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 The Descent from the Cross oil


The Descent from the Cross
Painting ID::  19327 		The Descent from the Cross
panel painting, 1435, Museo del Prado at Madrid
panel_painting,_1435,_Museo_del_Prado_at_Madrid
   
   
     
WEYDEN, Rogier van der The Annunciation oil


The Annunciation
Painting ID::  19333 		The Annunciation
1435, wood, Mus??e du Louvre, Paris
1435,_wood,_Mus??e_du_Louvre,_Paris
   
   
     
WEYDEN, Rogier van der St. Luke Painting the Virgin Child oil


St. Luke Painting the Virgin Child
Painting ID::  19334 		St. Luke Painting the Virgin Child
1435, oil and tempera on panel, Museum of Fine Arts, Boston
1435,_oil_and_tempera_on_panel,_Museum_of_Fine_Arts,_Boston
   
   
     
WEYDEN, Rogier van der Christ Appearing to His Mother, approx oil


Christ Appearing to His Mother, approx
Painting ID::  19350 		Christ Appearing to His Mother, approx
1436, tempera and oil on wood, Metropolitan Museum of Art, New York.
   
   
     
WEYDEN, Rogier van der Portrait of a Man Holding a Book oil


Portrait of a Man Holding a Book
Painting ID::  19351 		Portrait of a Man Holding a Book
before 1437, oil on wood, Courtauld Institute, London
before_1437,_oil_on_wood,_Courtauld_Institute,_London
   
   
     
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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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