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The origin of the Gothic art can be traced back to the 12th century. This art developed along with the emergence of Gothic architecture throughout Europe and underwent experiments over the course of the next centuries until it gave way to Renaissance art. This art form relied on various media including but not limited to panel painting, sculpture, fresco, glass, manuscripts and monuments. Undoubtedly, this art form was of typological nature and was initially developed as a Christian art performed on the walls of Cathedrals and abbeys. Among the numerous Gothic works, Jan Van Eyck’s Madonna in the Church has its own remarkable position in several respects. A detailed study of this painting will show that it clearly reveals certain social distinctions that shaped the gothic Cathedrals.
Both the New Testament and the Old Testament served themes for Gothic artists. Bible characters, Virgin Mary, and saints were often depicted in many of the works. However, various works done over the course of 12th to 16th centuries clearly show the conceptual alterations and ideological developments swept across the entire Europe. For instance, although Virgin Mary in the early Gothic works was a Byzantine iconic form, she was changed into an affectionate mother cuddling her infant or even a noble aristocratic lady playing with her child.
Jan Van Eyck, the famous painter from Netherlands depicted Mary as the Queen of Heaven carrying the child Christ. Mary is wearing royal crown and a dark blue robe that reminds Byzantine tradition. Under the robe there is a red dress of different fabrics. The child Jesus clutches the hem of his mother's dress and keeps his feet on her left arm. As Harbison comments, “the virgin is a block, a shelf, a surface on which the Christ Child can be displayed” (Harbison 78). The painting contains several other objects like wood panels, carvings and images of angels etc, all which collectively depicting episodes from the life Mary. Obviously, several objects and the interior of the Cathedral are realistic and depict a 15th century cathedral. However, the image of Mary is unrealistically big when compared to the surrounding objects. At the base of the image, the Virgin was addressed as “You are called the flower among flowers” (qtd in Normore 132). There is a gentle flow of candle light coupled with the brilliant daylight.
The very painting represents a period of rapid and far-reaching change that occurred in eighteenth-century Europe with regard to societal, cultural, and theological scenarios. This painting like many other masterpieces is linked to the then social context in which it was created. Obviously, a great deal of focus is given to the representation of societal and cultural aspects related to gender roles, oppression, and race. It was an age that believed in physiognomy, the theory that physical appearance reflects a person's character.
The painting has been widely discussed and interpreted by several experts. However, like any other masterpieces, Madonna in the Church also became a bone of contention among critics due to the indefinable and meticulous attention the painter had given to detail every inch of the work. In other words, the excellence of the work outsmarts all wildest interpretations. One who looks at the painting of Van Eyck would surely be impressed by the depth of its illusion and reality. He gave reference to our immediate world and real life experiences which at the same time transcends from the notion of invisible things. Admittedly, the influence of the medieval theology is visible in his work, especially in the very work Madonna in the Church.
The representation of Satan and angels in Gothic art demonstrates this adherence to the above said theory. Satan possesses physical traits associated with evil. Angels in the painting represents divine providence, affection and vigilance, while at the same time theological implications of characters are apparent in this painting. Mary and the child have pure and pleasant faces that represent divinity. The images reveal the changing rigid gender roles. The Madonna in the painting points to an unusually strong female character of the age, when independent behavior of a woman would harshly be criticized.
In total, Van Eyck’s Madonna in the Church is a play of realism. The painter can be considered an artist and an inventor whose ideas were centuries ahead than the time he lived. Van’s reputation as a famous painter rests with ‘Madonna in the Church’ which is considered one of the ultimate masterpieces in the world. The virtuoso quality of the work rests with the painterly techniques that he deployed. Van’s exceptional ability is clear in his larger body of drawings which later influenced the painters all over the world.
Works Cited
Harbison, Craig. Jan Van Eyck: The Play of Realism. US: Reaktion Books, 1995. Print.
Normore, Christina. A Feast for the Eyes: Art, Performance, and the Late Medieval Banquet. US: University of Chicago Press, 2015. Print.
