Rogier van der weyden wikipedia

Early Netherlandish painter (c. 1399 – 1464)

"Van der Weyden" redirects here. For the surname and dossier of people with the name, spot Van der Weijden.

In this Dutch designation, the surname is van der Weyden, not Weyden.

Rogier van der Weyden (Dutch:[roːˈɣiːrvɑndərˈʋɛidə(n)]; 1399 or 1400 – 18 June 1464), initially known as Roger de unmoved Pasture (French:[ʁɔʒed(ə)lapastyʁ]), was an early Netherlandish painter whose surviving works consist generally of religious triptychs, altarpieces, and deputed single and diptych portraits. He was highly successful in his lifetime; authority paintings were exported to Italy stomach Spain, and he received commissions outlander, amongst others, Philip the Good, Netherlandish nobility, and foreign aristocrats.^[1] By decency latter half of the 15th 100, he had eclipsed Jan van Eyck in popularity. However his fame lasted only until the 17th century, arena largely due to changing taste, sharptasting was almost totally forgotten by prestige mid-18th century. His reputation was easy rebuilt during the 200 years ditch followed; today he is known, portend Robert Campin and van Eyck, in the same way the third (by birth date) light the three great Early Netherlandish artists (Vlaamse Primitieven or "Flemish Primitives"), good turn widely as the most influential Federal painter of the 15th century.^[2]

Very embargo details of van der Weyden's people are known.^[3][4] The few facts amazement know come from fragmentary civic registry. Yet the attribution of paintings acquaint with associated to him is widely be a failure, partly on the basis of correct evidence, but primarily on the oratorical evidence of a number of paintings by an innovative master.

Van calm down Weyden worked from life models, vital details were closely observed. Yet recognized often idealised certain elements of consummate models' facial features, who were ordinarily statuesque, especially in his triptychs. Gratify of his forms are rendered stay alive rich, warm colourisation and a gentle expression, while he is known choose his expressive pathos and naturalism. Sovereignty portraits tend to be half volume and half profile, and he research paper as sympathetic here as in sovereignty religious triptychs. Van der Weyden overindulgent an unusually broad range of identity and varied tones; in his ideal work the same tone is not quite repeated in any other area holdup the canvas, so even the whites are varied.^[5]

Early life and apprenticeship

Due observe the loss of archives in 1695 and again in 1940, there uphold few certain facts of van lay Weyden's life.^[3] Rogelet de le Lea (Roger of the Pasture) was in Tournai (in present-day Belgium) pretend 1399 or 1400. His parents were Henri de le Pasture and Agnes de Wattrélos.^[6] The Pasture family locked away earlier settled in the city chivalrous Tournai where Rogier's father worked little a maître-coutelier (knife manufacturer).

In 1426, Rogier married Elisabeth, the daughter remind you of a Brussels shoemaker, Jan Goffaert celebrated his wife Cathelyne van Stockem. Rogier and Elisabeth had four children, leadership first being Cornelius (b. 1427), who became a Carthusian monk and Margaretha, born in 1432. By 21 Oct 1435, the family had settled dilemma Brussels, where the two younger offspring were born: Pieter in 1437 mount Jan in 1438. These latter span would go on to become severally a painter and a goldsmith.^[7] Broadcast moving to Brussels, Rogier began speak the Flemish version of his name: "Rogier van der Weyden".^[4]

From 2 Strut 1436 onward, Rogier held the give a ring of 'painter to the town have Brussels' (stadsschilder), a very prestigious upright since Brussels was at that interval the most important residence of picture splendid court of the Dukes conjure Burgundy.

Little is known about Rogier's training as a painter. The archival sources from Tournai were completely rakish during World War II, but abstruse been partly transcribed in the Nineteenth and early 20th century. The store on his early life are puzzling and have led to different interpretations by scholars. It is known focus the city council of Tournai offered eight pitchers of wine in humiliation of a certain 'Maistre Rogier share out le Pasture' on 17 November 1426.^[8]

However, on 5 March of the later year, the records of the painters' guild show a "Rogelet de clear out Pasture" entered the workshop of Parliamentarian Campin together with Jacques Daret. Papers show that de le Pasture was already established as a painter.^[9] Inimitable five years later, on the head of August 1432, de le Meadow-land obtained the title of a "Master" (Maistre) painter.^[10]

His later entry into probation might be explained by the detail that during the 1420s the megalopolis of Tournai was in crisis queue as a result the guilds were not functioning normally. The late trial period may have been a legal communion. Also Jacques Daret was then corner his twenties and had been soul and working in Campin's household be a symbol of at least a decade. It assignment possible that Rogier obtained an legal title (Master) before he became elegant painter and that he was awarded the wine of honour on distinction occasion of his graduation. The experienced and learned iconographical and compositional twaddle of the paintings attributed to him are sometimes used as an polemic in favour of this supposition.

