J. Cyril M. Weale

Summary

J. Cyril M. Weale Van Eyck

But what of the painter's fame, to whose workshop laymen of the highest distinction had felt it a privilege to be admitted, about whose easel journeymen painters had flocked, and whom the leading contemporary artists of the Netherlands had been proud to call master? During his lifetime, and for a considerable period after his death, his was a dominating influence in the Art of the North, and Van Mander has it on record that whenever the polyptych was freely exposed to the public gaze crowds flocked to it from morning till night "like flies and bees in summer round a basket of figs and grapes."
Source: Gutenberg

J. Cyril M. Weale Van Eyck

The cities of Flanders and Brabant were the gainers by the exodus of craftsmen that presently set in. Of their number, sooner or later, was Hubert, who, prior to 1425 at any rate, had already settled at Ghent and acquired the freedom of that city. News of the unfinished polyptych remaining on his hands soon came to the ears of Jodoc Vyt, a wealthy burgher, who eagerly embraced the opportunity of striking the bargain by which he acquired all rights in the picture and so linked his name and personality for all time with this ineffable monument of the painter's art.
Source: Gutenberg

J. Cyril M. Weale Van Eyck

These panels are even more remarkable perhaps than the centre-piece for the diversity and multiplicity of the types portrayed, and for the wealth of landscape relieved by bird life lavished in their embellishment.
The "Adoration of the Lamb" is dominated in the upper zone by a triple panel, the centre framing the Almighty enthroned in majesty, whose is the kingdom, the power, and the glory—a supreme conception of the Eternal Father, unequalled for majestic stillness of face, intellectual power of brow, and depth and placidity of vision
Source: Gutenberg

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