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 Miraflores Altarpiece oil painting


Miraflores Altarpiece
1440 Oil on oak panel, 71 x 43 cm Staatliche Museen, Berlin The right panel of the Miraflores Altarpiece depicts the risen Christ with his mother.Artist:WEYDEN, Rogier van der Title: Miraflores Altarpiece (right panel) Painted in 1401-1450 , Flemish - - painting : religious
Painting ID::  63934 		WEYDEN, Rogier van der
Miraflores Altarpiece
1440 Oil on oak panel, 71 x 43 cm Staatliche Museen, Berlin The right panel of the Miraflores Altarpiece depicts the risen Christ with his mother.Artist:WEYDEN, Rogier van der Title: Miraflores Altarpiece (right panel) Painted in 1401-1450 , Flemish - - painting : religious
   
   
     
WEYDEN, Rogier van der Miraflores Altarpiece oil painting


Miraflores Altarpiece
1440 Oil on oak panel Staatliche Museen, Berlin The scene on the right panel is the only one in this altarpiece that illustrates two events at once: in the foreground we see Christ appearing to the Virgin Mary, while in the background we can see the immediately preceding event, His resurrection on Easter morning. The artist may have thought it necessary to explain the main scene, which was not often painted. The winding road from the tomb to the building in the foreground makes it clear that Christ went to his mother at once, so that she would be the first to experience the joy of reunion with him.Artist:WEYDEN, Rogier van der Title: Miraflores Altarpiece (detail) Painted in 1401-1450 , Flemish - - painting : religious
Painting ID::  63935 		WEYDEN, Rogier van der
Miraflores Altarpiece
1440 Oil on oak panel Staatliche Museen, Berlin The scene on the right panel is the only one in this altarpiece that illustrates two events at once: in the foreground we see Christ appearing to the Virgin Mary, while in the background we can see the immediately preceding event, His resurrection on Easter morning. The artist may have thought it necessary to explain the main scene, which was not often painted. The winding road from the tomb to the building in the foreground makes it clear that Christ went to his mother at once, so that she would be the first to experience the joy of reunion with him.Artist:WEYDEN, Rogier van der Title: Miraflores Altarpiece (detail) Painted in 1401-1450 , Flemish - - painting : religious
   
   
     
WEYDEN, Rogier van der Seven Sacraments oil painting


Seven Sacraments
1445-50 Oil on oak panel, 119 x 63 cm Koninklijk Museum voor Schone Kunsten, Antwerp The right wing of the triptych represents the Holy Order, the Matrimony and the Extreme Unction.Artist:WEYDEN, Rogier van der Title: Seven Sacraments (right wing) Painted in 1401-1450 , Flemish - - painting : religious
Painting ID::  63936 		WEYDEN, Rogier van der
Seven Sacraments
1445-50 Oil on oak panel, 119 x 63 cm Koninklijk Museum voor Schone Kunsten, Antwerp The right wing of the triptych represents the Holy Order, the Matrimony and the Extreme Unction.Artist:WEYDEN, Rogier van der Title: Seven Sacraments (right wing) Painted in 1401-1450 , Flemish - - painting : religious
   
   
     
WEYDEN, Rogier van der Seven Sacraments Altarpiece oil painting


Seven Sacraments Altarpiece
1445-50 Oil on oak panel Koninklijk Museum voor Schone Kunsten, Antwerp The detail of the right panel shows the ordination, the marriage, and the extreme unction. Each sacrament has a side chapel to itself in this panel, so that the architecture a Gothic church ingeniously lies at the heart of the pictorial structure. The range of sacraments begins with the first to be performed in life, baptism, in the foreground of the left panel, and moves on to the last, seen here in the foreground. While the dying man receives extreme unction, his wife stands beside the bed with a candle to place it in his hand at the moment of death.Artist:WEYDEN, Rogier van der Title: Seven Sacraments Altarpiece (detail) Painted in 1401-1450 , Flemish - - painting : religious
Painting ID::  63937 		WEYDEN, Rogier van der
Seven Sacraments Altarpiece
1445-50 Oil on oak panel Koninklijk Museum voor Schone Kunsten, Antwerp The detail of the right panel shows the ordination, the marriage, and the extreme unction. Each sacrament has a side chapel to itself in this panel, so that the architecture a Gothic church ingeniously lies at the heart of the pictorial structure. The range of sacraments begins with the first to be performed in life, baptism, in the foreground of the left panel, and moves on to the last, seen here in the foreground. While the dying man receives extreme unction, his wife stands beside the bed with a candle to place it in his hand at the moment of death.Artist:WEYDEN, Rogier van der Title: Seven Sacraments Altarpiece (detail) Painted in 1401-1450 , Flemish - - painting : religious
   
   
     
WEYDEN, Rogier van der Pieta oil painting


Pieta
Date c. 1464(1464) Medium Oil on wood Dimensions Height: 35.5 cm (14 in). Width: 45 cm (17.7 in). cjr
Painting ID::  87154 		WEYDEN, Rogier van der
Pieta
Date c. 1464(1464) Medium Oil on wood Dimensions Height: 35.5 cm (14 in). Width: 45 cm (17.7 in). cjr
   
   
     
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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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