Oil On
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WEYDEN, Rogier van der
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| 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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St Columba Altarpiece new18/WEYDEN, Rogier van der-557325.jpg Painting ID:: 51146 |
c. 1455 Oil on oak panel, | ||
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| 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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St Columba Altarpiece new21/WEYDEN, Rogier van der-743877.jpg Painting ID:: 63868 |
1455 Oil on oak panel Alte Pinakothek, Munich The picture shows a detail of 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. Traces of the late Romanesque church of St. Gereon in Cologne seem to have entered into the architecture of the temple on the right wing - the polygonal rotunda, the gallery, and the small buttresses on the outside.Artist:WEYDEN, Rogier van der Title: St Columba Altarpiece (detail) Painted in 1401-1450 , Flemish - - painting : religious | ||
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WEYDEN, Rogier van der
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| 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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St Columba Altarpiece new21/WEYDEN, Rogier van der-852779.jpg Painting ID:: 63910 |
1455 Oil on oak panel, 138 x 70 cm Alte Pinakothek, Munich The picture shows the Annunciation, the left panel of the altarpiece executed for the St Columba church in Cologne. The angel has entered Mary's chamber through a closed door and is speaking the words "Hail, thou that art highly favoured, the Lord is with thee" in Latin, coming out of his mouth in gold lettering. With its tiled floor, stained-glass window, and the magnificent bed covered with extremely expensive gold brocade, the room is far from a humble dwelling, and seems more suited to a palace.Artist:WEYDEN, Rogier van der Title: St Columba Altarpiece (left panel) Painted in 1401-1450 , Flemish - - painting : religious | ||
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WEYDEN, Rogier van der
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| 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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St Columba Altarpiece new21/WEYDEN, Rogier van der-564275.jpg Painting ID:: 63923 |
1455 Oil on oak panel, 138 x 153 cm Alte Pinakothek, Munich The picture shows the Adoration of the Magi, the central panel of the altarpiece executed for the St Columba church in Cologne. The composition of the central panel demonstrates a masterly balance between freedom and discipline. The Virgin and Child are shifted slightly to the left of the middle axis, which appears to run through the central pillar and down into the hat of the kneeling king. In fact, however, even these two details lie slightly left of centre. This left-hand bias is compensated by the figures of the second kneeling king and the third, youngest king, visually strongly accented by his expansively angled pose. The asymmetrical ruins of the stable correspond precisely to the composition of the main group. Insofar as Rogier arranges his figures from left to right in the style of a relief and orients his architecture parallel to the pictorial plane, he remains true to the principles underlying his Descent from the Cross. Here, however, he displays a more sovereign mastery of the organic structuring of the human figure and the partial creation of spatial depth. The anachronistic little crucifix at the centre of the picture anticipates the purpose of Christ's life on earth, His act of redemption. The donor, with a rosary, kneels on the extreme left, divided from the rest of the scene by a small wall.Artist:WEYDEN, Rogier van der Title: St Columba Altarpiece (central panel) Painted in 1401-1450 , Flemish - - painting : religious | ||
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WEYDEN, Rogier van der
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| 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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St Columba Altarpiece new21/WEYDEN, Rogier van der-925725.jpg Painting ID:: 63924 |
1455 Oil on oak panel Alte Pinakothek, Munich The picture shows the red-robed St Joseph from the scene of the Adoration of the Magi.Artist:WEYDEN, Rogier van der Title: St Columba Altarpiece (detail) Painted in 1401-1450 , Flemish - - painting : religious | ||
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