A Man in a Turban,1433扬·凡·艾克
荷兰画家扬·凡·艾克(Jan Van Eyck 1385～1441年)。凡·艾克比罗伯特·康平更加有名，对油画技术的发展的贡献更大，扬·凡·艾克被人们称为油画的发明者。凡·艾克同他的兄长胡伯特·凡·艾克(H，VanEyck)共同完成了许多作品。其中最著名的是为根特市教堂画的“根特祭坛画”。
根特祭坛画
The Ghent Altarpiece,1432
扬·凡·艾克结束了尼德兰艺术的那种平面、僵硬、缺少空间感和明暗的绘画风格，开始在明暗、透视和油画技巧上进行大胆探索改进，在自己的作品中表现出对现实生活的关注，他在肖像画、风俗画以及风景画方面都有较大的贡献，为尼德兰绘画发展开辟了新的道路。
——by 油画世界
作品欣赏
Portrait of Giovanni Arnolfini,1435
意大利佛罗伦萨诸大师都是与凡·艾克同时代的艺术家，他们的绘画手法同尼德兰画家有很大的区别。意大利人竭力用科学的手段在绘画中再现自然。他们画空间深度，必先画出透视线，画人体，必须精通人体解剖。而凡·艾克等北方画家采用再现自然的方法与此有许多不同之处。
凡·艾克他们耐心地描绘对象的一个又一个细部，一直画到整个画面像镜子一样反映出自然对象为止，以此取得真实感。我们可以根据画面有精美的织物，闪光的珠宝，仔细描画的一草一木和大量的风景场面，断定这类画出于尼德兰画家之手。而那种有优美的人体，恰当的比例和正确的透视关系的绘画，则出自意大利画家之手。可以说这也是两个地区各自的绘画特色。
Virgin and Child with Saints and Donor,1441
为了更精细和真实地描绘客观对象，凡·艾克不得不对绘画技术进行改进。在凡·艾克之前以及整个中世纪，人们都采用蛋黄调和颜料作画，这就是坦培拉(Tempera)。坦培拉不透明，也很难精确地画出过渡色彩。为此，凡·艾克大胆地改进了颜料的调和剂，用掺有稀释油的调料液（这种稀释油主要是亚麻油）来代替蛋黄调和颜色，使颜色易于调配，便于用笔画。这样，便可层层上色，更仔细、更准确地作画，画面也变得透明而富有光泽。当时这样的油画主要画在木板上，这种奇迹般精细透明的油画效果，震惊了凡·艾克同时代的人，难怪人们都称凡·艾克是油画的发明者。准确地说，他应当是油画技术的革新者，因为在他之前早有人使用过油作调和剂来绘画了。
乔凡尼·阿尔诺芬尼夫妇肖像The Arnolfini Wedding. The Portrait of Giovanni Arnolfini and his Wife Giovanna Cenami (The Arnolfini Marriage),1434
杨·凡·艾克除完成著名的“根特祭坛画”外，还作有“教堂中的圣母”、 “凡·德尔·巴利的圣母子”、 “玛格利特肖像”等画。他在艺术上最有成就的还要数他的肖像画，其中最著名的一幅是“阿尔诺芬尼夫妇像”。
The Lucca Madonna,1436
The Madonna in the Church,1437-1439
The Birth of John the Baptist,1422
The Last Judgment (detail),1426
St. Francis Receiving the Stigmata,1427
Adam, from the left wing of the Ghent Altarpiece,1425-1429
Adoration of the Lamb,1425-1429
Eve, from the right wing of the Ghent Altarpiece,1425-1429
The Ghent Altarpiece, The Virgin Mary,1426-1429
The Offerings of Cain and Abel,1425-1429
The Soldiers of Christ,1427-1430
Portrait of Cardinal Albergati,1431
Angel Annunciate, from exterior of left panel of the Ghent Altarpiece,1432
Donor and St. John the Baptist,1432
God the Father,1432
Isabella Borluut, panel from the Ghent Altarpiece,1432
Left panel from the Ghent Altarpiece,1432
Portrait of a Young Man,1432
St. Jerome in his Study,1432
The Cumaean Sibyl,1432
The Erythraean Sibyl,1432
The Ghent Altar (detail),1432
The Ghent Altar (detail),1432
The Ghent Altar (detail),1432
The Ghent Altar (detail),1432
The Ghent Altar (detail),1432
The Ghent Altar (detail),1432
The Ghent Altar (detail),1432
The Ghent Altar (detail),1432
The Ghent Altar (detail),1432
The Ghent Altarpiece,1432
The Ghent Altarpiece (detail),1432
The Ghent Altarpiece, detail from the exterior of the right shutter,1432
The Prophet Zacharias and the Angel Gabriel,1432
Virgin Annunciate, from the exterior of the right panel of the Ghent Altarpiece,1432
A Man in a Turban,1433
The Ince Hall Madonna (The Virgin and Child Reading),1433
Man in a Blue Turban,1430-1433
Giovanni Arnolfini and His Wife Giovanna Cenami (The Arnolfini Marriage) (detail),1434
Giovanni Arnolfini and His Wife Giovanna Cenami (The Arnolfini Marriage) (detail),1434
Portrait of a Man with Carnation,1435
Portrait of Baudouin de Lannoy,1435
Portrait of Cardinal Albergati,1435
The Annunciation,1435
The Rolin Madonna (La Vierge au Chancelier Rolin),1435
The Virgin of the Chancellor Rolin entier,1435
Madonna and Child with Canon Joris van der Paele,1436
Portrait of Jan de Leeuw,1436
The Madonna of Canon van der Paele (detail),1436
The Madonna of Canon van der Paele (detail),1436
The Madonna of Canon van der Paele (detail),1436
The Madonna of Canon van der Paele (detail),1436
The Madonna of Canon van der Paele (detail),1436
The Virgin of the Chancellor Rolin (detail),1434-1436
The Virgin of the Chancellor Rolin (detail),1434-1436
The Virgin of the Chancellor Rolin (detail),1434-1436
St. Barbara,1437
The Virgin and Child in a Church,1437
The Virgin and Child in a Church,1437
Virgin and Child with St. Michael, St. Catherine and a Donor,1437
Small Triptych (central panel),1437
Madonna and Child at the Fountain,1439
Madonna at the Fountain,1439
Portrait of Margaret van Eyck,1439
Copy drawing of Madonna by the Fountain,1439
Portrait of Christ,1440
The Annunciation,1440
The Annunciation,1440
The Annunciation,1440
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