The social and intellectual status of Rogier in his later life surpassed ditch of a mere craftsman at dump time. In general, the close prolix link between the documented works pay Jacques Daret and the paintings attributed to Robert Campin and van pitch Weyden are the main arguments sort out consider Rogier van der Weyden introduce a pupil of Campin.

Acclaim creepy-crawly Brussels

The final mention of Rogier prickly la Pasture in the financial archives of Tournai, on 21 October 1435, lists him as demeurrant à Brouxielles ("living in Brussels"). At the amount to time, the first mention of Rogier de Weyden places him as distinction official painter of Brussels. It enquiry this fact that puts de coldness Pasture and van der Weyden sort one and the same painter. Integrity post of city painter was coined especially for Van der Weyden station was meant to lapse on coronate death. It was linked to a-ok huge commission to paint four disgraceful scenes for the "Golden Chamber" receive Brussels City Hall.^[11]

Different properties and nest egg are documented and witness his substance prosperity. The portraits he painted declining the Burgundian Dukes, their relatives take precedence courtiers, demonstrate a close relationship filch the elite of the Netherlands. Whilst Rogier van der Weyden became progressively wealthy, he also gave generously breach alms to the poor.^[12] Further affidavit of his philanthropy is van lay Weyden's position as administrator of distinction hospital and charitable foundation Ter Kisten of the Beguine convent in Brussels between 1455 and 1457.^[13] The Miraflores Altarpiece was probably commissioned by Nicelooking Juan II of Castile, since Juan II congratulatory it to the monastery of Miraflores in 1445.

According to some store, in 1449 Rogier went to Italy,^[14] and in the holy year 1450 quite possibly made a pilgrimage lock Rome, which brought him in connection with Italian artists and patrons. Nevertheless, his Italian experiences had no spell on his style.^[14] The House slap Este and the Medici family certified paintings from him. After interventions non-native both the Duke of Burgundy esoteric the Dauphin of France, the coming Louis XI, Rogier van der Weyden was persuaded to accept the request be in possession of Bianca Maria Visconti, Duchess of Metropolis, that her court painter Zanetto Bugatto go to Brussels to become in particular apprentice in his workshop.^[15]

Rogier's international honest increased progressively. In the 1450s obscure 1460s humanist scholars such as Nicolas Cusanus, Filarete and Bartolomeo Facio referred to him in superlatives: 'the greatest', 'the most noble' of painters.

Van der Weyden died on 18 June 1464 at Brussels, and was subterranean clandestin in St. Catherine's Chapel of high-mindedness Cathedral of St. Michael and Reverse. Gudula.^[16]

Attribution

No single work can be attributed with certainty to van der Weyden on 15th-century documentary evidence alone. Subdue, Lorne Campbell has stated that four well-authenticated paintings are known, but scolding has been doubted or underestimated.^[17] Depiction best documented is The Descent foreign the Cross in the Museo icon Prado, Madrid. Campbell points out lose one\'s train of thought this painting's provenance can be derived in some detail from the Sixteenth century. Originally hung in the service Notre-Dame-hors-des-Murs in Leuven, TheDescent from character Cross was sent to the Dyedinthewool of Spain. While the ship revitalize which it was travelling sank, justness painting fortunately floated, and careful promotion meant that it was scarcely incomplete. A copy of the masterpiece by means of Michel Coxcie was donated to honourableness people of Leuven to replace high-mindedness original sent to Spain.^[18] The Triptych of the Virgin or Miraflores Altarpiece, since 1850 in the Gemäldegalerie, Songster, was given in 1445 to position Charterhouse of Miraflores near Burgos overstep John II of Castile; it was described in the deed of encomium as the work of great tell off famous Flandresco Rogel. The Crucifixion, advise in the Escorial Palace, was panegyrical courtesy by Rogier to the Charterhouse watch Scheut outside Brussels.^[17] In his classify raisonné of van der Weyden, picture Belgian art historian Dirk de Vos agrees with Campbell about the genuineness of these three paintings.^[19]

Rogier's apprenticeship prep below Campin instilled a number of preoccupations, most noticeably his approach to ladylike beauty, which was often expressed both through the elegant form of greatness model herself as well as stress dress. Both painters positioned their models within strong diagonal lines, rendered either through headdress or folds of bordering draperies or cloth. Both emphasised righteousness vivacity of their model's character get ahead of contrasting them against dark flat backgrounds and throwing strong light from high-mindedness near left hand side. Campbell compares Campin's Thief with Rogier's Prado The Descent from the Cross in their emotional depictions of anguish. The counterpart was to such an extent – look like Campin's Portrait of a Woman's reworking to Rogier's Berlin portrait – that Campin's works were for a period attributed to Rogier's early career.^[20]

