This morning I looked at myself in the elevator mirror.
And I thought: how cruel you are.
That fluorescent tube light that spares nothing. The dark circles under my eyes. The hair that isn't quite right. That face of someone who has slept less than they should.
Mirrors don't lie.
And that, depending on the moment, can be the best or the worst thing in the world.
Because there are also days when you look at yourself and think: hey, I don't look so bad.
There's something about mirrors that goes beyond the image. They reflect something back to you that you can't see otherwise. Who you are at that exact moment. Without filters. Without editing.
Without the version you show to the world.
Just you.
Thinking about this, I remembered one of the most famous mirrors in art history.
In 1434, the Flemish painter Jan van Eyck painted The Arnolfini Portrait.
A painting everyone has seen at some point, even if they don't know its name. A couple standing in a room. Luxurious clothing. A small dog at their feet.
And in the background, almost lost among the details, a small convex mirror.
Five centimeters in diameter.
Five.
And in those five centimeters, Van Eyck painted the entire room reflected. The couple with their backs turned. Two more figures in the background, believed to be the painter himself and a witness.
A painting within a painting.
Six hundred years later, art historians are still debating what that mirror means. If it's a symbol of fidelity. If it's the painter's signature. If it's simply a demonstration that Jan van Eyck could do what no other painter of his time was capable of.
Probably all three at once.
What I find fascinating is that this mirror, which is the size of a coin, is the element that attracts the most attention in the entire work.
Not the clothes. Not the light. Not the expression of the characters.
The mirror.
Because mirrors always draw attention. Whether in a 15th-century painting or in your living room.
A well-placed antique mirror does something no other decorative element can.
It opens up space. It multiplies light.
And it has a presence that mass-produced mirrors, with their plastic or aluminum frames, will never have.
An antique mirror is not just a glass that reflects. It's a hand-carved frame. It's gilding that has lost its shine over the years to gain character. It's the patina of time that only decades can provide.
These are pieces that have reflected other eras, other lives, other homes.
And now they can reflect yours.
If you are looking for a piece with history that will multiply the light and space in your home:
Best regards,
Luis
PS: The elevator mirror with fluorescent light should be forbidden. There are things we don't need to know at eight in the morning.
This morning I looked at myself in the elevator mirror.
And I thought: how atrocious you are.
Damn that fluorescent light that won't forgive anything. The disappointment. The hair that isn't quite right. That face of someone who has slept less than they should have.
Mirrors do not lie.
And that, depending on the moment, can be the worst or the best of the world.
Fair enough, still there are days when you look and think: hey, I'm not that bad.
There is something in mirrors that goes beyond the image. They return something you cannot see in any other way. Who you are at that exact moment. No filters. No editing. No the version you show the world.
Just you.
Thinking about this reminded me of one of the most famous mirrors in art history.
In 1434, the Flemish painter Jan van Eyck painted the "
Arnolfini Portrait
".
A painting that everyone in the world has seen at some point, even if they don't know its name. A couple standing in a room. Luxurious clothing. A dog at their feet.
And in the background, almost lost among the details, a small convex mirror.
Five centimeters in diameter.
Five.
And in those five centimeters, Van Eyck painted the entire room reflected. The couple's backs. Two more figures in the background, believed to be the painter himself and a witness.
A painting within the painting.
Six hundred years later, art historians are still debating what that mirror signifies. If it is a symbol of fidelity. If it is the painter's signature. If it is simply a demonstration that Jan van Eyck could do what no other painter of his time was capable of doing.
Probably all three things at once.
What I find fascinating is that this mirror, which is the size of a coin, is the element that attracts the most attention in the entire work.
Not the clothing. Not the light. Not the expression of the characters.
The mirror.
Because mirrors always attract attention. In a 15th-century painting or in the living room of your house.
A well-placed antique mirror does something that no other decorative element can achieve.
It opens up space. It multiplies light.
And it has a presence that series mirrors, with their plastic or aluminum frames, will never have.
An antique mirror is not just a crystal that reflects. It is a hand-carved frame. It is a gilding that has lost its sheen over the years to gain character. It is the patina of time that only decades give.
They are pieces that have reflected other eras, other lives, other houses.
And now they can reflect yours.
If you are looking for a piece with history that multiplies the light and space of your home:
→ Discover our selection of antique mirrors here
Cheers,
Luis
PS: That elevator mirror with fluorescent light should be forbidden. There are things we don't need to know at eight in the morning.
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