{"id":{"repo_id":"wustl","oai_identifier":"oai:openscholarship.wustl.edu:etd_restrict-1024"},"canonical_url":"https://search.dev.ndltd.org/etd/wustl/oai:openscholarship.wustl.edu:etd_restrict-1024","repository":{"repo_id":"wustl","name":"Washington University in St. Louis","base_url":"https://openscholarship.wustl.edu/do/oai/"},"display":{"title":"The Marian Paintings of Jan Van Eyck","abstract":"This study confronts a curious situation in the History of Art. Jan van Eyck has been long recognized as a great master, and perhaps the key figure in Northern panel painting of the fifteenth century. Of the approximately thirty recognized works that have come down to us from his hand, roughly half are portraits. Of the fifteen or so non-portrait panels finished by Jan, eight have as a major focus the Virgin Mother of God. Though the specific details surrounding the commissioning of these works are largely unknown (and likely to remain so), it does seem curious that these Marian works have never been studied as a body to see if they reveal a distinctive attitude toward the Virgin that could be called characteristic of Jan van Eyck. This study confronts a curious situation in the History of Art. Jan van Eyck has been long recognized as a great master, and perhaps the key figure in Northern panel painting of the fifteenth century. Of the approximately thirty recognized works that have come down to us from his hand, roughly half are portraits. Of the fifteen or so non-portrait panels finished by Jan, eight have as a major focus the Virgin Mother of God. Though the specific details surrounding the commissioning of these works are largely unknown (and likely to remain so), it does seem curious that these Marian works have never been studied as a body to see if they reveal a distinctive attitude toward the Virgin that could be called characteristic of Jan van Eyck.","abstract_html":"This study confronts a curious situation in the History of Art. Jan van Eyck has been long recognized as a great master, and perhaps the key figure in Northern panel painting of the fifteenth century. Of the approximately thirty recognized works that have come down to us from his hand, roughly half are portraits. Of the fifteen or so non-portrait panels finished by Jan, eight have as a major focus the Virgin Mother of God. Though the specific details surrounding the commissioning of these works are largely unknown (and likely to remain so), it does seem curious that these Marian works have never been studied as a body to see if they reveal a distinctive attitude toward the Virgin that could be called characteristic of Jan van Eyck. This study confronts a curious situation in the History of Art. Jan van Eyck has been long recognized as a great master, and perhaps the key figure in Northern panel painting of the fifteenth century. Of the approximately thirty recognized works that have come down to us from his hand, roughly half are portraits. Of the fifteen or so non-portrait panels finished by Jan, eight have as a major focus the Virgin Mother of God. Though the specific details surrounding the commissioning of these works are largely unknown (and likely to remain so), it does seem curious that these Marian works have never been studied as a body to see if they reveal a distinctive attitude toward the Virgin that could be called characteristic of Jan van Eyck.","abstract_has_math":false,"creators":["Purtle, Carol Jean"],"institution":null,"degree_name":"Doctor of Philosophy (PhD)","degree_level":"Restricted Access Dissertation","degree_discipline":null,"degree_department":null,"school":null,"contributors":[],"advisors":[],"committee_chairs":[],"committee_members":[],"year":1976,"date_issued":"1976-12-15T08:00:00Z","date_published":"1976-12-15T08:00:00Z","updated_at":"2026-07-24T06:12:01Z","subjects":["History of Art, Architecture, and Archaeology"],"languages":["English (en)"],"rights":[],"rights_urls":[],"identifier_entries":[{"key":"dc:identifier.doi","label":"DOI","values":["https://doi.org/10.7936/K7CZ35K4"],"render_values":[{"text":"https://doi.org/10.7936/K7CZ35K4","href":"https://doi.org/10.7936/K7CZ35K4","code":true}]}]},"links":{"outbound_url":"https://openscholarship.wustl.edu/etd_restrict/33","outbound_label":"Repository record","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:creator","label":"Author","values":["Purtle, Carol Jean"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"thesis:degree_level","label":"Degree Level","values":["Restricted Access Dissertation"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Doctor of Philosophy (PhD)"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["History of Art, Architecture, and Archaeology"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["English (en)"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["https://openscholarship.wustl.edu/etd_restrict/33"]},{"key":"dc:identifier.doi","label":"DOI","values":["https://doi.org/10.7936/K7CZ35K4"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["This study confronts a curious situation in the History of Art. Jan van Eyck has been long recognized as a great master, and perhaps the key figure in Northern panel painting of the fifteenth century. Of the approximately thirty recognized works that have come down to us from his hand, roughly half are portraits. Of the fifteen or so non-portrait panels finished by Jan, eight have as a major focus the Virgin Mother of God. Though the specific details surrounding the commissioning of these works are largely unknown (and likely to remain so), it does seem curious that these Marian works have never been studied as a body to see if they reveal a distinctive attitude toward the Virgin that could be called characteristic of Jan van Eyck. This study confronts a curious situation in the History of Art. Jan van Eyck has been long recognized as a great master, and perhaps the key figure in Northern panel painting of the fifteenth century. Of the approximately thirty recognized works that have come down to us from his hand, roughly half are portraits. Of the fifteen or so non-portrait panels finished by Jan, eight have as a major focus the Virgin Mother of God. Though the specific details surrounding the commissioning of these works are largely unknown (and likely to remain so), it does seem curious that these Marian works have never been studied as a body to see if they reveal a distinctive attitude toward the Virgin that could be called characteristic of Jan van Eyck."]},{"key":"dc:title","label":"Title","values":["The Marian Paintings of Jan Van Eyck"]}]}],"canonical_facts":{"dc:creator":["Purtle, Carol Jean"],"dc:description.abstract":["This study confronts a curious situation in the History of Art. Jan van Eyck has been long recognized as a great master, and perhaps the key figure in Northern panel painting of the fifteenth century. Of the approximately thirty recognized works that have come down to us from his hand, roughly half are portraits. Of the fifteen or so non-portrait panels finished by Jan, eight have as a major focus the Virgin Mother of God. Though the specific details surrounding the commissioning of these works are largely unknown (and likely to remain so), it does seem curious that these Marian works have never been studied as a body to see if they reveal a distinctive attitude toward the Virgin that could be called characteristic of Jan van Eyck. This study confronts a curious situation in the History of Art. Jan van Eyck has been long recognized as a great master, and perhaps the key figure in Northern panel painting of the fifteenth century. Of the approximately thirty recognized works that have come down to us from his hand, roughly half are portraits. Of the fifteen or so non-portrait panels finished by Jan, eight have as a major focus the Virgin Mother of God. Though the specific details surrounding the commissioning of these works are largely unknown (and likely to remain so), it does seem curious that these Marian works have never been studied as a body to see if they reveal a distinctive attitude toward the Virgin that could be called characteristic of Jan van Eyck."],"dc:identifier":["https://openscholarship.wustl.edu/etd_restrict/33"],"dc:identifier.doi":["https://doi.org/10.7936/K7CZ35K4"],"dc:language":["English (en)"],"dc:subject":["History of Art, Architecture, and Archaeology"],"dc:title":["The Marian Paintings of Jan Van Eyck"],"thesis:degree_level":["Restricted Access Dissertation"],"thesis:degree_name":["Doctor of Philosophy (PhD)"]},"updated_at":"2026-07-24T06:12:01Z"}