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Journal of Undergraduate Research

Keywords

carved Apes, Jan Van Eyck's Ghent Altarpiece, medieval and renaissance art, altarpiece

College

Fine Arts and Communications

Department

Art

Abstract

Traditionally, apes represent sin and the fallen state of mankind in medieval and renaissance art. Applying this interpretation to all apes represented in art can prove troubling, however, as in Jan van Eyck’s Ghent Altarpiece (1425-32). This altarpiece painted by the Flemish master for St. Bavo’s Cathedral in Ghent, Belgium, is a celebration of Christ as the mystic lamb of God. It’s exterior features the scene of the Annunciation of Christ’s birth as well as the sibyls and prophets who foretold it. The interior portrays not only Christ crowned and enthroned above the world, flanked by Mary, John the Beloved and angels, but also as the sacrifice and presiding high priest at a celestial mass to which all the righteous flock. Thus because of the subject matter of the altarpiece, as well as the placement of the carved apes within the composition, the normal interpretation of apes as icons of folly seemed incongruous. The purpose of this research has been to find a more satisfactory explanation for the presence of the apes.

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