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Oil Painting Artist::. WEYDEN, Rogier van der
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WEYDEN, Rogier van der
Netherlandish Northern Renaissance Painter, ca.1400-1464
major early Flemish master, known also as Roger de la Pasture. He is believed to have studied with Robert Campin. His early works also show the influence of Jan van Eyck. Van Eyck, however, had been a master at objective rendering of detail, whereas Roger in his work portrayed emotions with an assurance that has not been surpassed. His ability to depict piety is reflected in the early masterpiece Descent from the Cross (c.1435; Prado); he depicted with significant restraint the profound grief of the mourners grouped around the tragic figure of Jesus. His composition strongly affected later representations of the theme. Roger became City Painter in Brussels in 1436. He then produced a series of undated altarpieces including the Last Judgment (hospital, Beaune), the Braque Triptych (Louvre), Crucifixion with Donors (Vienna), and Adoration of the Magi (Berlin), which vary in execution from a stress on sumptuous details to a more sculptural rendering of the figures. Roger is believed to have made a pilgrimage to Italy in the holy year 1450. Whether this supposed excursion had any effect on his style is much debated. It has been shown that his Entombment (Uffizi) bears an affinity to the Tuscan treatment of the subject, particularly by Fra Angelico, and that Roger's Virgin and Child with Saints (Frankfurt) has a strong resemblance to the Italian religious art of the day. His style is, however, highly individual. His religious paintings and his portraits are characterized by a straightforward monumentality. The portraits, such as that of a young lady (National Gall. of Art, Washington, D.C.) and of Francesco d'Este (Metropolitan Mus.) exhibit a simple clarity of contour and psychological penetration. Other notable works are his St. Luke Painting the Virgin, of which a version or replica is in the Museum of Fine Arts, Boston, the Crucifixion
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Crucifixion Diptych
1460 OIL on oak panel, 180,3 x 92,3 cm Philadelphia Museum of Art, PhiladelphiaArtist:WEYDEN, Rogier van der Title: Crucifixion Diptych (right panel) Painted in 1401-1450 , Flemish - - painting : religious
Painting ID:: 63880
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Crucifixion_Diptych
1460 OIL on oak panel, 180,3 x 92,3 cm Philadelphia Museum of Art, PhiladelphiaArtist:WEYDEN, Rogier van der Title: Crucifixion Diptych (right panel) Painted in 1401-1450 , Flemish - - painting : religious
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Head of the Madonna
1460 Silverpoint on prepared paper, 128 x 109 mm Mus?e du Louvre, Paris The finely drawn Head of the Madonna is obviously not from life. It represents a type of the Virgin very frequent in Rogier's work, and comparable to the panel of the Madonna that was one leaf of a diptych, with the other showing Jean Gros (Mus?e des Beaux-Arts, Tournai, and Art Institute, Chicago). A similar painting must have been the model for this drawing, which executes the face in fine detail, translating colour values into black and white, for instance in the lips, but breaks sharply with this precision where the head-dress begins; the folds of the cloth are merely suggested by a few outlines obviously copied from an existing model. In all its details, including the folds of the headdress, the drawing resembles the head of a half length painted Madonna from the circle around Rogier, now on permanent loan to the Kurpfalzisches Museum, Heidelberg. It could either precede the drawing, which may have been from Rogier's workshop, or have been painted from it. The Head of the Madonna, however, conveys an impression of what some of the drawings in the stocks of Rogier's workshop may have been like.Artist:WEYDEN, Rogier van der Title: Head of the Madonna Painted in 1401-1450 , Flemish - - graphics : study
Painting ID:: 63881
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Head_of_the_Madonna
1460 Silverpoint on prepared paper, 128 x 109 mm Mus?e du Louvre, Paris The finely drawn Head of the Madonna is obviously not from life. It represents a type of the Virgin very frequent in Rogier's work, and comparable to the panel of the Madonna that was one leaf of a diptych, with the other showing Jean Gros (Mus?e des Beaux-Arts, Tournai, and Art Institute, Chicago). A similar painting must have been the model for this drawing, which executes the face in fine detail, translating colour values into black and white, for instance in the lips, but breaks sharply with this precision where the head-dress begins; the folds of the cloth are merely suggested by a few outlines obviously copied from an existing model. In all its details, including the folds of the headdress, the drawing resembles the head of a half length painted Madonna from the circle around Rogier, now on permanent loan to the Kurpfalzisches Museum, Heidelberg. It could either precede the drawing, which may have been from Rogier's workshop, or have been painted from it. The Head of the Madonna, however, conveys an impression of what some of the drawings in the stocks of Rogier's workshop may have been like.Artist:WEYDEN, Rogier van der Title: Head of the Madonna Painted in 1401-1450 , Flemish - - graphics : study
