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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WEYDEN, Rogier van der Seven Sacraments Altarpiece oil painting


Seven Sacraments Altarpiece
1445-50 Oil on oak panel Koninklijk Museum voor Schone Kunsten, AntwerpArtist:WEYDEN, Rogier van der Title: Seven Sacraments Altarpiece (detail) Painted in 1401-1450 , Flemish - - painting : religious
Painting ID::  63929 		WEYDEN, Rogier van der
Seven Sacraments Altarpiece
1445-50 Oil on oak panel Koninklijk Museum voor Schone Kunsten, AntwerpArtist:WEYDEN, Rogier van der Title: Seven Sacraments Altarpiece (detail) Painted in 1401-1450 , Flemish - - painting : religious
   
   
     
WEYDEN, Rogier van der Bladelin Triptych oil painting


Bladelin Triptych
1445-50 Oil on oak panel, 91 x 40 cm Staatliche Museen, Berlin The scenes in the side panels depict the advent of the Son of God on earth being announced in miraculous visions to the Roman emperor Octavian (Augustus) and to the three Magi. The Christ Child receives the homage of both East and West, that is to say the whole world as displayed in the panorama of the open triptych: the West is symbolized by the Roman empire - which was regarded as the direct predecessor of the medieval Holy Roman Empire - the East by the Magi, and between them stands the Holy Land with Bethlehem, to the medieval mind the centre and navel of the world. The three pictures in the triptych are united not so much by their background setting as by the figures. These are all on the same scale, and are linked to create a compositional line running through the three panels: arranged on both wings in a semi-circle turning in, and on the central panel in a semi-circle turning out, they curve rhythmically in an undulating line - a good example of Rogier's "sense of rhythm." The panels are also linked by the skillful distribution of colour, with the red robe of the oldest king on the right, for instance, echoing the red garments of St. Joseph on the central panel, while the red-patterned gold brocade worn by the central king is matched by Octavian's robe on the opposite wing. These mirror-image correspondences are slightly shifted toward the central axis, and there are many other interrelating colour notes. However, the colour also has other meanings. On the wings, where it is distributed in smaller areas over the surface of the picture and is thus more varied, it illustrates the secular magnificence of earthly rulers, while on the central panel the symphony of red, white and black makes a nobler and sterner effect. Symbolically, white stands for Mary's virginity, while the black worn by the donor was the fashionable colour of the upper classes of the time. The colour composition of the altarpiece as a whole, constantly balancing its slight asymmetries, is well calculated, although ultimately the impression is of rather too regular a kind of diversity, without deep meaning or resonance.Artist:WEYDEN, Rogier van der Title: Bladelin Triptych (right wing) Painted in 1401-1450 , Flemish - - painting : religious
Painting ID::  63930 		WEYDEN, Rogier van der
Bladelin Triptych
1445-50 Oil on oak panel, 91 x 40 cm Staatliche Museen, Berlin The scenes in the side panels depict the advent of the Son of God on earth being announced in miraculous visions to the Roman emperor Octavian (Augustus) and to the three Magi. The Christ Child receives the homage of both East and West, that is to say the whole world as displayed in the panorama of the open triptych: the West is symbolized by the Roman empire - which was regarded as the direct predecessor of the medieval Holy Roman Empire - the East by the Magi, and between them stands the Holy Land with Bethlehem, to the medieval mind the centre and navel of the world. The three pictures in the triptych are united not so much by their background setting as by the figures. These are all on the same scale, and are linked to create a compositional line running through the three panels: arranged on both wings in a semi-circle turning in, and on the central panel in a semi-circle turning out, they curve rhythmically in an undulating line - a good example of Rogier's "sense of rhythm." The panels are also linked by the skillful distribution of colour, with the red robe of the oldest king on the right, for instance, echoing the red garments of St. Joseph on the central panel, while the red-patterned gold brocade worn by the central king is matched by Octavian's robe on the opposite wing. These mirror-image correspondences are slightly shifted toward the central axis, and there are many other interrelating colour notes. However, the colour also has other meanings. On the wings, where it is distributed in smaller areas over the surface of the picture and is thus more varied, it illustrates the secular magnificence of earthly rulers, while on the central panel the symphony of red, white and black makes a nobler and sterner effect. Symbolically, white stands for Mary's virginity, while the black worn by the donor was the fashionable colour of the upper classes of the time. The colour composition of the altarpiece as a whole, constantly balancing its slight asymmetries, is well calculated, although ultimately the impression is of rather too regular a kind of diversity, without deep meaning or resonance.Artist:WEYDEN, Rogier van der Title: Bladelin Triptych (right wing) Painted in 1401-1450 , Flemish - - painting : religious
   
