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St Luke Drawing a Portrait of the Madonna
new18/WEYDEN, Rogier van der-288276.jpg
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St_Luke_Drawing_a_Portrait_of_the_Madonna
1435
Oil and tempera on panel,
137,7 x 110,8 cm
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Annunciation Triptych
new18/WEYDEN, Rogier van der-958546.jpg
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Annunciation_Triptych
c. 1440
Oil on oak panel,
86 x 92 cm
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St Ivo
new18/WEYDEN, Rogier van der-533874.jpg
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St_Ivo
c. 1450
OIl on oak panel,
45 x 35 cm
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Francesco d'Este
new18/WEYDEN, Rogier van der-859659.jpg
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Francesco_d'Este
c. 1460
Oil on oak panel,
31,8 x 22,2 cm
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Portrait of Charles the Bold
new18/WEYDEN, Rogier van der-329744.jpg
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Portrait_of_Charles_the_Bold
c. 1460
Oil on oak panel,
49 x 32 cm
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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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