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Artist: WEYDEN, Rogier van der
WEYDEN, Rogier van der The Last Judgment china oil painting reproduction

The Last Judgment
1446-52 Oil on wood Mus?e de l'H?tel Dieu, Beaune The picture shows the upper panel to the left.Artist:WEYDEN, Rogier van der Title: The Last Judgment (detail) Painted in 1401-1450 , Flemish - - painting : religious
Måleriet Identifieringen ::  63893
5414 ago.
Konstnär: WEYDEN, Rogier van der
Målning: The Last Judgment
Information: 1446-52 Oil on wood Mus?e de l'H?tel Dieu, Beaune The picture shows the upper panel to the left.Artist:WEYDEN, Rogier van der Title: The Last Judgment (detail) Painted in 1401-1450 , Flemish - - painting : religious

Artist: WEYDEN, Rogier van der
WEYDEN, Rogier van der The Last Judgment china oil painting reproduction

The Last Judgment
1446-52 Oil on wood Mus?e de l'H?tel Dieu, Beaune The central panel is dominated by the son of God, seated on a semi-circular rainbow, with the Virgin Mary at one end of the arc and St John the Baptist at the other.Artist:WEYDEN, Rogier van der Title: The Last Judgment (detail) Painted in 1401-1450 , Flemish - - painting : religious
Måleriet Identifieringen ::  63890
5414 ago.
Konstnär: WEYDEN, Rogier van der
Målning: The Last Judgment
Information: 1446-52 Oil on wood Mus?e de l'H?tel Dieu, Beaune The central panel is dominated by the son of God, seated on a semi-circular rainbow, with the Virgin Mary at one end of the arc and St John the Baptist at the other.Artist:WEYDEN, Rogier van der Title: The Last Judgment (detail) Painted in 1401-1450 , Flemish - - painting : religious

Artist: WEYDEN, Rogier van der
WEYDEN, Rogier van der The Last Judgment china oil painting reproduction

The Last Judgment
1446-52 Oil on wood Mus?e de l'H?tel Dieu, Beaune Above is a cloud of gold, on which are seated the apostles, judges in the celestial tribunal, as well as a pope, a bishop, a king, a monk and three women. Below them is the earth, from which the resurrected souls emerge, to go either to damnation or to eternal bliss.Artist:WEYDEN, Rogier van der Title: The Last Judgment (detail) Painted in 1401-1450 , Flemish - - painting : religious
Måleriet Identifieringen ::  63889
5415 ago.
Konstnär: WEYDEN, Rogier van der
Målning: The Last Judgment
Information: 1446-52 Oil on wood Mus?e de l'H?tel Dieu, Beaune Above is a cloud of gold, on which are seated the apostles, judges in the celestial tribunal, as well as a pope, a bishop, a king, a monk and three women. Below them is the earth, from which the resurrected souls emerge, to go either to damnation or to eternal bliss.Artist:WEYDEN, Rogier van der Title: The Last Judgment (detail) Painted in 1401-1450 , Flemish - - painting : religious

Artist: WEYDEN, Rogier van der
WEYDEN, Rogier van der The Last Judgment Polyptych china oil painting reproduction

