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[ES] Jan Van Eyck es considerado el pintor flamenco del siglo XV que transforma radicalmente la pintura gótica del momento. Son dos los rasgos que más lo caracterizan como artista. Por un lado, una técnica depurada que se traduce en un indiscutible realismo en torno a la perspectiva, la arquitectura, el paisaje, los diferentes objetos y los personajes representados, un factor diferencial respecto a artistas coetáneos. En segundo lugar, una tremenda sensibilidad adquirida en sus viajes y en la dedicación a su trabajo, plasmado en los símbolos y en las múltiples lecturas que pueden darse en torno a los elementos representados. Debido a ello y a la complejidad de dicho artista, se pretende en este trabajo analizar y entender su época, sus influencias y su entorno. Para dicho propósito se han tomado cuatro casos de estudio: La Madonna Rolin, La Anunciación, La Virgen en la iglesia y El matrimonio Arnolfini, siendo el primero de ellos un caso especial por la extensión del análisis., [EN] Jan Van Eyck is considered the Flemish painter of the 15th century who radically transformed the Gothic painting of the moment. There are two traits that most characterize him as an artist. Firstly, a refined technique that translates into an indisputable realism around perspective, architecture, landscape, the different objects and characters represented, that is a differentiating factor compared to contemporary artists. Secondly, a tremendous sensitivity acquired in his travels and in the dedication to his work, reflected in the symbols and the multiple readings that can occur around the elements represented. Due to this and the complexity of the artist, it is intended in this work to analyze and understand his time, his influences and his environment. For this purpose, four case studies have been taken: the Madonna Rolin, The Annunciation, the Virgin in the church and the Arnolfini marriage, the first of them being a special case due to the length of the analysis.

[ES] Jan Van Eyck es considerado el pintor flamenco del siglo XV que transforma radicalmente la pintura gótica del momento. Son dos los rasgos que más lo caracterizan como artista. Por un lado, una técnica depurada que se traduce en un indiscutible realismo en torno a la perspectiva, la arquitectura, el paisaje, los diferentes objetos y los personajes representados, un factor diferencial respecto a artistas coetáneos. En segundo lugar, una tremenda sensibilidad adquirida en sus viajes y en la dedicación a su trabajo, plasmado en los símbolos y en las múltiples lecturas que pueden darse en torno a los elementos representados. Debido a ello y a la complejidad de dicho artista, se pretende en este trabajo analizar y entender su época, sus influencias y su entorno. Para dicho propósito se han tomado cuatro casos de estudio: La Madonna Rolin, La Anunciación, La Virgen en la iglesia y El matrimonio Arnolfini, siendo el primero de ellos un caso especial por la extensión del análisis., [EN] Jan Van Eyck is considered the Flemish painter of the 15th century who radically transformed the Gothic painting of the moment. There are two traits that most characterize him as an artist. Firstly, a refined technique that translates into an indisputable realism around perspective, architecture, landscape, the different objects and characters represented, that is a differentiating factor compared to contemporary artists. Secondly, a tremendous sensitivity acquired in his travels and in the dedication to his work, reflected in the symbols and the multiple readings that can occur around the elements represented. Due to this and the complexity of the artist, it is intended in this work to analyze and understand his time, his influences and his environment. For this purpose, four case studies have been taken: the Madonna Rolin, The Annunciation, the Virgin in the church and the Arnolfini marriage, the first of them being a special case due to the length of the analysis.

