Hubert van Eyck in the context of "Ghent Altarpiece"

An altarpiece is a painting or sculpture, including relief, of religious subject matter made for placing at the back of or behind the altar of a Christian church. Though most commonly used for a single work of art such as a painting or sculpture, or a set of them, the word can also be used of the whole ensemble behind an altar, otherwise known as a reredos, including what is often an elaborate frame for the central image or images. Altarpieces were one of the most important products of Christian art especially from the late Middle Ages to the era of Baroque painting.

The word altarpiece, used for paintings, usually means a framed work of panel painting on wood, or later on canvas. In the Middle Ages they were generally the largest genre for these formats. Murals in fresco tend to cover larger surfaces. The largest painted altarpieces developed complicated structures, especially winged altarpieces with hinged side wings that folded in to cover the main image, and were painted on the reverse with different simpler images. Often this was the normal view shown in the church, except for Sundays and feast days, when the wings were opened to display the main image. At other times visitors could usually see this by paying the sacristan.

The Arnolfini Portrait (or The Arnolfini Wedding, The Arnolfini Marriage, the Portrait of Giovanni Arnolfini and his Wife, or other titles) is an oil painting on oak panel by the Early Netherlandish painter Jan van Eyck, dated 1434 and now in the National Gallery, London. It is a full-length double portrait, believed to depict the Italian merchant Giovanni di Nicolao Arnolfini and his wife, presumably in their residence at the Flemish city of Bruges.

It is considered one of the most original and complex paintings in Western art, because of its beauty, complex iconography, geometric orthogonal perspective, and expansion of the picture space with the use of a mirror. According to Ernst Gombrich "in its own way it was as new and revolutionary as Donatello's or Masaccio's work in Italy. A simple corner of the real world had suddenly been fixed on to a panel as if by magic... For the first time in history the artist became the perfect eye-witness in the truest sense of the term". The portrait has been considered by Erwin Panofsky and some other art historians as a unique form of marriage contract, recorded as a painting. Signed and dated by van Eyck in 1434, it is, with the Ghent Altarpiece by the same artist and his brother Hubert, the oldest very famous panel painting to have been executed in oils rather than in tempera. The painting was bought by the National Gallery in London in 1842.

Maaseik (Dutch pronunciation: [ˈmaːsɛik]; Limburgish: Mezeik) is a city and municipality in the Belgian province of Limburg. Both in size (close to 77 km) and in population (approx. 25,000 inhabitants, of whom some 3,000 non-Belgian), it is the 8th largest municipality in Limburg. The town is the seat of the administrative arrondissement of Maaseik (kieskanton). Internationally, Maaseik is known as the assumed birthplace of the famous Flemish painters Jan and Hubert van Eyck.

The Three Marys at the Tomb is a c. 1410–26 panel painting usually attributed to Hubert van Eyck, now in the Museum Boijmans Van Beuningen, Rotterdam. The painting was included at the seminal Exposition des primitifs flamands à Bruges in 1902.

Its authorship and dating have been particularly difficult to establish. For many years it was ascribed the only surviving work—excepting the Ghent Altarpiece—by Hubert, Jan van Eyck's older brother. Erwin Panofsky believed it a collaboration between the two men (similar to the Ghent Altarpiece); others see it as the c. 1440 output of a member of Jan's workshop, others again solely attribute Jan. Estimates of its date of completion range from 1410 to the year of Hubert's death, 1426.