The Last Judgment Polyptych
1446-52 Oil on wood Mus?e de l'H?tel Dieu, Beaune As long as the polyptych hung in its original place, it was traditional to open the wings on Sundays and solemn feast days. But since it has been restored, it is now kept in a neighbouring room which is air-conditioned to prevent any further deterioration due to the heat generated by the three hundred thousand visitors who come to see it each year. The panels were sawn in half across the thickness of the wood a few years ago, and both front and the reverse are now exhibited simultaneously, side by side. The reverse of the panels of the polyptych depict the donors. Nicolas Rolin is an old man, whose nose is too long and whose hair has been cut short. Guigonne de Salins lowers her eyes and gestures with her joined hands towards her book of hours; on her head she wears a starched net veil. Behind each of them, an angel is carrying a shield emblazoned with their respective coats-of-arms. Rolin is facing towards an elegant imitation statue of St Sebastian executed in grey tint, as if carved from marble. His wife is looking towards another imitation statue, this time of St Anthony, who is accompanied by a young pig.Artist:WEYDEN, Rogier van der Title: The Last Judgment Polyptych (reverse side) Painted in 1401-1450 , Flemish - - painting : religious
Måleriet Identifieringen ::  63886
5415 ago.
Konstnär: WEYDEN, Rogier van der
Målning: The Last Judgment Polyptych
Information: 1446-52 Oil on wood Mus?e de l'H?tel Dieu, Beaune As long as the polyptych hung in its original place, it was traditional to open the wings on Sundays and solemn feast days. But since it has been restored, it is now kept in a neighbouring room which is air-conditioned to prevent any further deterioration due to the heat generated by the three hundred thousand visitors who come to see it each year. The panels were sawn in half across the thickness of the wood a few years ago, and both front and the reverse are now exhibited simultaneously, side by side. The reverse of the panels of the polyptych depict the donors. Nicolas Rolin is an old man, whose nose is too long and whose hair has been cut short. Guigonne de Salins lowers her eyes and gestures with her joined hands towards her book of hours; on her head she wears a starched net veil. Behind each of them, an angel is carrying a shield emblazoned with their respective coats-of-arms. Rolin is facing towards an elegant imitation statue of St Sebastian executed in grey tint, as if carved from marble. His wife is looking towards another imitation statue, this time of St Anthony, who is accompanied by a young pig.Artist:WEYDEN, Rogier van der Title: The Last Judgment Polyptych (reverse side) Painted in 1401-1450 , Flemish - - painting : religious

Artist: WEYDEN, Rogier van der
WEYDEN, Rogier van der Wing of a Carved Altar china oil painting reproduction

Wing of a Carved Altar
1460-66 Oil on panel Church, Ambierle When Rogier died in Brussels on 18 June 1464, he was the best known and most sought after painter in the Netherlands, an exemplar to the majority of artists north of the Alps. He left behind him not only an obviously large workshop with extremely well trained assistants, but also a continuing demand for his work. The studio was very probably taken over by his son Pieter; it will have completed commissions on which he had embarked, also accepting new orders. One of these works, possibly commissioned in Rogier's own lifetime, consisted of the wing paintings for an altar in Ambierle in France, completed in 1466. It has been proved that the carved central shrine of this altar came from Brussels. The distinguished patrons in Brussels who commissioned it obviously turned to the town painter's famous workshop, where large and impressive paintings similar in typology to Rogier's own were produced, although certainly no longer by the master himself. The altar was donated by Michel de Chaugy, a counsellor of Philip the Good. The shrine in the retable shows carved scenes of the Passion; the donor's family, with its patron saints, occupies the wings. Stone figures of saints are depicted in niches on the exterior. In its construction, this work reflects the exterior of the Beaune Altarpiece.Artist:WEYDEN, Rogier van der Title: Wing of a Carved Altar Painted in 1401-1450 , Flemish - - painting : religious
Måleriet Identifieringen ::  63883
5415 ago.
Konstnär: WEYDEN, Rogier van der
Målning: Wing of a Carved Altar
Information: 1460-66 Oil on panel Church, Ambierle When Rogier died in Brussels on 18 June 1464, he was the best known and most sought after painter in the Netherlands, an exemplar to the majority of artists north of the Alps. He left behind him not only an obviously large workshop with extremely well trained assistants, but also a continuing demand for his work. The studio was very probably taken over by his son Pieter; it will have completed commissions on which he had embarked, also accepting new orders. One of these works, possibly commissioned in Rogier's own lifetime, consisted of the wing paintings for an altar in Ambierle in France, completed in 1466. It has been proved that the carved central shrine of this altar came from Brussels. The distinguished patrons in Brussels who commissioned it obviously turned to the town painter's famous workshop, where large and impressive paintings similar in typology to Rogier's own were produced, although certainly no longer by the master himself. The altar was donated by Michel de Chaugy, a counsellor of Philip the Good. The shrine in the retable shows carved scenes of the Passion; the donor's family, with its patron saints, occupies the wings. Stone figures of saints are depicted in niches on the exterior. In its construction, this work reflects the exterior of the Beaune Altarpiece.Artist:WEYDEN, Rogier van der Title: Wing of a Carved Altar Painted in 1401-1450 , Flemish - - painting : religious

Artist: WEYDEN, Rogier van der
WEYDEN, Rogier van der Entombment of Christ china oil painting reproduction