[ES] Jan Van Eyck es considerado el pintor flamenco del siglo XV que transforma radicalmente la pintura gótica del momento. Son dos los rasgos que más lo caracterizan como artista. Por un lado, una técnica depurada que se traduce en un indiscutible realismo en torno a la perspectiva, la arquitectura, el paisaje, los diferentes objetos y los personajes representados, un factor diferencial respecto a artistas coetáneos. En segundo lugar, una tremenda sensibilidad adquirida en sus viajes y en la dedicación a su trabajo, plasmado en los símbolos y en las múltiples lecturas que pueden darse en torno a los elementos representados. Debido a ello y a la complejidad de dicho artista, se pretende en este trabajo analizar y entender su época, sus influencias y su entorno. Para dicho propósito se han tomado cuatro casos de estudio: La Madonna Rolin, La Anunciación, La Virgen en la iglesia y El matrimonio Arnolfini, siendo el primero de ellos un caso especial por la extensión del análisis., [EN] Jan Van Eyck is considered the Flemish painter of the 15th century who radically transformed the Gothic painting of the moment. There are two traits that most characterize him as an artist. Firstly, a refined technique that translates into an indisputable realism around perspective, architecture, landscape, the different objects and characters represented, that is a differentiating factor compared to contemporary artists. Secondly, a tremendous sensitivity acquired in his travels and in the dedication to his work, reflected in the symbols and the multiple readings that can occur around the elements represented. Due to this and the complexity of the artist, it is intended in this work to analyze and understand his time, his influences and his environment. For this purpose, four case studies have been taken: the Madonna Rolin, The Annunciation, the Virgin in the church and the Arnolfini marriage, the first of them being a special case due to the length of the analysis.

[ES] Jan Van Eyck es considerado el pintor flamenco del siglo XV que transforma radicalmente la pintura gótica del momento. Son dos los rasgos que más lo caracterizan como artista. Por un lado, una técnica depurada que se traduce en un indiscutible realismo en torno a la perspectiva, la arquitectura, el paisaje, los diferentes objetos y los personajes representados, un factor diferencial respecto a artistas coetáneos. En segundo lugar, una tremenda sensibilidad adquirida en sus viajes y en la dedicación a su trabajo, plasmado en los símbolos y en las múltiples lecturas que pueden darse en torno a los elementos representados. Debido a ello y a la complejidad de dicho artista, se pretende en este trabajo analizar y entender su época, sus influencias y su entorno. Para dicho propósito se han tomado cuatro casos de estudio: La Madonna Rolin, La Anunciación, La Virgen en la iglesia y El matrimonio Arnolfini, siendo el primero de ellos un caso especial por la extensión del análisis., [EN] Jan Van Eyck is considered the Flemish painter of the 15th century who radically transformed the Gothic painting of the moment. There are two traits that most characterize him as an artist. Firstly, a refined technique that translates into an indisputable realism around perspective, architecture, landscape, the different objects and characters represented, that is a differentiating factor compared to contemporary artists. Secondly, a tremendous sensitivity acquired in his travels and in the dedication to his work, reflected in the symbols and the multiple readings that can occur around the elements represented. Due to this and the complexity of the artist, it is intended in this work to analyze and understand his time, his influences and his environment. For this purpose, four case studies have been taken: the Madonna Rolin, The Annunciation, the Virgin in the church and the Arnolfini marriage, the first of them being a special case due to the length of the analysis.

This thesis studies the image of sheep in Late Medieval and Renaissance culture. It analyzes sheep through three conceptual lenses: faith, fabric, and flesh. Through faith it studies sheep’s Christian connotations. Through fabric it studies how the English Wool trade turned sheep into a symbol of greed; and through flesh it studies the rise of the mutton market and how it further debased sheep into a symbol of materialism. It takes as its core texts three early-modern plays: King Lear and The Winter’s Tale by William Shakespeare and A Chaste Maid in Cheapside by Thomas Middleton, which contain complex depictions of the ovine. These plays are contrasted with the balanced view of sheep in the late Medieval painting The Adoration of the Mystic Lamb by Hubert and Jan van Eyck where the economic and religious connotations of the ovine are harmonized.

