The Virgin and Child with Canon Joris Van der Paele, 1436 Jan van Eyck (b.1395-1441)

We create our paintings with museum quality and covering the highest academic standards. Once we get your order, it will be entirely hand-painted with oil on canvas. All the materials we use are the highest level, being totally artist graded painting materials and linen canvas.

We will add 1.6" (4 cm) additional blank canvas all over the painting for stretching.

High quality and detailing in every inch are time consuming. The reproduction of Jan van Eyck also needs time to dry in order to be completely ready for shipping, as this is crucial to not be damaged during transportation.
Based on the size, level of detail and complexity we need 8-9 weeks to complete the process.

In case the delivery date needs to be extended in time, or we are overloaded with requests, there will be an email sent to you sharing the new timelines of production and delivery.

TOPofART wants to remind you to keep patient, in order to get you the highest quality, being our mission to fulfill your expectations.

We not stretch and frame our oil paintings due to several reasons:
Painting reproduction is a high quality expensive product, which we cannot risk to damage by sending it being stretched.
Also, there are postal restrictions, regarding the size of the shipment.
Additionally, due to the dimensions of the stretched canvas, the shipment price may exceed the price of the product itself.

You can stretch and frame your painting in your local frame-shop.

Once the painting The Virgin and Child with Canon Joris Van der Paele is ready and dry, it will be shipped to your delivery address. The canvas will be rolled-up in a secure postal tube.

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The paintings we create are only of museum quality. Our academy graduated artists will never allow a compromise in the quality and detail of the ordered painting. TOPofART do not work, and will never allow ourselves to work with low quality studios from the Far East. We are based in Europe, and quality is our highest priority.

In the luminous world of early Netherlandish painting, Jan van Eyck's Madonna with Canon van der Paele stands as a testament to the revolution in seeing that transformed European art. Here, in the crystalline clarity of a sacred space, we witness an impossible meeting between heaven and earth, rendered with such fierce attention to detail that the supernatural becomes tangibly real.

The composition arranges its figures in a hieratic triangle, with the Virgin and Child at its apex. She sits enthroned in a space that seems to pulse with dimensional accuracy – those rounded arches and carved capitals speaking to van Eyck's obsession with architectural veracity. The canon kneels in perpetual devotion, his fleshy face a masterwork of psychological portraiture, while St. Donatian in his jewel-encrusted blue cope and St. George in his gleaming armor stand as celestial guardians. The effect is both intimate and monumental.

Van Eyck's technical virtuosity reaches its apex in his handling of light and surface. The red of Mary's robe achieves an almost metaphysical presence, its deep folds capturing and reflecting light with an intensity that transforms fabric into pure color. Notice how the artist depicts the play of light on St. George's armor – each reflection is a tiny painting in itself, a world within a world. This is not mere technical showing off; it's a philosophical statement about the nature of reality and representation.

The painting's power lies in its fusion of the mundane and the divine. Van Eyck renders every detail – from the intricate Oriental carpet to the botanically accurate flowers adorning Mary's throne – with identical intensity. The result is a democratization of vision where every element, whether sacred or profane, receives the same penetrating attention. This radical objectivity, this refusal to hierarchize visual information, marks the beginning of modern painting.

The artist's infamous signature on the frame – "Jan van Eyck made me" – reveals his awareness of creating something revolutionary. This is not just a devotional image but a declaration of painting's power to transform perception itself. In capturing the material world with such unprecedented precision, van Eyck paradoxically reveals its spiritual essence, suggesting that true transcendence lies not in abandoning reality but in looking at it more closely than anyone had dared to look before.