Entombment of Christ
1450 Oil on oak panel, 110 x 96 cm Galleria degli Uffizi, Florence It is believed - but without absolute certainty - that this Entombment is the centre of a polyptych which was acquired by Leonello d'Este, Duke of Ferrara, for the Study at Belfiore, when the painter went in pilgrimage to Rome in 1449, the year before the Jubilee. It is however more probable that this work - which is also mentioned as being in the Medicean Villa at Careggi - was done in 1449-50 at Florence, because it derives its compositive formula from the Deposition by Fra Angelico which can be seen in the predella of the altarpiece of St Mark in the Alte Pinakothek, Munich. This painting, in a Renaissance frame decorated with pilasters, adorned the altar of the private chapel of the Medici villa in Careggi, near Florence. Cosimo de' Medici (1389 -1464) had built this country residence around the middle of the century, and there are good reasons to suppose that the Medici family, who must have owned Rogier's small panel of the Madonna (St?delsches Kunstinstitut, Frankfurt), also commissioned the larger painting. The work closely follows the Entombment of Christ which was part of an altarpiece by Fra Angelico, painted around 1440 for the Florentine monastery church of San Marco. Its influence is evident in the display of the dead man, shown almost standing, with Mary and John holding his arms one on each side, and more particularly in the hill with the tomb in the rock, which runs entirely counter to Northern European tradition. Fra Angelico's altarpiece, to which the picture of the Entombment, much imitated in Florence, also belonged, was itself an important donation by the Medici family. It is improbable that Rogier van der Weyden saw Fra Angelico's work by chance on his Italian journey, and then reworked it for his own Medici altarpiece - particularly as we do not know whether he passed through Florence at all on his way to Rome. The model was more probably prescribed for him by his patrons when the work was commissioned. Very likely they sent the master a sketch of the work they had donated, telling him to follow it. Such clear guidelines from Florence would also explain why the painting was executed in almost square format, unusual for Netherlandish works but common in Italy and suitable for the architectural Renaissance setting. The patrons who commissioned the work will have been as much struck by the fine, realistic detail of the painting of the Lamentation as by the intense emotion of the faces. These qualities, and the slight asymmetry that suited late Gothic taste, distinguish the picture in significant respects from the work of Fra Angelico. A two-dimensionality at least matching that of the St John Altarpiece (Staatliche Museen, Berlin), and not at all in line with the artistic ideals of the Renaissance, is particularly noticeable in the Magdalene kneeling at the front, her limbs compressed into the same plane. The painting can thus be associated with Rogier's late works coming after the St. Columba Altarpiece (Alte Pinakothek, Munich).Artist:WEYDEN, Rogier van der Title: Entombment of Christ Painted in 1401-1450 , Flemish - - painting : religious
Måleriet Identifieringen ::  63869
5419 ago.
Konstnär: WEYDEN, Rogier van der
Målning: Entombment of Christ
Information: 1450 Oil on oak panel, 110 x 96 cm Galleria degli Uffizi, Florence It is believed - but without absolute certainty - that this Entombment is the centre of a polyptych which was acquired by Leonello d'Este, Duke of Ferrara, for the Study at Belfiore, when the painter went in pilgrimage to Rome in 1449, the year before the Jubilee. It is however more probable that this work - which is also mentioned as being in the Medicean Villa at Careggi - was done in 1449-50 at Florence, because it derives its compositive formula from the Deposition by Fra Angelico which can be seen in the predella of the altarpiece of St Mark in the Alte Pinakothek, Munich. This painting, in a Renaissance frame decorated with pilasters, adorned the altar of the private chapel of the Medici villa in Careggi, near Florence. Cosimo de' Medici (1389 -1464) had built this country residence around the middle of the century, and there are good reasons to suppose that the Medici family, who must have owned Rogier's small panel of the Madonna (St?delsches Kunstinstitut, Frankfurt), also commissioned the larger painting. The work closely follows the Entombment of Christ which was part of an altarpiece by Fra Angelico, painted around 1440 for the Florentine monastery church of San Marco. Its influence is evident in the display of the dead man, shown almost standing, with Mary and John holding his arms one on each side, and more particularly in the hill with the tomb in the rock, which runs entirely counter to Northern European tradition. Fra Angelico's altarpiece, to which the picture of the Entombment, much imitated in Florence, also belonged, was itself an important donation by the Medici family. It is improbable that Rogier van der Weyden saw Fra Angelico's work by chance on his Italian journey, and then reworked it for his own Medici altarpiece - particularly as we do not know whether he passed through Florence at all on his way to Rome. The model was more probably prescribed for him by his patrons when the work was commissioned. Very likely they sent the master a sketch of the work they had donated, telling him to follow it. Such clear guidelines from Florence would also explain why the painting was executed in almost square format, unusual for Netherlandish works but common in Italy and suitable for the architectural Renaissance setting. The patrons who commissioned the work will have been as much struck by the fine, realistic detail of the painting of the Lamentation as by the intense emotion of the faces. These qualities, and the slight asymmetry that suited late Gothic taste, distinguish the picture in significant respects from the work of Fra Angelico. A two-dimensionality at least matching that of the St John Altarpiece (Staatliche Museen, Berlin), and not at all in line with the artistic ideals of the Renaissance, is particularly noticeable in the Magdalene kneeling at the front, her limbs compressed into the same plane. The painting can thus be associated with Rogier's late works coming after the St. Columba Altarpiece (Alte Pinakothek, Munich).Artist:WEYDEN, Rogier van der Title: Entombment of Christ Painted in 1401-1450 , Flemish - - painting : religious

