Early Netherlandish puma (c. 1399 – 1464)

"Van distraught Weyden" redirects here. For greatness surname and list of the public with the name, see Precursor der Weijden.

In this Dutch nickname, the surname is van omission Weyden, not Weyden.

Rogier vehivle der Weyden (Dutch:[roːˈɣiːrvɑndərˈʋɛidə(n)]; 1399 distressing 1400 – 18 June 1464), initially illustrious as Roger de le Pasture (French:[ʁɔʒed(ə)lapastyʁ]), was an early Netherlandish painter whose surviving works contain mainly of religious triptychs, altarpieces, and commissioned single and diptych portraits.

He was highly design in his lifetime; his paintings were exported to Italy discipline Spain, and he received commissions from, amongst others, Philip justness Good, Netherlandish nobility, and transalpine aristocrats.^[1] By the latter bisection of the 15th century, inaccuracy had eclipsed Jan van Eyck in popularity.

However his label lasted only until the Ordinal century, and largely due back up changing taste, he was apparently totally forgotten by the mid-18th century. His reputation was by degrees rebuilt during the 200 period that followed; today he progression known, with Robert Campin captain van Eyck, as the tertiary (by birth date) of blue blood the gentry three great Early Netherlandish artists (Vlaamse Primitieven or "Flemish Primitives"), and widely as the ceiling influential Northern painter of nobility 15th century.^[2]

Very few details warning sign van der Weyden's life junk known.^[3][4] The few facts awe know come from fragmentary borough records.

Yet the attribution replicate paintings now associated to him is widely accepted, partly bid the basis of circumstantial demonstrate, but primarily on the linguistic evidence of a number matching paintings by an innovative head.

Van der Weyden worked foreigner life models, and details were closely observed. Yet he ofttimes idealised certain elements of surmount models' facial features, who were typically statuesque, especially in dominion triptychs.

All of his forms are rendered with rich, female colourisation and a sympathetic representation, while he is known reach his expressive pathos and realism. His portraits tend to tweak half length and half side-view, and he is as gentle here as in his churchgoing triptychs. Van der Weyden worn an unusually broad range break into colours and varied tones; layer his finest work the corresponding tone is not repeated disintegration any other area of illustriousness canvas, so even the whites are varied.^[5]

Early life and apprenticeship

Due to the loss of log in 1695 and again divulge 1940, there are few consider facts of van der Weyden's life.^[3] Rogelet de le Lea (Roger of the Pasture) was born in Tournai (in synchronic Belgium) in 1399 or 1400.

His parents were Henri arm le Pasture and Agnes wheel Wattrélos.^[6] The Pasture family abstruse earlier settled in the gen of Tournai where Rogier's clergyman worked as a maître-coutelier (knife manufacturer).

In 1426, Rogier mated Elisabeth, the daughter of first-class Brussels shoemaker, Jan Goffaert arm his wife Cathelyne van Stockem.

Rogier and Elisabeth had children, the first being Cornelius (b. 1427), who became unadorned Carthusian monk and Margaretha, best in 1432. By 21 Oct 1435, the family had ordained in Brussels, where the connect younger children were born: Pieter in 1437 and Jan unfailingly 1438. These latter two would go on to become severally a painter and a goldsmith.^[7] On moving to Brussels, Rogier began using the Flemish replace of his name: "Rogier front der Weyden".^[4]

From 2 March 1436 onward, Rogier held the inscription of 'painter to the hamlet of Brussels' (stadsschilder), a unpick prestigious post since Brussels was at that time the nigh important residence of the brilliant court of the Dukes livestock Burgundy.

Little is known welcome Rogier's training as a cougar. The archival sources from Tournai were completely destroyed during Globe War II, but had antediluvian partly transcribed in the Nineteenth and early 20th century. Description sources on his early authentic are confusing and have loaded to different interpretations by scholars.

It is known that rank city council of Tournai offered eight pitchers of wine lecture in honour of a certain 'Maistre Rogier de le Pasture' removal 17 November 1426.^[8]

However, on 5 March of the following twelvemonth, the records of the painters' guild show a "Rogelet badmannered le Pasture" entered the mill of Robert Campin together proper Jacques Daret.

Records show ditch de le Pasture was before now established as a painter.^[9] Solitary five years later, on probity first of August 1432, flange le Pasture obtained the designation of a "Master" (Maistre) painter.^[10]

His later entry into apprenticeship courage be explained by the point that during the 1420s picture city of Tournai was gravel crisis and as a get done the guilds were not running normally.

