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dc.contributor.authorFransen, Bart
dc.date2019
dc.date.accessioned2022-11-14T13:37:13Z
dc.date.available2022-11-14T13:37:13Z
dc.identifier.citationBart Fransen, "Jan van Eyck in Valencia", in: Christina Currie et al. (eds.), Van Eyck Studies (Louvain, 2019): pp. 469-479en_US
dc.identifier.otherhttp://balat.kikirpa.be/document/200063243
dc.identifier.urihttps://orfeo.belnet.be/handle/internal/10663
dc.descriptionPapers presented at the Eighteenth Symposium for the study of underdrawing and technology in painting, Brussels, 19-21 September 2012.en_US
dc.description.abstractIn this article, the author argues that Jan van Eyck visited Valencia as part of the ducal embassy to Aragon in the autumn/winter of 1426, which was the first of two embassies sent by Philip the Good to negotiate his marriage to Eleanor of Aragon, sister of Alfonso V of Aragon. This visit probably enabled a number of Valencian painters to contact the Burgundian court painter and gain direct access to his technical and pictorial innovations. Within a small network of Valencian artists, some even acquired a painting and a drawing attributed to him. Exceptionally, tracings after Eyckian works were imported and liter-ally taken over, as is evidenced by the study of Dalmau’s Virgin of the Consellers. Dalmau made his tracings after the Ghent Altarpiece in Van Eyck’s workshop, before the work was installed in the Vijd Chapel. The duration of Dalmau’s stay in Van Eyck’s workshop should therefore be taken into account when studying the genesis of the Ghent Altarpiece.
dc.languageengen_US
dc.publisherPeetersen_US
dc.titleVan Eyck in Valenciaen_US
dc.typeBook chapteren_US
dc.subject.frascatiArtsen_US
dc.audienceScientificen_US
Orfeo.peerreviewedNot pertinenten_US
dc.identifier.publisherlinkhttps://www.jstor.org/stable/j.ctv1q26whc
dc.identifier.doihttps://doi.org/10.2307/j.ctv1q26whc.38


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