An exquisite selection of Jan van Eyck's religious paintings depicting almost photo-realistic textures and his love for art and perfection.
Lucca Madonna, Jan van Eyck, 1437, From the collection of: Städel Museum
Using his signature Flemish style, Jan van Eyck has achieved perfect textures for the carper, Virgin Mary's dress and metallic elements. The shining in metal is impressive and very difficult to achieve with the tools and techniques of his time. Virgin Mary is holding Baby Jesus in her arms.
The Madonna in the Church, Jan van Eyck, around 1438, From the collection of: Gemäldegalerie, Staatliche Museen zu Berlin
Another portrait of virgin Mary holding Baby Jesus in her arms inside a church. The textures on the dress and her crown resembles the ones real-life counterparts should have.
The Annunciation, Jan van Eyck, c. 1434/1436, From the collection of: National Gallery of Art, Washington DC
Once again, Jan van Eyck has chosen to paint Virgin Mary. In this scene, Archangel Gabriel presents to Her and announces that She will be carrying the Son of God in Her womb. Textures of fabric, facades, wood and paper are perfectly achieved.
The Three Marys at the Tomb, Hubert van Eyck or Jan van Eyck or both, 1425 - 1435, From the collection of: Museum Boijmans Van Beuningen
Another religious master piece by Jan van Eyck. In this scene, "the three Marys" stand beside Jesus's tomb. The detail in the fabrics and shining in the armor textures is unrivaled.
Triptych of Mary and Child, St. Michael, and the Catherine, Jan van Eyck, 1437, From the collection of: Old Masters Picture Gallery, Dresden State Art Museums
In this triptych, Jav van Eyck depicts Virgin Mary sat with Baby Jesus in her hands. Archangel Gabriel is on the left portion of the triptych and a woman on the right. Carpet and dresses' textures are photo-realistic.
Saint Francis of Assisi Receiving the Stigmata, Attributed to Jan van Eyck, Netherlandish (active Bruges), c. 1395 - 1441, 1430-1432, From the collection of: Philadelphia Museum of Art
In this painting, Saint Francis of Assisi is receiving the Stigmata. The texture of his robe and the woman's dress preserve the characteristic realism of this master Flemish artist. The contrast with the perfectly textured rocks and ground makes is breath-taking.
Saint Jerome in His Study, Jan van Eyck, 1435, From the collection of: Detroit Institute of Arts
Saint Jerome in his study is the main theme that Jan van Eyck portraits in this painting. The utmost attention to detail on the robe, wooden floor, bookshelf and the stuffed lion is what makes the textures come to life.
The Way to Calvary, Jan van Eyck (copy), ca. 1505–1515, From the collection of: Museum of Fine Arts, Budapest
The way to the Calvary presents Jesus carrying the cross to his final destination of His Passion. Surrounded by Romans, the skill put into fabric, ground and landscape is simply mesmerizing.
The Annuciation Diptych, Jan van Eyck, ca. 1433 -1435, From the collection of: Museo Nacional Thyssen-Bornemisza
In this diptych, Archangel Gabriel presents to Virgin Mary and announces her that she will carry our Lord Jesus in her womb. The painting depicts the two characters as if sculpted on marble. The texture effect is astonishing. The reflection included makes it even more impressive.
Kardinal Niccolò Albergati (?), Jan van Eyck, 1433/1437, From the collection of: Kunsthistorisches Museum Wien
This is a portrait of Cardinal Niccolo Albergati. The contrast created among the detailed skin, hair and clothes makes believe this masterpiece is a photograph and not oil paint layered on canvas.
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Museo Nacional Thyssen-Bornemisza
Gemäldegalerie, Staatliche Museen zu Berlin
Philadelphia Museum of Art
Kunsthistorisches Museum Wien
Museum of Fine Arts, Budapest
National Gallery of Art, Washington DC
Städel Museum
Detroit Institute of Arts
Museum Boijmans Van Beuningen
Old Masters Picture Gallery, Dresden State Art Museums