| The "Ghent Altarpiece" revisited: 2012-2017
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2017 |
Grevenstein-Kruse, Anne van |
| "Revenons à notre Mouton" : Paul Coremans, Erwin Panofsky, Martin Davies and the "Mystic Lamb"
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2017 |
Dubois, Hélène |
| Results of three campaigns of dendrochronological analysis on the "Ghent Altarpiece" (1986-2013)
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2017 |
Fraiture, Pascale |
| La présentation de l"Agneau Mystique" dans la chapelle Vijd : le rapprochement progressif de deux retables
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2017 |
Verougstraete, Hélène |
| Jan van Eyck, polychromer (and designer) of statues
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2017 |
Geelen, Ingrid |
| Jan Van Eyck as illuminator? : Hand G of the Turin-Milan Hours
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2017 |
Reynolds, Catherine |
| Van Eyck's technique and materials : historical perspectives and contemporary context
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2017 |
Spring, Marika |
| The speed of illusion
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2017 |
Campbell, Lorne |
| Jan van Eyck's Greek, Hebrew and trilingual inscriptions
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2017 |
Jones, Susan Frances |
| Replications of exemplary form : new evidence on Jan van Eyck's "St Francis Receiving the Stigmata"
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2017 |
Smith, Jamie L. |
| Questioning the technical paradigm of the "Ghent Altarpiece"
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2017 |
Streeton, Noëlle |
| Small hairs : meaning and material of a multiple detail in the "Ghent Altarpiece's" Adam and Eva panels
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2017 |
Lehmann, Ann-Sophie |
| Jan van Eyck and his "stereoscopic" approach to painting
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2017 |
Leonardi, Renzo |
| The develoment process of the "Dresden Triptych" : news and questions
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2017 |
Neidhardt, Uta |
| Gold-brocaded velvets in paintings by Jan van Eyck : observations on painting technique
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2017 |
Duijn, Esther van |
| Jan van Eyck's Genoese commissions : the lost triptych of Battista Lomellini
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2017 |
Galassi, Maria Clelia |
| Early texts on some portraits by Jan van Eyck
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2017 |
Kemperdick, Stephan |
| The tomb-slab of Hubert Van Eyck and Gerard Horenbout : a tribute to the great Ghent master
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2017 |
Belle, Ronald van |
| A note on gold and silver in a metalpoint drawing by Jan van Eyck
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2017 |
Wallert, Arie |
| The adoration of the lamb : Philip the Good and Van Eyck's just judges
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2017 |
Dequeker, Luc |
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