visit museum website →

Quick Facts

Medium
Oil paint
Era
Early Renaissance
Style
Early Netherlandish
Genre
Religious
Location
Munich Central Collecting Point, Munich
View on museum website →

More by Jan van Eyck

The Crucifixion; The Last Judgment by Jan van Eyck

The Crucifixion; The Last Judgment

Jan van Eyck·ca. 1436–38

Virgin and Child in a Niche by Jan van Eyck

Virgin and Child in a Niche

Jan van Eyck·ca. 1440–50

The Annunciation by Jan van Eyck

The Annunciation

Jan van Eyck·c. 1434/1436

Portrait of Giovanni di Nicolao Arnolfini by Jan van Eyck

Portrait of Giovanni di Nicolao Arnolfini

Jan van Eyck·1438

More from the Early Renaissance Period

Pietà by Cosimo Tura

Pietà

Cosimo Tura·1475/1500

Virgin and Child by Giovanni Bellini

Virgin and Child

Giovanni Bellini·16th century or later

Christ Crowned with Thorns by Antonello da Messina (Antonello di Giovanni d'Antonio)

Christ Crowned with Thorns

Antonello da Messina (Antonello di Giovanni d'Antonio)·1450

Saint Peter Martyr Exorcizing a Woman Possessed by a Devil by Antonio Vivarini

Saint Peter Martyr Exorcizing a Woman Possessed by a Devil

Antonio Vivarini·c. 1450