The Van Eyck exhibition at the Louvre unveils: (re)discover La Vierge du chancelier Rolin (The Virgin of Chancellor Rolin)

To mark the restoration of Van Eyck's masterpiece The Virgin of Chancellor Rolin, the Musée du Louvre is unveiling an exceptional exhibition featuring the largest number of Van Eyck's works ever presented in France. From March 20 to June 17, 2024, visitors to the first-floor Salle de la Chapelle will discover some sixty works that will take us deep into the ins and outs of this creation.

The Salle de la Chapelle at the Musée du Louvre is transformed into an exceptional setting for : Revoir Van Eyck. The Virgin of Chancellor Rolin. From March 20 to June 17, 2024, this exhibition, curated by Sophie Caron, Curator in the Department of Paintings, revolves around the historic restoration of the only painting by Jan van Eyck held by the Paris museum.

For the first time since it entered the Louvre in 1800, the work underwent a major restoration at the Centre de Recherche et de Restauration des Musées de France. The work lightened the layers of oxidized varnish that had darkened the painting, revealing the original splendor of this major work of Western art. To enable us to (re)discover this work, the Musée du Louvre has decided to devote an entire exhibition to it.

This exhibition offers an in-depth immersion in Van Eyck's work. It comprisessome sixty items: painted panels, manuscripts, drawings, bas-reliefs and gold and silver objects, all carefully selected to enrich our understanding of the painting and explore its many facets.

Questions guide visitors through this exhibition: Why is such a meticulously detailed landscape almost hidden in the background? What is the story behind the two discreet figures in the garden? How does this work relate to the art of illumination and carved funerary bas-reliefs? How did Van Eyck 's contemporaries perceive this work?

On arrival, the painting, in its unconventional square format, takes pride of place at the center of the exhibition. You can admire all the details and meticulousness of this exceptional work up close. We can even turn around and discover that the spine of this painting is painted with a faux green marble effect, allowing us to understand that Van Eyck imagined his paintings as an object, and here, as a book. Beyond its aesthetic value, this painting is a key witness to the tensions and innovations of Flemish art in the early 15th century. The exhibition highlights the way in which Van Eyck was part of his era, while at the same time standing out for his unique and revolutionary approach.

The exhibition invites us to plunge into Van Eyck's world and understand why and how this masterpiece was created, through a journey divided into six thematic sections, enriched by the loan of international works and an innovative digital device. Each of these sections offers a particular insight into the painting and the artistic context of the period.

1. Nicolas Rolin meets the Virgin and Child

This first part focuses on the painting's main scene: Nicolas Rolin's unusual presentation of the Virgin and Child as Salvator Mundi. Van Eyck's bold depiction of the figures on an equal scale and the comparison with the Lucca Madonna in the Städel Museum provide a striking counterpoint and introduce the visitor to the intimacy of this divine encounter.

2. Portraiture in the art of Van Eyck

The second section explores Van Eyck's mastery of portraiture, focusing in particular on Nicolas Rolin's highly individualized face. It highlights Van Eyck's technique by comparing it with other contemporary works, notably the Portrait de Baudoin de Lannoy, and underlines the breathtaking life and realism captured by the artist.

3. Imaginary Architecture

This section examines the architecture painted by Van Eyck, a dreamlike blend of Romanesque church and Mediterranean-influenced palace. It examines the symbolism of the capitals and the choice of décor designed to underline the exceptional nature of the meeting between Rolin and the Virgin.

4. Landscape in Van Eyck's work

The fourth section is dedicated to the landscape, an essential element of the painting. Here, Van Eyck deploys all his talent to create a world that is both idealized and precise, inviting meditation. The landscape is explored as a territory into which Rolin can project himself, offering deep immersion and encouraging prayer.

5. The Garden and the Little People

The penultimate section focuses on the inner garden and the two small, mysterious figures, highlighting their importance in the composition and their role in guiding the viewer's gaze through the work. This section also explores links with the art of the Cologne painters and goldsmiths of the period.

6. The Painted Reverse and Object Functions

The final section reveals the discovery of the reverse of the painting, painted in a trompe-l'oeil of faux green marble, and discusses hypotheses about the work's multiple functions. It discusses the idea of a mobile devotional painting, possibly intended as an epitaph for Nicolas Rolin, and draws parallels with sculpted epitaphs of the period.

In conclusion, the exhibition at the Musée du Louvre offers an enriched reading of The Virgin of Chancellor Rolin, through a didactic and immersive journey. It underlines Van Eyck's importance in the history of art, reveals the details and depth of his work thanks to a spectacular restoration, and invites us to rediscover this masterpiece in all its complexity.

For art connoisseurs and novices alike, this exhibition at the Louvre offers a unique opportunity to plunge into Van Eyck 's world and appreciate the complexity and beauty of his work. It's a must-see for anyone wishing to explore the depths of Flemish art and rediscover a treasure trove of the world's artistic heritage, now magnificently restored for us to enjoy.