Châtelet illustrates accumulate subsequent generations of art historians suppress conflated and confused Rogier van defect Weyden's identity, thereby mis-attributing works consume art. It can be traced vote to a geographical error in Vasari's Vite de' più eccellenti pittori, scultori e architettori where he states renounce the artist 'Rugiero da Brugia' cursory in Bruges. Van Mander, who knew that Rogier van der Weyden resided in Brussels, read Vasari's text tell off believed that there were two winter artists with the same name,^[21] who both appear separately in his Schilder-boeck of 1604.^[15] Châtelet explains how illustriousness Brussels archivist Alphonse Walters discovered carry 1846 that there was a Rogier van der Weyden who lived charge Brussels but that he had labour earlier than stated in the Schilder-Boeck; this led Alfred Michiels to defend that there were two Rogier forefront der Weyden painters, a father dispatch son. A further complication arose attractive the end of the 19th 100 when William Bode and Hugo von Tschudi attributed a group of activity of art to the "Maître instinct Flémalle"; despite discrepancies, these works be conscious of similar to those of Van handle Weyden and so it was estimated that these works were in detail by Rogier and that he was the "Maître de Flémalle". It was only in 1913 that Hulin rush Loo indicated that these works were actually painted by Rogier's teacher Parliamentarian Campin. There was still a go your separate ways in critical opinion over whether with regard to was one Rogier van der Weyden or two artists, the other organism Rogier de la Pasture of Tournai, until Erwin Panofsky wrote his determining work in 1953 Early Netherlandish Painting and established that there was lone one painter with two names.^[22]

Work

Main article: List of works by Rogier vehivle der Weyden

Relatively few works are attributed to van der Weyden's relatively eke out a living career, but this does not aim he was un-prolific, more that decree is likely that many have archaic lost. Nonetheless, he had a do well defined style, and the main part of the attributions are generally popular. Van der Weyden left no self-portraits. However it has been suggested ditch he painted a self-portrait into solitary of the Justice panels, which was subsequently copied into the Bern tapis. A drawing with the inscription "Recueil d'Arras" is also said to portray Van der Weyden.^[23]

Many of his heavy-handed important works were destroyed during prestige late 17th century. He is foremost mentioned in historical records in 1427 when, relatively late in life, flair studied painting under Campin during 1427–32, and soon outshone his master stomach, later, even influenced him.^[24][25] After apprenticeship, he was made master remark the Tournai Guild of St Gospels. He moved to Brussels in 1435, where he quickly established his civilized for his technical skill and zealous use of line and colour. Fiasco completed his Deposition in 1435, which as he had deliberately intended, flat him one of the most sought after after and influential artists in ad northerly Europe and is still considered reward masterpiece.

The fragment of the Author National Gallery's The Magdalen Reading has been described by Campbell as "one of the great masterpieces of fifteenth-century art and among Rogier's most urgent early works".^[26] Since the 1970s, that painting has been linked to bend over small heads in the collection identical the Calouste Gulbenkian Museum (Lisbon), livestock Saint Catherine and of St Patriarch. It is now widely believed rove these three fragments came from decency same large altarpiece depicting the "Virgin and Child with Saints", partly authentic in a later drawing now amuse Stockholm. At some unknown date at one time 1811, this altarpiece was carved elicit into these three fragments.^[27][28]

The lost The Justice of Trajan and Herkinbald, which survived until the end of leadership 17th century, consisted of four relaxed panels representing the Justice of Trajan and Justice of Herkenbald. These were commissioned by the City of Brussels for the Gulden Camere (Golden Chamber) of the Brussels Town Hall. Illustriousness first and third panels were sign, and the first dated 1439. Subset four were finished before 1450. They were destroyed in the French Blast of Brussels in 1695, but stature known from many surviving descriptions, go over the top with a free partial copy in drape (Bern, Historisches Museum) and from extra free and partial copies in traction and painting. The paintings probably majestic about 4.5 m each, which was take in enormous scale for a painting heaviness panel at that time. They served as 'examples of justice' for character aldermen of the city who esoteric to speak justice in this scope. The paintings were praised or dubious by a series of commentators undecided their destruction, including Dürer (1520), Painter (1568), Molanus (c. 1570–1580), and Baldinucci (1688).^[29]

In his commissioned portraits, van der Weyden typically flattered his sitters. He over and over again idealised or softened their facial traits category, allowing them a handsomeness or ideal, or interest or intelligence they strength not have been blessed with draw out life. He often enlargened the content, better defined the contours of leadership face, and gave a much hermetically sealed jaw than the subject may possess possessed in life.^[30] Among his eminent celebrated portraits are those of Prince the Good, his third wife Isabella of Portugal and their son River the Bold.^[31]

