Jan van Eyck's
The Madonna with Canon van der Paele
1436, 122 x 157 cm
Here the visual and thematic elements are similar to those of the Chancellor Rolin Madonna. Van Eyck is concerned with showing the presence of a vision and therefore of illustrating the reality of God in our world. Just as Nicolas Rolin is shown in his palace, in the midst of an identifiable environment that seems to make his vision of the Virgin all the more real, so Canon van der Paele is shown in the choir of the collegiate church of St. Donatian in Bruges, where he is being presented to the Virgin by St. George and St. Donatian [St. Donatian detail]. Hans Belting is of the opinion that this picture once hung in the choir of the now destroyed church. This would mean that the depicted location mirrored the real location. Van der Paele would therefore have been able to see himself in the very place of his depicted vision and so "prove" to the world at large the reality of his divine experience.
The exquisite brocades, furs, and silks are shown in an extraordinarily lifelike and brilliant way, a way that confirms their reality, their tangibility [view three examples, enlarged]. On the other hand, the reliefs and sculptures on the column heads in the background and the sculptures on the Virgin's throne [see below] all allude to Christ's salvation of humanity.
This is how van der Paele might have expressed the message of the painting that paradise was at hand a message confirmed by its being set in a very real but also sacred context. The Virgin and Child are pictured holding a nosegay and a parrot unmistakable echoes of the Garden of Eden and both figures have turned to face the meditating canon.
The Madonna with Canon van der Paele is an intimate picture, a forerunner of the finest Holbeins. Jan van Eyck shows an impassive Madonna seated between the two earthly powers, the priest and the warrior, the man mitered with gold and the man of iron.
The bald wrinkled head of the old canon is an impressive exercise in psychological analysis.
|The reliefs on the column heads in the background and the sculptures on the Virgin's throne [enlarged below] all allude to Christ's salvation of humanity. The depictions on the throne of Adam and Eve, Cain killing Abel, and Samson fighting the lion, together with the depiction on the capitals of Abraham sacrificing Isaac, create an Old Testament framework which allows the observer to reflect on the mercy of God, who sent his son, Christ the Redeemer, into the world. Redemption from sin (Cain killing his brother) is possible only through the power of faith (Samson overpowering the lion). The goodness and grace of God "at the moment of truth" (Abraham sacrificing Isaac) serves as proof of the redeeming power and presence of servants of God both celestial (Saint George) and mortal (Canon van der Paele).|