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Sforza Triptych
1460 Oil on oak panel, 53,7 x 19 cm (each) Mus?es Royaux des Beaux-Arts, Brussels The exterior of the Sforza Triptych depicts St Jerome and St George. The grisaille paintings represent unpainted but scenically elaborated stone reliefs in niches. The knightly St George, who is just killing the dragon, probably has a special relationship to the donor of the altarpiece, shown as a knight in armor.Artist:WEYDEN, Rogier van der Title: Sforza Triptych (exterior) Painted in 1401-1450 , Flemish - - painting : religious
Painting ID:: 63882
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Sforza_Triptych
1460 Oil on oak panel, 53,7 x 19 cm (each) Mus?es Royaux des Beaux-Arts, Brussels The exterior of the Sforza Triptych depicts St Jerome and St George. The grisaille paintings represent unpainted but scenically elaborated stone reliefs in niches. The knightly St George, who is just killing the dragon, probably has a special relationship to the donor of the altarpiece, shown as a knight in armor.Artist:WEYDEN, Rogier van der Title: Sforza Triptych (exterior) Painted in 1401-1450 , Flemish - - painting : religious
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Wing of a Carved Altar
1460-66 Oil on panel Church, Ambierle When Rogier died in Brussels on 18 June 1464, he was the best known and most sought after painter in the Netherlands, an exemplar to the majority of artists north of the Alps. He left behind him not only an obviously large workshop with extremely well trained assistants, but also a continuing demand for his work. The studio was very probably taken over by his son Pieter; it will have completed commissions on which he had embarked, also accepting new orders. One of these works, possibly commissioned in Rogier's own lifetime, consisted of the wing paintings for an altar in Ambierle in France, completed in 1466. It has been proved that the carved central shrine of this altar came from Brussels. The distinguished patrons in Brussels who commissioned it obviously turned to the town painter's famous workshop, where large and impressive paintings similar in typology to Rogier's own were produced, although certainly no longer by the master himself. The altar was donated by Michel de Chaugy, a counsellor of Philip the Good. The shrine in the retable shows carved scenes of the Passion; the donor's family, with its patron saints, occupies the wings. Stone figures of saints are depicted in niches on the exterior. In its construction, this work reflects the exterior of the Beaune Altarpiece.Artist:WEYDEN, Rogier van der Title: Wing of a Carved Altar Painted in 1401-1450 , Flemish - - painting : religious
Painting ID:: 63883
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Wing_of_a_Carved_Altar
1460-66 Oil on panel Church, Ambierle When Rogier died in Brussels on 18 June 1464, he was the best known and most sought after painter in the Netherlands, an exemplar to the majority of artists north of the Alps. He left behind him not only an obviously large workshop with extremely well trained assistants, but also a continuing demand for his work. The studio was very probably taken over by his son Pieter; it will have completed commissions on which he had embarked, also accepting new orders. One of these works, possibly commissioned in Rogier's own lifetime, consisted of the wing paintings for an altar in Ambierle in France, completed in 1466. It has been proved that the carved central shrine of this altar came from Brussels. The distinguished patrons in Brussels who commissioned it obviously turned to the town painter's famous workshop, where large and impressive paintings similar in typology to Rogier's own were produced, although certainly no longer by the master himself. The altar was donated by Michel de Chaugy, a counsellor of Philip the Good. The shrine in the retable shows carved scenes of the Passion; the donor's family, with its patron saints, occupies the wings. Stone figures of saints are depicted in niches on the exterior. In its construction, this work reflects the exterior of the Beaune Altarpiece.Artist:WEYDEN, Rogier van der Title: Wing of a Carved Altar Painted in 1401-1450 , Flemish - - painting : religious
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The Last Judgment Polyptych
