The Ghent Altarpiece, completed in 1432 by Hubert van Eyck (1385/90-1426) and Jan van Eyck (1390-1441)

Hubert van Eyck (c. 1385/90–1426) and Jan van Eyck (c. 1390–1441), The Adoration of the Mystic Lamb (The Ghent Altarpiece), 1432, oil on panel, 350 × 461 cm (open), 350 × 235 cm (closed), St Bavo’s Cathedral, Ghent

The Ghent Altarpiece, completed in 1432 by Hubert van Eyck (1385/90-1426) and Jan van Eyck (1390-1441), exemplifies the artistic, theological, and political landscape of 15th-century Ghent. A masterpiece of the early Renaissance, it surpasses its time in technical innovation, bridging medieval traditions with emerging humanist ideals in the Burgundian Netherlands.

The period saw increasing emphasis on personal devotion and interior spirituality, influenced by Devotio Moderna, which encouraged contemplative engagement with Christ through self-reflection, in contrast to the elaborate ceremonies, festivals, and public rituals. The altarpiece’s realism and intricate symbolism reflect this shift towards private devotion, inviting viewers into an immersive sacred narrative.

Ghent, one of Europe’s wealthiest cities, was governed by a powerful guild-based civic system, frequently resisting external rule. Its long history of conflict with the Counts of Flanders and the Dukes of Burgundy included revolts over taxation and political autonomy. Jodocus Vijd, a leading figure in Ghent’s political elite, commissioned the altarpiece as an act of devotion and a statement of his status in a city where power and religious patronage were deeply intertwined.

At its centre, the Mystic Lamb stands on an altar, its blood flowing into a chalice, an image drawn from Revelation (5:6, 7:9-17, 22:1), symbolising Christ as Redeemer and ruler of heaven. The surrounding angels hold instruments of the Passion, reinforcing the sacrificial nature of His death, while saints, clergy, and laypeople gather to represent universal redemption.

The outer panels depict Adam and Eve with unprecedented realism, showing fleshiness, veins, and anatomical imperfections, departing from earlier stylised portrayals. Some scholars have speculated that Eve’s rounded abdomen suggests pregnancy, though this remains disputed. It more likely reflects the artistic tendency to depict full, vital bodies as a symbol of fertility and the continuity of life, reinforcing Eve’s theological role as the ‘mother of all the living’ (Genesis 3:20).