Artist: WEYDEN, Rogier van der
WEYDEN, Rogier van der St Columba Altarpiece china oil painting reproduction

St Columba Altarpiece
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
Måleriet Identifieringen ::  63868
5419 ago.
Konstnär: WEYDEN, Rogier van der
Målning: St Columba Altarpiece
Information: 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

Artist: WEYDEN, Rogier van der
WEYDEN, Rogier van der Lamentation china oil painting reproduction

Lamentation
1441 Wood, 32,2 x 47,2 cm Mus?es Royaux des Beaux-Arts, Brussels The latest studies attribute this Lamentation directly to Rogier van der Weyden, a pupil of the Master of Fl?malle and one of the most important and influential of the Flemish Primitives. The style and pictorial qualities of the painting match those of other Van der Weyden panels that are documented by archival material. A few authors, however, believe this Lamentation to be by his workshop, because of the various versions that exist of this composition, some of which have definitely been produced by assistants. Van der Weyden had so much work that he left the reproduction of popular compositions like the Lamentation to the other painters in his workshop. Dendrochronological research - the dating of a wooden panel based on the growth rings - places this version at around 1441, i.e. relatively early in the painter's career. Depicted is the lamentation of Christ under the cross, a scene that does not appear as such in the Bible. To the left we see John the Evangelist, barefoot and robed in a red mantle. His right hand supports the Saviour's upper body, which is resting against the Virgin's knee. With his left hand he is comforting Mary. The Mother of God supports her Son's limp head and presses her cheek against his. At Christ's feet Mary Magdalen kneels in veneration, alongside her an ointment pot, her customary attribute. The skull in the foreground refers to the location, Golgotha, literally "place of the skull". Apocryphal texts frequently interpret this as the skull of Adam, whose fall brought death on the human race, and whose original sin Christ died to expiate. The withered trees to the left and right are also taken from medieval Passion stories, certain of which tell that all trees withered when the Saviour gave up the spirit. The emotional intensity of the Lamentation witnesses to the influence of 'devotio moderna', with this type of tableau intended to move the viewer to compassion. Closer contemplation of the Passion would then lead to the imitation of Christ, or place the viewer into the right frame of mind to receive communion.Artist:WEYDEN, Rogier van der Title: Lamentation Painted in 1401-1450 , Flemish - - painting : religious
Måleriet Identifieringen ::  63865
5419 ago.
Konstnär: WEYDEN, Rogier van der
Målning: Lamentation
Information: 1441 Wood, 32,2 x 47,2 cm Mus?es Royaux des Beaux-Arts, Brussels The latest studies attribute this Lamentation directly to Rogier van der Weyden, a pupil of the Master of Fl?malle and one of the most important and influential of the Flemish Primitives. The style and pictorial qualities of the painting match those of other Van der Weyden panels that are documented by archival material. A few authors, however, believe this Lamentation to be by his workshop, because of the various versions that exist of this composition, some of which have definitely been produced by assistants. Van der Weyden had so much work that he left the reproduction of popular compositions like the Lamentation to the other painters in his workshop. Dendrochronological research - the dating of a wooden panel based on the growth rings - places this version at around 1441, i.e. relatively early in the painter's career. Depicted is the lamentation of Christ under the cross, a scene that does not appear as such in the Bible. To the left we see John the Evangelist, barefoot and robed in a red mantle. His right hand supports the Saviour's upper body, which is resting against the Virgin's knee. With his left hand he is comforting Mary. The Mother of God supports her Son's limp head and presses her cheek against his. At Christ's feet Mary Magdalen kneels in veneration, alongside her an ointment pot, her customary attribute. The skull in the foreground refers to the location, Golgotha, literally "place of the skull". Apocryphal texts frequently interpret this as the skull of Adam, whose fall brought death on the human race, and whose original sin Christ died to expiate. The withered trees to the left and right are also taken from medieval Passion stories, certain of which tell that all trees withered when the Saviour gave up the spirit. The emotional intensity of the Lamentation witnesses to the influence of 'devotio moderna', with this type of tableau intended to move the viewer to compassion. Closer contemplation of the Passion would then lead to the imitation of Christ, or place the viewer into the right frame of mind to receive communion.Artist:WEYDEN, Rogier van der Title: Lamentation Painted in 1401-1450 , Flemish - - painting : religious

