Arnolfini Portrait
Identity of subjects

In their book published in 1857, Crowe and Cavalcaselle were the first to link the double portrait with the early 16th century inventories of Margaret of Austria. They suggested that the painting showed portraits of Giovanni Arnolfini and his wife. Four years later James Weale published a book in which he agreed with this analysis and identified Giovanni's wife as Jeanne (or Giovanna) Cenami. For the next century most art historians accepted that the painting was a double portrait of Giovanni di Arrigo Arnolfini and his wife Jeanne Cenami, but a chance discovery published in 1997 established that they were married in 1447, thirteen years after the date on the painting and six years after van Eyck's death.

It is now believed that the subject is either Giovanni di Arrigo or his cousin, Giovanni di Nicolao Arnolfini, and a wife of either one of them. This is either an undocumented first wife of Giovanni di Arrigo or a second wife of Giovanni di Nicolao, or, according to a recent proposal, Giovanni di Nicolao's first wife Costanza Trenta, who had died perhaps in childbirth by February 1433. In the latter case, this would make the painting partly an unusual memorial portrait, showing one living and one dead person. Details such as the snuffed candle above the woman, the scenes after Christ's death on her side of the background roundel, and the black garb of the man, support this view. Both Giovanni di Arrigo and Giovanni di Nicolao Arnolfini were Italian merchants, originally from Lucca, but resident in Bruges since at least 1419. The man in this painting is the subject of a further portrait by van Eyck in the Gemäldegalerie, Berlin, leading to speculation he was a friend of the artist.
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