Annunciation (van Eyck, Madrid)

The figures and iconography are very similar to those in the outer panels of van Eyck's earlier Ghent Altarpiece completed in 1432.

Art historians agree that this follows the conventions of both the International Gothic and late Byzantine traditions of the icon by showing saints, especially Mary, in a much larger scale than their surroundings.

[2] Despite the dramatic setting and black marble background, the figures are given northern renaissance naturalistic poses and very human gestures.

[2] The predominant colours are multi-layered shades of white and black, intended to mimic stone sculpture creating a sense of living statues.

If the attribution is accepted, it is placed as very early in his career and probably as two outer wings of a triptych; the Annunciation in Washington has a far more accomplished treatment and more likely intended as a complete work.