New Publication: The Ghent Altarpiece: Research and Conservation of the Exterior, Edited by Bart Fransen and Cyriel Stroo

The outer panels of the Ghent Altarpiece had been overpainted to a considerable extent. The virtuosity of the Eyckian technique and aesthetics remained hardly visible. And yet, this had never been observed before the start of the conservation treatment. By removing the overpaint, the tonal richness and the coherent rendering of light and space once again came to the fore. Especially the suggestion of volumes and the spaciousness of the ensemble gained strength because of the virtuoso play of deep shadows and bright light accents, and not in the least because of the surprising trompe-l’oeil effect of the frames conceived as a stone framework. Or to put it in the words of the comments of one of the experts, dr. Maryan Ainsworth: The paintings live and breathe again in the time of the Van Eyck brothers. The sharp observation skills, the quick, accurate execution, the knowledge, curiosity and ingenuity about all the things that are depicted, are now unveiled after centuries. The profit for the knowledge of and further research into the essence of Eyckian aesthetics is considerable. And finally there is the discovery that the much-discussed quatrain was applied simultaneously with the polychromy of the frames: a real ‘coup de foudre’ in the discourse of the current art-historical research! The subtleties of the Eyckian technique could also be mapped out in more detail. How the Van Eycks managed to keep the final result and the desired effect in mind during every phase of the execution, from imprimatura to finishing touch. The artists made a statement about the art of painting, giving ‘technique’ as such a new prominence. The Ghent Altarpiece may be understood at some point as a major showpiece for a highly sophisticated pictorial technique. 

We hope that this publication of the results of the research and conservation campaign on the exterior of the altarpiece can help future researchers to ask better questions. Questions, and answers, that may produce a more balanced picture of Van Eyck’s techniques, methods and materials.

Click on the link ‘Online content’ for a preview of the book (21 pages) and a free copy of  Volume 15 The Ghent Altarpiece. A Bibliography (98 pages).

Buy the book here.

Table of Contents

Foreword – Ludo Collin

Preface – Hilde De Clercq, Christina Ceulemans

Introduction – Maximiliaan Martens, Christina Ceulemans, Ron Spronk, Anne van Grevenstein-Kruse

Transformations in the Sixteenth and Seventeenth Centuries -Hélène Dubois

Frames and Support: Technique and Structural Treatment – Jochen Ketels, Jean-Albert Glatigny, Anne-Sophie Augustyniak

Paint and Polychromy: Chemical Investigation of the Overpaints -Jana Sanyova, Geert Van der Snickt, H Koen Janssens, Peter Vandenabeele

Conservation and Restoration Treatment

The Painted Surface – Livia Depuydt-Elbaum, Fran

The Frames: In Search of Lost Unity -Anne-Sophie Augustyniak, Laure Mortiaux

The Van Eycks’ Creative Process

The Paintings: from (Under)drawing to the Final Touch in Paint – Marie Postec, Griet Steyaert

The Frames: an Exceptional Polychromy – Anne-Sophie Augustyniak, Laure Mortiaux, Jana Sanyova

The Authenticity of the Quatrain and the other Frame Inscriptions – Susan Frances Jones, Anne-Sophie Augustyniak, Hélène Dubois

Imagining the Original Display – Bart Fransen, Jean-Albert Glatigny

Restoring in the Public Eye – Bart Devolder

Epilogue: Implications and Perspectives – Cyriel Stroo, Maximiliaan Martens


Photography before and after Treatment – Stéphane Bazzo, Jean-Luc Elias, Katrien Van Acker

Inscriptions on the Exterior – Susan Frances Jones, Marc H. Smith

The Quatrain: A New Reconstruction – Marc H. Smith, Susan Frances Jones, Anne-Sophie Augustyniak

Dimensions of Frames and Supports – Jochen Ketels, Jean-Albert Glatigny, Anne-Sophie Augustyniak

The Ghent Altarpiece: a BibliographyDominique Deneffe, Jeroen Reyniers

Project Participants
Photographic Acknowledgements
Index of Names
Index of Works of Art


Published by Roisin Astell

Roisin Astell received a First Class Honours in History of Art at the University of York (2014), under the supervision of Dr Emanuele Lugli. After spending a year learning French in Paris, Roisin then completed an MSt. in Medieval Studies at the University of Oxford (2016), where she was supervised by Professor Gervase Rosser and Professor Martin Kauffmann. In 2017, Roisin was awarded a CHASE AHRC studentship as a doctoral candidate at the University of Kent’s Centre for Medieval and Early Modern Studies, under the supervision of Dr Emily Guerry.

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