   
     
WEYDEN, Rogier van der Braque Family Triptych oil painting


Braque Family Triptych
1450 Oil on oak panel, 41 x 34 cm Mus?e du Louvre, Paris The picture shows the right wing of the Braque Family Triptych representing St Mary Magdalene. This is finest panel of the triptych. She sits with her hand resting on the lid of an alabaster vase, about to spread perfume on Jesus's feet. Her face, veiled with a band of gauze, her blond hair hanging down her back in long waves, even the corselet that only partly conceals her bosom - everything about her suggest not a repentant sinner, but a young woman rightly proud of her beauty. She is tenderly holding the vessel of ointment with which, as the text above reminds us, she anointed the feet of Jesus after moistening them with her tears and drying them with her hair. The text is probably the reason why tears, not entirely suitable to the pictorial context, are running down the Magdalene's face.Artist:WEYDEN, Rogier van der Title: Braque Family Triptych (right wing) Painted in 1401-1450 , Flemish - - painting : religious
Painting ID::  63931 		WEYDEN, Rogier van der
Braque Family Triptych
1450 Oil on oak panel, 41 x 34 cm Mus?e du Louvre, Paris The picture shows the right wing of the Braque Family Triptych representing St Mary Magdalene. This is finest panel of the triptych. She sits with her hand resting on the lid of an alabaster vase, about to spread perfume on Jesus's feet. Her face, veiled with a band of gauze, her blond hair hanging down her back in long waves, even the corselet that only partly conceals her bosom - everything about her suggest not a repentant sinner, but a young woman rightly proud of her beauty. She is tenderly holding the vessel of ointment with which, as the text above reminds us, she anointed the feet of Jesus after moistening them with her tears and drying them with her hair. The text is probably the reason why tears, not entirely suitable to the pictorial context, are running down the Magdalene's face.Artist:WEYDEN, Rogier van der Title: Braque Family Triptych (right wing) Painted in 1401-1450 , Flemish - - painting : religious
   
   
     
WEYDEN, Rogier van der St Columba Altarpiece oil painting


St Columba Altarpiece
1455 Oil on oak panel, 138 x 70 cm Alte Pinakothek, Munich The picture shows the Presentation in the Temple, the right panel of the altarpiece executed for the St Columba church in Cologne. According to Mosaic law, all firstborn sons had to be presented to God in the temple. When Mary and Joseph carried out this duty, the pious old Simeon recognized the child as the Redeemer whom, according to a prophecy, he was to see before he died. He thanks God with the words, "Lord, now lettest thou they servant depart in peace, according to thy word." The old prophetess Anna, who also recognizes the Christ, is standing behind Simeon. The servant behind Mary is holding two doves for the sacrifice of purification that followed childbirth.Artist:WEYDEN, Rogier van der Title: St Columba Altarpiece (right panel) Painted in 1401-1450 , Flemish - - painting : religious
Painting ID::  63932 		WEYDEN, Rogier van der
St Columba Altarpiece
1455 Oil on oak panel, 138 x 70 cm Alte Pinakothek, Munich The picture shows the Presentation in the Temple, the right panel of the altarpiece executed for the St Columba church in Cologne. According to Mosaic law, all firstborn sons had to be presented to God in the temple. When Mary and Joseph carried out this duty, the pious old Simeon recognized the child as the Redeemer whom, according to a prophecy, he was to see before he died. He thanks God with the words, "Lord, now lettest thou they servant depart in peace, according to thy word." The old prophetess Anna, who also recognizes the Christ, is standing behind Simeon. The servant behind Mary is holding two doves for the sacrifice of purification that followed childbirth.Artist:WEYDEN, Rogier van der Title: St Columba Altarpiece (right panel) Painted in 1401-1450 , Flemish - - painting : religious
   
   
     
WEYDEN, Rogier van der Crucifixion Triptych oil painting


Crucifixion Triptych
1445 Oil on oak panel, 101 x 35 Kunsthistorisches Museum, Vienna The right wing represents St Veronica.Artist:WEYDEN, Rogier van der Title: Crucifixion Triptych (right wing) Painted in 1401-1450 , Flemish - - painting : religious
Painting ID::  63933 		WEYDEN, Rogier van der
Crucifixion Triptych
1445 Oil on oak panel, 101 x 35 Kunsthistorisches Museum, Vienna The right wing represents St Veronica.Artist:WEYDEN, Rogier van der Title: Crucifixion Triptych (right wing) 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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