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All WEYDEN, Rogier van der Oil Paintings
 
 
WEYDEN, Rogier van der Deposition (detail) oil painting reproduction


Deposition (detail)
c. 1435 Oil on oak panel Museo del Prado, Madrid
WEYDEN, Rogier van der2.jpgPainting ID::  7247
 

 
 
   
      

All WEYDEN, Rogier van der Oil Paintings
 
 
WEYDEN, Rogier van der Deposition (detail) oil painting reproduction


Deposition (detail)
c. 1435 Oil on oak panel Museo del Prado, Madrid
WEYDEN, Rogier van der3.jpgPainting ID::  7250
 

 
 
   
      

All WEYDEN, Rogier van der Oil Paintings
 
 
WEYDEN, Rogier van der Deposition (detail) oil painting reproduction


Deposition (detail)
c. 1435 Oil on oak panel Museo del Prado, Madrid
WEYDEN, Rogier van der4.jpgPainting ID::  7252
 

 
 
   
      

All WEYDEN, Rogier van der Oil Paintings
 
 
WEYDEN, Rogier van der Deposition (detail) oil painting reproduction


Deposition (detail)
c. 1435 Oil on oak panel Museo del Prado, Madrid
WEYDEN, Rogier van der5.jpgPainting ID::  7254
 

 
 
   
      
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
Deposition (detail)
c. 1435 Oil on oak panel Museo del Prado, Madrid

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