The Ghent Altarpiece was in the art media spotlight recently. New research has revealed an elaborate under-painting in the The Adoration of the Lamb centre panel and scholars have attributed this to Hubert van Eyck. Their findings also suggest that some of the finished figures were painted by Hugo, some by his brother Jan, and others by the hand of both painters.
A diagram of a section of the panel was published by the research group at KIK-IRPA indicating some of the attributions made by the researchers. Shown below is the group painted in the bottom left corner of the panel. The red markers represent the hand of Jan, the yellow markers the hand of Hubert, and the orange markers indicate figures worked on by both artists.
I’m not aware of any extensive research available in the public domain Identifying the 50 figures in this group and any of its themes or underlying narratives, but art historian Bernhard Ridderbos states the gathered group are “witnesses of the Old Covenant, among them the Roman poet Virgil, holding wreath of a laurel, who was thought to have foretold the coming of the Messiah”. Ridderbos continues: “Beside him is Isaiah “who holds a twig, in token of his prophecy of Christ as a ‘rod out of the stem of Jesse’ (Isaiah 11 :1)”
What the historian didn’t mention is that the figure in green standing next to Isaiah is in fact the mentioned Jesse, hence his covered right hand depicted as a stump. Standing to the right of Jesse is the lawgiver Moses, and slightly behind the prophet’s right side is his brother Aaron.
If Hubert van Eyck (pictured right) was responsible for the concept then he must have made notes or shared his rationale at some time with his brother for Jan to have made sense of the carefully planned construction and placement of figures and go on to complete the painting which, unsurprisingly, is mirrored in parts with the group of figures in the botton right corner of the frame that Ridderbos described as “witnesses to the New Covenant”.
I’ve recently identified almost all of the figures in this scene, its preconceived concept, and embedded narratives. My next series of posts will deal with revealing the so-called “witnesses of the Old Covenant”.
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