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The appearance of an angel to myrrh-bearing women - Jan van Eyck. 72x89
This is the earliest of the paintings associated with his name Yana Wai Eyka. Completed around 1420, “The appearance of an angel to myrrh-bearing women” was once part of the triptych or frieze-shaped series of paintings: at the right edge, golden beams are visible coming from a lost neighboring composition. The series was early fragmented, and already at the end of the 15th century the Myrrh-bearing Women existed as a separate, independent work; it was at this time in the lower right corner that the coat of arms of its then owner, Philippe before Commin, adviser and chronicler of the last Burgundian duke Karl the Bold and his enemy, the French king Louis XI, was added.
The landscape plays a very large role. Brownish cliffs surround the central scene on all sides. The dark landscape, like a wide, dull frame, “calms” the image, introduces a note of solemn restraint and mystery. In the distance it becomes lighter and more spacious; to the right, the road rises to the castle on a hill, to the left a city is piling up in the lowland: densely standing houses, towers, temples under semicircular eastern domes. On the left behind the rocks, a faint morning light streams onto the pinkish towers of Jerusalem and the clear sky brightens. This is the first in world painting and, moreover, a surprisingly subtle image of morning lighting.
As if gliding along the rocks, three women approach the tombwho brought the sacred oil - miro to anoint the body of the dead Christ. An angel crouched on the lid of the sarcophagus tells them that Christ has risen and left the tomb.
The warriors, who were assigned to guard her, were sleeping right there. The round tender face and soft magnificent hair of the angel are characteristic of the type of beauty that we are familiar with from the authentic works of Jan van Eyck. If he really took part in the work on the picture, then the work of his hands could also be a stocky, fat warrior with a halberd and a magnificent helmet on the ground next to him; this is evidenced by both the living characteristic and volumetric plasticity of the figure, and the material persuasiveness of things. Ian could walk with his brush through the sky, adding either a cloud or a school of flying birds. Finally, in a looser than the rest of the landscape, painting the lawn with the road to the castle and the fluffy trees next to her, his hand is also felt.