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One of the most notable northern European authors of the Renaissance was that the Flemish painter, Jan van Eyck. Although there are few records about his early life and rise to prominence, the Van Eyck family was well regarded over the Burgundian Netherlands which enabled historians to surmise that he was born in the 1380s. After years of travelling through different northern courts and gaining admiration, Jan van Eyck painted his most renowned work, The Arnolfini Double Portrait. This work has become the subject of a whole lot of critical analysis for a bit of Renaissance artwork. Some historians have discovered that the work is demonstrative of artistic and social ideals which were both ahead of its time and touted based on controversy. However, taking into consideration the painting's patronage, symbolism, artistic fashion, and function, it becomes evident that The Arnolfini Double Portrait is an exemplar of the Renaissance era artistic conventions and is much less hard to parse as some critics would think. In order to discuss the painting in its entirety, It Is Crucial to explore the context of this painting's creation. The Arnolfini Double Portrait was dated 1434, and was probably completed in the exact same calendar year. The medium to the painting was oil paint on pine panel, also is among the few surviving panels from fifteenth century northern Europe. While the identity of the sitters for the painting remains a topic of disagreement amongst scholars, it is ordinarily accepted the man subject is Giovanni Arnolfini and the female subject was his spouse. In the end, Arnolfini was a successful Italian retailer with the capacity to commission such a painting, and was later used as a sitter for the following of Van Eyck's painting. The overall consensus at the.