Artist: WEYDEN, Rogier van der
WEYDEN, Rogier van der Diptych china oil painting reproduction

Diptych
1440 Oil on oak panel, 18,5 x 12 cm (each) Kunsthistorisches Museum, Vienna The two small panels, representing the Madonna and St Catherine of Alexandria, respectively, probably formed a diptych. The busts of prophets on the outside of the Ghent Altarpiece by Jan van Eyck were the model for the bust of God the Father at the top of the left panel. The figures of Adam and Eve were from the same source. The picture is usually regarded as an early work by Rogier himself from the years 1432-35, but the figure of the Madonna is probably after Jan van Eyck's Madonna of the Fountain, dated 1439, in Antwerp. The right panel is rather weaker, and is not by the same painter as the Madonna. As a king's daughter, Catherine has a crown, but she has taken it off, perhaps a sign of humility and reverence before the Madonna, and has placed it on the ground to lie there ignored. The wheel, her attribute, refers to the failure of the attempt to break her on the wheel; the martyr was finally beheaded with a sword.Artist:WEYDEN, Rogier van der Title: Diptych Painted in 1401-1450 , Flemish - - painting : religious
Måleriet Identifieringen ::  63859
5419 ago.
Konstnär: WEYDEN, Rogier van der
Målning: Diptych
Information: 1440 Oil on oak panel, 18,5 x 12 cm (each) Kunsthistorisches Museum, Vienna The two small panels, representing the Madonna and St Catherine of Alexandria, respectively, probably formed a diptych. The busts of prophets on the outside of the Ghent Altarpiece by Jan van Eyck were the model for the bust of God the Father at the top of the left panel. The figures of Adam and Eve were from the same source. The picture is usually regarded as an early work by Rogier himself from the years 1432-35, but the figure of the Madonna is probably after Jan van Eyck's Madonna of the Fountain, dated 1439, in Antwerp. The right panel is rather weaker, and is not by the same painter as the Madonna. As a king's daughter, Catherine has a crown, but she has taken it off, perhaps a sign of humility and reverence before the Madonna, and has placed it on the ground to lie there ignored. The wheel, her attribute, refers to the failure of the attempt to break her on the wheel; the martyr was finally beheaded with a sword.Artist:WEYDEN, Rogier van der Title: Diptych Painted in 1401-1450 , Flemish - - painting : religious

Artist: unknow artist
unknow artist Grimani Breviary china oil painting reproduction

