The Style Of Jan Van Eyck's Dresden Triptych Essay

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The Style of the Dresden Triptych Jan Van Eyck’s distinctive late style is clearly depicted in the Dresden Triptych. Through careful analysis of the figures, treatment of space, and color, this triptych is clearly painted in an elegant, softer, more atmospheric style. The faces and drapery on the figures are also important visual elements to take into account when comparing this work with Van Eyck’s late style. In earlier works, Van Eyck’s figures had more sculptural, bold, weighted associations. This work portrays less bulk, less weight of the body, and has more of an elegant approach to the human figure. The relationships between these lighter figures are more gentle and loving. The Virgin seems to have a more intimate, mother-son interaction with the Child, rather than simply placing him in her lap. The viewer can almost feel the tender touch between St. Michael and the patron. It appears that each figure possesses a delicate swaying disposition, rather than angular and thick bodies under heavy fabrics, like that seen in Van Eyck’s early style. The treatment of slimming down the weight of the figures to make them seem lighter and more whimsical is an important distinction between the two styles. Along with the style of the figures mentioned above, the drapery hanging over each figure is one of the biggest differences in the early and late style of Van Eyck. The drapery seen in this triptych seems to be softer and daintier around the edges. There is a certain softness that is acquired when dealing with the treatment of fabric over these newly styled figures. The gown worn by the patron is very similar to Giovanni Arnolfini, who was painted at an earlier time by Van Eyck. The difference is clearly seen between the volumes of the fabric, that in this triptych, the garment is of a lighter weighted orientation. Each of the faces seen in this triptych is

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