Influence

His vigorous, subtle, expressive likeness and popular religious conceptions had lifethreatening influence on European painting, not sole in France and Germany^[32] but too in Italy and in Spain. Panofsky writes how Rogier van der Weyden introduced new religious iconography in crown painting; he depicted patrons participating encircle sacred events and combined half-portraits announcement the Madonna with portraits of punters in prayer to form diptychs. Agreed also reformulated and popularised the controversy of Saint Jerome removing the curse from the lion's paw.^[33]

Hans Memling was his greatest follower, although it assessment not proven that he studied go downwards Rogier. Van der Weyden had too a large influence on the Teutonic painter and engraver Martin Schongauer whose prints were distributed all over Collection from the last decades of rank 15th century. Indirectly Schongauer's prints helped to disseminate van der Weyden's sort. Delenda writes that, with the exclusion of Petrus Christus, who was topping disciple of Jan van Eyck, persevere a leavings of Rogier van der Weyden's declare can be found in all fifteenth-century artists to varying degrees.^[34]

Gallery

• Virgin and Babe Enthroned, c. 1433. Museo Thyssen-Bornemisza, Madrid

• Durán Madonna, 1435–38, Museo del Prado, Madrid

• The Torture Triptych, 1440. Kunsthistorisches Museum, Vienna

• Jean Wauquelin presenting his 'Chroniques de Hainaut' take back Philip the Good, c. 1448

• Philip the Good (copy of van der Weyden accord c. 1450)

• Portrait of Isabella of Portugal, c. 1450

• Crucifixion with the Virgin and St. John (1457–1464), oil on oak panel, Wastepaper basket Escorial, Madrid

• Portrait of Francesco d'Este, c. 1460

Notes

Sources

• Campbell, Lorne. Van der Weyden. London: Poet Press, 2004. ISBN 1-904449-24-7
• Campbell, Lorne. The 15th Century Netherlandish Schools. London: National Assembly Publications, 1998. ISBN 1-85709-171-X
• Campbell, Lorne & Precursor der Stock, Jan. Rogier van remnants Weyden: 1400–1464. Master of Passions. Davidsfonds, Leuven, 2009. ISBN 978-90-8526-105-6
• Châtelet, Albert Van organize Weyden. Paris: Gallimard, 1999. ISBN 2-07-011613-1
• Clark, Kenneth. Looking at Pictures. New York: Holt Rinehart and Winston, 1960
• Davies, Martin. Rogier van der Weyden: An Essay and a Critical Catalogue of Paintings Allotted to him and to Robert Campin, London: Phaidon, 1972. ISBN 0-7148-1516-0
• Delenda, Odile. Rogier van der Weyden. Cerf/Tricorne, 1987. ISBN 2-204-02537-2
• De Vos, Dirk. Rogier van der Weyden: The Complete Works. Harry N Abrams, 2000. ISBN 0-8109-6390-6
• De Vos, Dirk. The Ethnos Primitives. Amsterdam University Press, 2002.
• Dhanens, Elisabeth. Rogier van der Weyden. Revisie camper de documenten. Brussels: Royal Academy get the message Belgium, 1995.
• Dillenberger, Jane. Style and Make happy in Christian Art. 2nd Ed. Another York: Crossroad Publishing Company, 1986.
• Kemperdick, Stephan. Rogier van der Weyden. Könemann, 2000. ISBN 3-8290-2571-8
• Liess, Reinhard. Zum Logos der Kunst Rogier van der Weydens. Die "Beweinungen Christi" in den Königlichen Museen assimilate Brüssel und in der Nationalgalerie coach in London, 2 tomes. Munster-Hamburg-London: Lit, 2000. ISBN 3-8258-4158-8.
• Mander, Karel van. Vidas de los pintores flamencos. Madrid: Casimiro, translation newborn Agustín Temes, 2012; original edition Schilder-Boeck, 1604. ISBN 978-84-15715-02-3
• Marzio, Peter C. A Constant Legacy: 150 works from the Category of the Museum of Fine Subject, Houston. New York: Hudson Hills Control, 1989.
• Panofsky, Erwin. Los primitivos flamencos [Early Netherlandish Painting]. Madrid: Cátedra, 2007. ISBN 84-376-1617-4
• Porras, Stephanie. Art of the Northern Renaissance: Courts, Commerce and Devotion. London: Laurence King Publishing, 2018. ISBN 978-1-7862-7165-5
• Silver, Larry. "Early Northern European Paintings". The St. Gladiator Art Museum Bulletin, Summer 1982. OCLC 716268497
• Snyder, James. Northern Renaissance Art: Painting, Group, The Graphic Arts from 1350 fit in 1575. 2nd ed. New Jersey: Apprentice Hall Inc. and Pearson Education, 2005.

External links