What attracted the Pre-Raphaelites to Alfred Tennyson’s poem ‘The Lady of Shalott’? And how did the convex mirror from van Eyck’s ‘Arnolfini Portrait’ come to play an essential role in their depictions of the mysterious weaver and her deadly curse?
Reflections: Van Eyck and The Pre-Raphaelites
2 October 2017 - 2 April 2018
Sunley Room
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Discover how van Eyck’s 'Arnolfini Portrait' was one of the beacons by which the Pre-Raphaelites forged a radical new style of painting.
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Acquired by the National Gallery in 1842, the Arnolfini Portrait informed the Pre-Raphaelites’ belief in empirical observation, their ideas about draughtsmanship, colour and technique, and the ways in which objects in a picture could carry symbolic meaning.
The exhibition will bring together for the first time the 'Arnolfini Portrait' with paintings from the Tate collection and loans from other museums, to explore the ways in which Dante Gabriel Rossetti (1828-1882), Sir John Everett Millais (1829-1896) and William Holman Hunt (1827-1910), among others, were influenced by the painting in their work.
This exhibition is organised by the National Gallery in collaboration with Tate Britain.
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The National Gallery houses the national collection of paintings in the Western European tradition from the 13th to the 19th centuries. The museum is free of charge and open 361 days per year, daily between 10.00 am - 6.00 pm and on Fridays between 10.00 am - 9.00 pm.
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