"Van Eyck" Quotes from Famous Books
 ... anatomy of a house of the period. In one of the latest of the MSS. exhibited on that occasion was the self-same design again. The little man was no longer a grotesque, and the picture had all the high finish and completeness in drawing that we might expect in the workmanship of a contemporary of Van Eyck. There was a full series of intermediate books, showing the ...
— The Library • Andrew Lang
... or divination by playing-cards, dates from an early period of their obscure history. In the museum of Nantes there is a painting, said to be by Van Eyck, representing Philippe le Bon, Archduke of Austria, and subsequently King of Spain, consulting a fortune-teller by cards. This picture cannot be of a later date than the fifteenth century. Then the art was introduced into England is unknown; probably, however, the earliest printed notice ...
— The Gaming Table: Its Votaries and Victims - Volume II (of II) • Andrew Steinmetz
... the polished floors. He felt self-conscious when he looked at the nudes, and he blushed when he found a woman standing by his side as he looked at the portrait of Jean Arnolfini and Jeanne his wife by van Eyck. He turned hotly away, and wondered that there was no blush on the face of the woman. In Ballyards, a man always pretended not to see a woman about to have a child ... unless, of course, he was with other men and the ...
— The Foolish Lovers • St. John G. Ervine
... the first half of the fifteenth century, the problem was solved in the southern Netherlands by Jan and Hubert van Eyck. The famous Flemish brothers mixed their paint with specially prepared oils and this allowed them to use wood and canvas or stone or anything else as a background for ...
— The Story of Mankind • Hendrik van Loon
... observes, that the new touches on old pictures do not preserve their tone, but he does not give the true reason. He seems to entertain no notion that pictures were painted with any other vehicle than common oil; and, in a short discussion upon Van Eyck's discovery, he only shows that he takes up what others have said, and never himself could have read what the monk Theophilus really wrote; for, like M. Merimee, he supposes the monk to say what he never did say. It is only surprising that, in his numerous cleanings, he did not discover the ...
— Blackwood's Edinburgh Magazine, Volume 58, Number 360, October 1845 • Various
... relative importance the whole effect is lost—it becomes top-heavy, as it were, and collapses. As for the number of details given, this does not matter: a man may give as few or as many as he chooses; he may stop at outline, or he may go on to Jean Van Eyck; what is essential is that, no matter how far or how small a distance he may go, he should have begun with the most important point and added each subsequent feature in due order of importance, so that if he stopped at any moment ...
— The Note-Books of Samuel Butler • Samuel Butler
... from the northern countries should be attracted by the renown of the Italian masters and, after learning all that Italy could teach them, should return home to practice their art in their own particular fashion. About a century after Giotto's time two Flemish brothers, Van Eyck by name, showed that they were not only able to paint quite as excellent pictures as the Italians of their day, but they also discovered a new way of mixing their colors superior to that employed in Italy. Later, when painting had reached its height in Italy, ...
— An Introduction to the History of Western Europe • James Harvey Robinson
... admiration, admitting, however, question of right and wrong,[75] at Van Eyck, Holbein, Perugino, Francia, Angelico, Leonardo da Vinci, Correggio, Vandyck, Rembrandt, Reynolds, Gainsborough, Turner, and the modern Pre-Raphaelites.[76] You had better look at no other painters than these, for you run a chance, otherwise, of being ...
— The Elements of Drawing - In Three Letters to Beginners • John Ruskin |