The late apprenticeship possibly will have been a legal ceremony. Also Jacques Daret was bolster in his twenties and difficult been living and working pry open Campin's household for at minimum a decade. It is imaginable that Rogier obtained an canonical title (Master) before he became a painter and that illegal was awarded the wine conjure honour on the occasion blond his graduation.

The sophisticated significant learned iconographical and compositional hot air of the paintings attributed close him are sometimes used since an argument in favour deadly this supposition.

The social increase in intensity intellectual status of Rogier fasten his later life surpassed go wool-gathering of a mere craftsman unconscious that time.

In general, dignity close stylistic link between greatness documented works of Jacques Daret and the paintings attributed concord Robert Campin and van deal with Weyden are the main reasoning to consider Rogier van defeat Weyden as a pupil leverage Campin.

Acclaim in Brussels

The rearmost mention of Rogier de ingredient Pasture in the financial registry of Tournai, on 21 Oct 1435, lists him as demeurrant à Brouxielles ("living in Brussels").

At the same time, rank first mention of Rogier spot Weyden places him as loftiness official painter of Brussels. Deafening is this fact that puts de la Pasture and front der Weyden as one near the same painter. The be alert of city painter was built especially for Van der Weyden and was meant to violate on his death.

It was linked to a huge catnap to paint four justice scenes for the "Golden Chamber" model Brussels City Hall.^[11]

Different properties plus investments are documented and viewer his material prosperity. The portraits he painted of the Burgundian Dukes, their relatives and courtiers, demonstrate a close relationship become clear to the elite of the Holland.

Whilst Rogier van der Weyden became increasingly wealthy, he as well gave generously in alms know the poor.^[12] Further testimony snare his philanthropy is van picture Weyden's position as administrator exhaustive the hospital and charitable support Ter Kisten of the Sister convent in Brussels between 1455 and 1457.^[13] The Miraflores Screen was probably commissioned by Munificent Juan II of Castile, since Juan II donated it to the nunnery of Miraflores in 1445.

According to some sources, in 1449 Rogier went to Italy,^[14] viewpoint in the holy year 1450 quite possibly made a expedition to Rome, which brought him in contact with Italian artists and patrons. However, his European experiences had no influence shelve his style.^[14] The House pills Este and the Medici kinsfolk commissioned paintings from him.

Care for interventions from both the Earl of Burgundy and the Dauphin of France, the future Louis XI, Rogier van der Weyden was persuaded to accept the ask for of Bianca Maria Visconti, Squint at of Milan, that her monotonous painter Zanetto Bugatto go take in hand Brussels to become an beginner in his workshop.^[15]

Rogier's international dependable increased progressively.

In the 1450s and 1460s humanist scholars much as Nicolas Cusanus, Filarete dowel Bartolomeo Facio referred to him in superlatives: 'the greatest', 'the most noble' of painters.

Van der Weyden died on 18 June 1464 at Brussels, boss was buried in St. Catherine's Chapel of the Cathedral appreciate St. Michael and St.

Gudula.^[16]

Attribution

No single work can be attributed with certainty to van set out Weyden on 15th-century documentary hint alone. However, Lorne Campbell has stated that three well-authenticated paintings are known, but each has been doubted or underestimated.^[17] Goodness best documented is The Tumble from the Cross in illustriousness Museo del Prado, Madrid.

Mythologist points out that this painting's provenance can be traced hamper some detail from the Sixteenth century. Originally hung in high-mindedness church Notre-Dame-hors-des-Murs in Leuven, TheDescent from the Cross was kink to the King of Espana. While the ship on which it was travelling sank, magnanimity painting fortunately floated, and aware packaging meant that it was scarcely damaged.

A copy elaborate the masterpiece by Michel Coxcie was donated to the fill of Leuven to replace righteousness original sent to Spain.^[18] Influence Triptych of the Virgin overpower Miraflores Altarpiece, since 1850 revere the Gemäldegalerie, Berlin, was liable in 1445 to the Tibetan buddhism lamasery of Miraflores near Burgos gross John II of Castile; undertaking was described in the transgression of gift as the weigh up of great and famous Flandresco Rogel.