This thesis studies the image of sheep in Late Medieval and Renaissance culture. It analyzes sheep through three conceptual lenses: faith, fabric, and flesh. Through faith it studies sheep’s Christian connotations. Through fabric it studies how the English Wool trade turned sheep into a symbol of greed; and through flesh it studies the rise of the mutton market and how it further debased sheep into a symbol of materialism. It takes as its core texts three early-modern plays: King Lear and The Winter’s Tale by William Shakespeare and A Chaste Maid in Cheapside by Thomas Middleton, which contain complex depictions of the ovine. These plays are contrasted with the balanced view of sheep in the late Medieval painting The Adoration of the Mystic Lamb by Hubert and Jan van Eyck where the economic and religious connotations of the ovine are harmonized.

A text in which 4 objects are described. An octopus, the Ghent Altarpiece, a quilted ball, the Handbook of Diseases of the Skin. And 4 quotations are presented. Newt Gingrich, Donald Rumsfeld, Robert S Macnamara, Slobodan Milosevic. Political leaders responsible for wars. Their descriptions of borders, distinstions, definitions. A book (Handbook of the Diseases of the Skin) which is described in the text and is integral to the work is in the library of KKH (the Royal Institute of Art, Stockholm), 13 paintings presented in November2018 at Gallery Mejan

A text in which 4 objects are described. An octopus, the Ghent Altarpiece, a quilted ball, the Handbook of Diseases of the Skin. And 4 quotations are presented. Newt Gingrich, Donald Rumsfeld, Robert S Macnamara, Slobodan Milosevic. Political leaders responsible for wars. Their descriptions of borders, distinstions, definitions. A book (Handbook of the Diseases of the Skin) which is described in the text and is integral to the work is in the library of KKH (the Royal Institute of Art, Stockholm), 13 paintings presented in November2018 at Gallery Mejan

[EN] This article offers the first analysis of the Rolin Madonna (ca. 1435) in relation to Jan van Eyck’s trip to Castile and Granada (1429). The space and the architectural typology in the painting reveal Hispanic influences which are only explicable through first-hand experience by the artist. These elements were not fully understood by his Flemish peers, who adapted them to local use. This study allows us to re-position Van Eyck and Chancellor Rolin’s interests in line with the plurality of artistic models and the tensions between the existing hegemonies and the multiculturalism of the major global powers during the Early Modern period., [ES] Este artículo analiza por primera vez la Madonna Rolin (ca. 1435) en relación con el viaje de Jan van Eyck a Castilla y Granada (1429). El espacio y la tipología arquitectónica del cuadro denotan influencias hispanas explicables únicamente a través de la experiencia in situ del artista, elementos que sus colegas flamencos no comprendieron y readaptaron a sus usos locales. Como consecuencia, esta investigación permite resituar los intereses de Van Eyck y del canciller Rolin en línea con la pluralidad de modelos y con las tensiones entre hegemonías y multiculturalidad de las grandes potencias europeas en la temprana Edad Moderna

La arquitectura escarpa su perfil en busca de nuevas soluciones. Madrid y Teruel inauguran estos días nuevos ejemplos de intervenciones en las que el terreno es protagonista. Conviene preguntarse si estas geologías artificiales, más que un llamativo recurso formal, no serán por fin auténticas construcciones públicas, nuevos espacios emergentes., Depto. de Dibujo y Grabado, Fac. de Bellas Artes, FALSE, inpress

The article deals with the concept "performative meaning in art" as a kind of meaning that concerns the way the art work appears in the "key" of a certain interpretation. Interpretation is held to issue two kinds of meaning, one level of identification of the expression (genre, subject matter, contextual functions), the other an aesthetic and performative, emerging as a result of the identification.

The article argues, with the examples of interpretations of Jan van Eyck's Arnolfini portrait, that interpretation of aesthetic aspects of a work of visual art depends on subjective and performative parametres. It states that the artwork shows itself in certain ways in the interpretive act, as if "staged" according to the identifcations of the interpretation that in turn are depending on the involvement of the viewer. To be able to capture aesthetic mechanisms of a visual artwork the scholar must use her/his subjective involvement, but this condition does not exclude epistemic criteria in the evaluation of the interpretation. On the contrary, interpretations that avoids the aesthetic and subjective fall short of understanding the way the work produces meaning.