• Facets (new session)
• Description
• Metadata
• Settings
  • Rule: ActivityStreamsMapasEquivalentb3sb3sifpccisofacetshttp://demo.openlinksw.com/dataspacehttp://www.w3.org/2002/07/owl#ldpoplwebrel-me-authskos-transsql-vdb-data-lakeurn:ALKAdatareducedurn:analytics:acqof:ruleurn:clothing:rule:qaurn:det:rdf:labelurn:inference:oplfaq:ruleurn:inference:product:feature:inverse:ruleurn:ingleng:inf:demo:inf:ruleurn:kbpedia:actor:subclass:test:rulesurn:kbpedia:comedian:owl:equivalent:class:subproperty:inference:rulesurn:kbpedia:mime-artist:owl:equivalent:class:subproperty:inference:rulesurn:kbpedia:owl:equivalent:class:subproperty:inference:rulesurn:kbpedia:philosopher:owl:equivalent:class:subproperty:inference:rulesurn:kbpedia:stage-actor:owl:equivalent:class:subproperty:inference:rulesurn:kgdemo:1:ifp:ruleurn:kgdemo:1:ifp:rule2urn:lava:demo:ruleurn:owl:equivalent:class:inference:rulesurn:rdfs:subclass:subproperty:inference:rulesurn:rdfs:type:wikidata:ruleurn:recon:data:ifpurn:recon:data:ifp:ruleurn:recruitment:rule:built-in:ruleurn:rsm12e:translation:ruleurn:rxnorm:data:ruleurn:se:demo:inference:ruleurn:test:skos:inverse:ruleurn:wireless:plans:features:builtin:inference:rule:1virtrdf-eturtle-containersvirtrdf-hashtagvirtrdf-ifpvirtrdf-labelvirtrdf-meta-entity-classvirtrdf-urlNone
    
  • Inverse Functional Properties: Disabled (fastest) Apply to subjects only Apply to objects only Apply to both subjects and objects
  • "Same As": Disabled (fastest) Apply to subjects only Apply to objects only Apply to both subjects and objects (recommended) Apply to subjects, objects and predicates (not recommended on big datasets) Apply to predicates only (special use cases only)

Early Netherlandish Painting, Its Origins and Character, is a 1953 book on art history by Erwin Panofsky, derived from the 1947–48 Charles Eliot Norton Lectures. The book had a wide impact on studies of Renaissance art and Early Netherlandish painting in particular, but also studies in iconography, art history, and intellectual history in general. The book is particularly well-known for its iconographic treatment of Van Eyck's Arnolfini Portrait as a kind of marriage contract, a hypothesis advanced by Panofsky as early as 1934. The book remains influential despite its reliance on black-and-white reproductions of paintings, which led to some errors of analysis.