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 Crucifixion Diptych oil


Crucifixion Diptych
Painting ID::  51179 		Crucifixion Diptych
c. 1460 Oil on oak panel, 180,3 x 92,6 cm
c._1460 Oil_on_oak_panel,_ 180,3_x_92,6_cm
   
   
     
WEYDEN, Rogier van der Virgin with the Child and Four Saints oil


Virgin with the Child and Four Saints
Painting ID::  51180 		Virgin with the Child and Four Saints
1450-51 Oil on panel, 61,7 x 46,1 cm
1450-51_ Oil_on_panel,_ 61,7_x_46,1_cm
   
   
     
WEYDEN, Rogier van der Sforza Triptych oil


Sforza Triptych
Painting ID::  51181 		Sforza Triptych
c. 1460 Oil on oak panel, 53,7 x 44,8
c._1460_ Oil_on_oak_panel,_ 53,7_x_44,8
   
   
     
WEYDEN, Rogier van der Virgin and Child after 1454 oil


Virgin and Child after 1454
Painting ID::  51182 		Virgin and Child after 1454
Oil on panel, 31.9 x 22.9 cm
Oil_on_panel,_ 31.9_x_22.9_cm
   
   
     
WEYDEN, Rogier van der Isabella of Portugal oil


Isabella of Portugal
Painting ID::  51989 		Isabella of Portugal
c. 1500 Oil on panel, 47 x 38 cm
c._1500_ Oil_on_panel,_ 47_x_38_cm
   
   
     
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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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