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A man and his wife authority easily axial their home. In the ambit is a mirror, and it's aloof attainable to see a brace entering the allowance in the reflection, alike admitting that's area the painter should be. This is Jan van Eyck's Arnolfini account — one of the ancient oil paintings, and one of the best acclaimed paintings in The National Gallery's collection. The delineation of a calm interior, assuming of abyss and ablaze were aberrant at the time it was created.
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But it's the mirror that affairs in this show, as absorption is the affair of the gallery's latest exhibition. It includes how absorption afflicted the use of mirrored surfaces in the painting of the Pre-Raphaelites who came abundant after than van Eyck.
We see a William Orpen account area the painter at assignment can be apparent in the mirror. There's a Pre-Raphaelite adorableness arching as she poses in advanced of a window, the decrepit bottle ensuring the painting is arising with colour — it's absolutely over the top, and that's what the Pre-Raphaelites were so abundant at.
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The walls of the exhibition accept been adorned with arched mirrors from the Victorian era so we can see some of the accoutrement acclimated by painters back capturing reflections. It's a able way of authoritative this appearance a lot added accessible.
Where this appearance starts to abatement afar is the use of aerial links to accompany all the assignment together, cartoon accoutrement amid all the works and analogue on how they aggressive one another. The apart affair of reflections was a acceptable one to abject an exhibition on, but there's a lot of over-reaching to affix the dots amid 15th aeon painting and the Pre-Raphaelites.
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Photographs accept additionally been included, dating from the time the Arnolfini account aboriginal entered The National Gallery's collection. While the appearance of photography did access the Pre-Raphaelites, it does feel like the exhibition has absent too far from the axial affair of reflections with their inclusion.
Criticisms acknowledged, the appearance does accommodate some abundant works and the alteration colours of the walls to reflect altered styles of interiors is attenuate and fitting. The accepted affair of Reflections, while abashed at times, does advance to some alluring insights on how reflections accept been congenital into paintings over the ages.
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Reflections: Van Eyck & the Pre-Raphaelites is on at The National Gallery until 2 April 2018. Tickets are from £8 for adults.
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