Name: ヤン・ヴァン・エイク、ジョヴァンニ・アルノルフィーニとその妻の肖像、1434年 (Jan Van Eyck, Portrait of Giovanni Arnolfini and his Wife, 1434)
Uploaded: 2021-01-14T05:03:06.000Z
Duration: 7 min 12 s
Description: VoiceTubeの動画で発音を聞きながら英語表現を覚えよう！学べる英語：

Dr. Zucker: We're in the National Gallery

and we're looking at Jan Van Eyck's portrait of ...

well, I learned this painting as the Arnolfini wedding portrait.

Dr. Zucker: But there's been a lot of scholarship subsequently

over what this painting actually represents.

which probably represents the most authoritative view right now,

in fact, this is not an actual wedding taking place

or being witnessed as you and I were taught,

Dr. Zucker: Some scholars suggested that perhaps

it's a memorial portrait and the woman on the right

actually had passed away the previous year,

but that's only one of a variety of theories.

is that whoever is represented here was an Italian

Dr. Harris: Bruges was a thriving economic town in the early 15th Century.

Dr. Zucker: His wealth is quite apparently throughout this portrait.

Dr. Harris: In a way, this portrait is about his wealth.

Everything from both their clothing to the furnishings of the house.

Dr. Zucker: Some have suggested that perhaps

actually giving a kind of authority to the women in legal affairs.

Dr. Harris: I don't think we'll ever know

to me that it can't simply be just a double portrait

because it really looks like something important is happening.

They're joining their hands, their shoes are off,

Dr. Zucker: Now those all have symbolic value.

This is a period when there's tremendous importance

put on symbolism, so the shoes being off,

for instance, as you mentioned is often a reference

Dr. Harris: We have a single candle in the chandelier,

which I was taught is a symbol of the presence of God,

But the way that they're joined together,

perhaps he's just greeting the visitors who we see in the mirror.

Dr. Zucker: There are two people who are in the doorway, actually,

wonderfully situated where we would be looking at this painting.

Dr. Harris: It does seem to me like something significant is going on.

Dr. Zucker: That there is a kind of witnessing taking place.

Dr. Harris: Yeah, I think that that's reinforced

by the signature that we see above the mirror

or translated, Johannes van eyck was here.

So there is that sense of the artists presences,

the artist witnessing, the artist being here in this room with these figures.

and really look at the different elements

The mirror in the center is really one of

not only in a sense, the greater visual reality

of this room depicted because we can actually see

as if we're standing in the back of the room looking forward,

Dr. Harris: Scenes from the passion of Christ.

Dr. Zucker: ... painted on the back pieces

of glass panels that are set into that wooden frame.

to get a sense of this when you're watching a video

but those little roundels around the mirror,

Dr. Zucker: They are, I would say, about half the size ...

Dr. Zucker: ... half the size of my fingernail.

from the Passion of Christ are represented there,

that we associate with the Northern Renaissance.

Dr. Zucker: Some of this painting seems to

have been painted with a single [hair brush].

Dr. Harris: If you look at the hair of the dog, for example.

Dr. Zucker: The dog is an interesting element

because you wouldn't expect to see a dog in a formal portrait.

How many wedding photographs have you seen with a dog in it?

Dr. Harris: Actually, dogs are common symbols in paintings of couples

because the dog is a symbol of fidelity or loyalty.

Dr. Zucker: Of course, there's tremendous attention

that's been paid to the dress of both figures

because they're wearing fur-lined clothing

and yet there is fruit on the tree outside.

So, it's a war moment and yet they're wearing their finest winter wear,

that's an issue that has, I think, perplexed our historians.

Dr. Harris: And that fruit on the window sill

may also be a symbol, or a sign I should say,

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ヤン・ヴァン・エイク、ジョヴァンニ・アルノルフィーニとその妻の肖像、1434年 (Jan Van Eyck, Portrait of Giovanni Arnolfini and his Wife, 1434)

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