1446-52 Oil on wood Mus?e de l'H?tel Dieu, Beaune As long as the polyptych hung in its original place, it was traditional to open the wings on Sundays and solemn feast days. But since it has been restored, it is now kept in a neighbouring room which is air-conditioned to prevent any further deterioration due to the heat generated by the three hundred thousand visitors who come to see it each year. The panels were sawn in half across the thickness of the wood a few years ago, and both front and the reverse are now exhibited simultaneously, side by side. The reverse of the panels of the polyptych depict the donors. Nicolas Rolin is an old man, whose nose is too long and whose hair has been cut short. Guigonne de Salins lowers her eyes and gestures with her joined hands towards her book of hours; on her head she wears a starched net veil. Behind each of them, an angel is carrying a shield emblazoned with their respective coats-of-arms. Rolin is facing towards an elegant imitation statue of St Sebastian executed in grey tint, as if carved from marble. His wife is looking towards another imitation statue, this time of St Anthony, who is accompanied by a young pig.Artist:WEYDEN, Rogier van der Title: The Last Judgment Polyptych (reverse side) Painted in 1401-1450 , Flemish - - painting : religious
Painting ID:: 63886
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The_Last_Judgment_Polyptych
1446-52 Oil on wood Mus?e de l'H?tel Dieu, Beaune As long as the polyptych hung in its original place, it was traditional to open the wings on Sundays and solemn feast days. But since it has been restored, it is now kept in a neighbouring room which is air-conditioned to prevent any further deterioration due to the heat generated by the three hundred thousand visitors who come to see it each year. The panels were sawn in half across the thickness of the wood a few years ago, and both front and the reverse are now exhibited simultaneously, side by side. The reverse of the panels of the polyptych depict the donors. Nicolas Rolin is an old man, whose nose is too long and whose hair has been cut short. Guigonne de Salins lowers her eyes and gestures with her joined hands towards her book of hours; on her head she wears a starched net veil. Behind each of them, an angel is carrying a shield emblazoned with their respective coats-of-arms. Rolin is facing towards an elegant imitation statue of St Sebastian executed in grey tint, as if carved from marble. His wife is looking towards another imitation statue, this time of St Anthony, who is accompanied by a young pig.Artist:WEYDEN, Rogier van der Title: The Last Judgment Polyptych (reverse side) Painted in 1401-1450 , Flemish - - painting : religious
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WEYDEN,_Rogier_van_der
Netherlandish Northern Renaissance Painter, ca.1400-1464
major early Flemish master, known also as Roger de la Pasture. He is believed to have studied with Robert Campin. His early works also show the influence of Jan van Eyck. Van Eyck, however, had been a master at objective rendering of detail, whereas Roger in his work portrayed emotions with an assurance that has not been surpassed. His ability to depict piety is reflected in the early masterpiece Descent from the Cross (c.1435; Prado); he depicted with significant restraint the profound grief of the mourners grouped around the tragic figure of Jesus. His composition strongly affected later representations of the theme. Roger became City Painter in Brussels in 1436. He then produced a series of undated altarpieces including the Last Judgment (hospital, Beaune), the Braque Triptych (Louvre), Crucifixion with Donors (Vienna), and Adoration of the Magi (Berlin), which vary in execution from a stress on sumptuous details to a more sculptural rendering of the figures. Roger is believed to have made a pilgrimage to Italy in the holy year 1450. Whether this supposed excursion had any effect on his style is much debated. It has been shown that his Entombment (Uffizi) bears an affinity to the Tuscan treatment of the subject, particularly by Fra Angelico, and that Roger's Virgin and Child with Saints (Frankfurt) has a strong resemblance to the Italian religious art of the day. His style is, however, highly individual. His religious paintings and his portraits are characterized by a straightforward monumentality. The portraits, such as that of a young lady (National Gall. of Art, Washington, D.C.) and of Francesco d'Este (Metropolitan Mus.) exhibit a simple clarity of contour and psychological penetration. Other notable works are his St. Luke Painting the Virgin, of which a version or replica is in the Museum of Fine Arts, Boston, the Crucifixion
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ARTISTS INDEX A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
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