Grimani Breviary
1490-1510 Illumination on parchment Biblioteca Nazionale Marciana, Venice The codex is one of the most famous and best known illumunated manuscript. It contains 831 pages with 110 pictures all of them in a decorated frame. The miniatures represent different styles, some of them are attributed to Hans Memling, while others to Alexander and Simon Bening. The origin of the codex is unknown, its name is after Dominico Grimaldi, Cardinal of Venice who bought it in 1520 for 500 golden ducates. This picture presented here shows the month of April from the calendar.Artist:MINIATURIST, Netherlandish Title: Grimani Breviary Painted in 1451-1500 , Flemish - - illumination : religious
Måleriet Identifieringen ::  63855
5419 ago.
Konstnär: unknow artist
Målning: Grimani Breviary
Information: 1490-1510 Illumination on parchment Biblioteca Nazionale Marciana, Venice The codex is one of the most famous and best known illumunated manuscript. It contains 831 pages with 110 pictures all of them in a decorated frame. The miniatures represent different styles, some of them are attributed to Hans Memling, while others to Alexander and Simon Bening. The origin of the codex is unknown, its name is after Dominico Grimaldi, Cardinal of Venice who bought it in 1520 for 500 golden ducates. This picture presented here shows the month of April from the calendar.Artist:MINIATURIST, Netherlandish Title: Grimani Breviary Painted in 1451-1500 , Flemish - - illumination : religious

Artist: unknow artist
unknow artist Girart de Roussillon china oil painting reproduction

Girart de Roussillon
1450 Opaque paint, gold, and pen and ink on parchment, 395 x 300 mm ?sterreichische Nationalbibliothek, Vienna Direct borrowings from Rogier van der Weyden's paintings can be traced in the illumination of Girart de Rousillon, with an introductory picture that is one of the variants inspired by Rogier's miniature. Girart de Roussillon, the legendary 9th-century first duke of Burgundy and his bride Berta are being married by a bishop, who is shown joining the hands of the bridal couple. A second bishop and further members of the ducal retinue, including two ladies in waiting holding Berta's train, are also participating in the ceremony, which takes place in the hall of a palace adorned with Girart's old Burgundian coat of arms. The four small miniatures refer to the following episodes of the book: above and below, the Vandals are besieging the fortress of Roussillon from which Girart takes his name, and which itself is shown on the right. The picture on the left is a fantastic view of the church of Pothi?res, founded by Girart and Berta.Artist:MINIATURIST, Netherlandish Title: Girart de Roussillon Painted in 1401-1450 , Flemish - - illumination : historical
Måleriet Identifieringen ::  63851
5419 ago.
Konstnär: unknow artist
Målning: Girart de Roussillon
Information: 1450 Opaque paint, gold, and pen and ink on parchment, 395 x 300 mm ?sterreichische Nationalbibliothek, Vienna Direct borrowings from Rogier van der Weyden's paintings can be traced in the illumination of Girart de Rousillon, with an introductory picture that is one of the variants inspired by Rogier's miniature. Girart de Roussillon, the legendary 9th-century first duke of Burgundy and his bride Berta are being married by a bishop, who is shown joining the hands of the bridal couple. A second bishop and further members of the ducal retinue, including two ladies in waiting holding Berta's train, are also participating in the ceremony, which takes place in the hall of a palace adorned with Girart's old Burgundian coat of arms. The four small miniatures refer to the following episodes of the book: above and below, the Vandals are besieging the fortress of Roussillon from which Girart takes his name, and which itself is shown on the right. The picture on the left is a fantastic view of the church of Pothi?res, founded by Girart and Berta.Artist:MINIATURIST, Netherlandish Title: Girart de Roussillon Painted in 1401-1450 , Flemish - - illumination : historical

Artist: unknow artist
unknow artist Principal Led before the Madonna china oil painting reproduction

Principal Led before the Madonna
1425-50 Tempera on vellum, 14,5 x 9,9 cm Rijksmuseum Twenthe, EnschedeArtist:MINIATURIST, Netherlandish Title: Principal Led before the Madonna Painted in 1401-1450 , Flemish - - illumination : religious
Måleriet Identifieringen ::  63850
5419 ago.
Konstnär: unknow artist
Målning: Principal Led before the Madonna
Information: 1425-50 Tempera on vellum, 14,5 x 9,9 cm Rijksmuseum Twenthe, EnschedeArtist:MINIATURIST, Netherlandish Title: Principal Led before the Madonna Painted in 1401-1450 , Flemish - - illumination : religious

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