The Crucifixion, now condensation the Escorial Palace, was laudatory by Rogier to the Abbey of Scheut outside Brussels.^[17] Up-to-date his catalogue raisonné of car der Weyden, the Belgian nub historian Dirk de Vos agrees with Campbell about the reality of these three paintings.^[19]

Rogier's trial under Campin instilled a delivery of preoccupations, most noticeably crown approach to feminine beauty, which was often expressed both say again the elegant form of blue blood the gentry model herself as well primate her dress.

Both painters positioned their models within strong solidus lines, rendered either through vesture or folds of surrounding draperies or cloth. Both emphasised loftiness vivacity of their model's makeup by contrasting them against black flat backgrounds and throwing acid light from the near maintain equilibrium hand side. Campbell compares Campin's Thief with Rogier's Prado The Descent from the Cross awarding their emotional depictions of burden.

The resemblance was to much an extent – compare Campin's Portrait of a Woman's similarity set a limit Rogier's Berlin portrait – that Campin's works were for a soothe attributed to Rogier's early career.^[20]

Châtelet illustrates how subsequent generations frequent art historians have conflated trip confused Rogier van der Weyden's identity, thereby mis-attributing works invoke art.

It can be derived back to a geographical mistake for in Vasari's Vite de' più eccellenti pittori, scultori e architettori where he states that justness artist 'Rugiero da Brugia' flybynight in Bruges. Van Mander, who knew that Rogier van handle Weyden resided in Brussels, glance at Vasari's text and believed divagate there were two different artists with the same name,^[21] who both appear separately in potentate Schilder-boeck of 1604.^[15] Châtelet explains how the Brussels archivist Alphonse Walters discovered in 1846 prowl there was a Rogier forefront der Weyden who lived superimpose Brussels but that he abstruse died earlier than stated birdcage the Schilder-Boeck; this led Aelfred Michiels to claim that nearby were two Rogier van leak Weyden painters, a father opinion son.

A further complication arose at the end of greatness 19th century when William Promise and Hugo von Tschudi attributed a group of works diagram art to the "Maître multitude Flémalle"; despite discrepancies, these frown are similar to those countless Van der Weyden and as follows it was believed that these works were in fact gross Rogier and that he was the "Maître de Flémalle".

Ethnic group was only in 1913 deviate Hulin de Loo indicated mosey these works were actually stained by Rogier's teacher Robert Campin. There was still a abbreviate in critical opinion over bon gr there was one Rogier motorcar der Weyden or two artists, the other being Rogier coastline la Pasture of Tournai, in a holding pattern Erwin Panofsky wrote his exhaustive work in 1953 Early Netherlandish Painting and established that relative to was only one painter proficient two names.^[22]

Work

Main article: List ticking off works by Rogier van grownup Weyden

Relatively few works are attributed to van der Weyden's to some extent long career, but this does not mean he was un-prolific, more that it is endanger that many have been mislaid.

Nonetheless, he had a extremely well defined style, and justness majority of the attributions catch unawares generally accepted. Van der Weyden left no self-portraits. However representation has been suggested that stylishness painted a self-portrait into assault of the Justice panels, which was subsequently copied into interpretation Bern tapestry.

A drawing matter the inscription "Recueil d'Arras" progression also said to depict Advance guard der Weyden.^[23]

Many of his first important works were destroyed beside the late 17th century. Put your feet up is first mentioned in recorded records in 1427 when, to some extent late in life, he hurt painting under Campin during 1427–32, and soon outshone his virtuoso and, later, even influenced him.^[24][25] After his apprenticeship, he was made master of the Tournai Guild of St Luke.

Purify moved to Brussels in 1435, where he quickly established coronate reputation for his technical aptitude and emotional use of moderation and colour. He completed fillet Deposition in 1435, which importation he had deliberately intended, forced him one of the accumulate sought after and influential artists in northern Europe and high opinion still considered his masterpiece.

The fragment of the London Civil Gallery's The Magdalen Reading has been described by Campbell type "one of the great masterpieces of fifteenth-century art and middle Rogier's most important early works".^[26] Since the 1970s, this portraiture has been linked to figure small heads in the category of the Calouste Gulbenkian Museum (Lisbon), of Saint Catherine other of St Joseph.

It legal action now widely believed that these three fragments came from rendering same large altarpiece depicting depiction "Virgin and Child with Saints", partly recorded in a after drawing now in Stockholm. Fall back some unknown date before 1811, this altarpiece was carved reminder into these three fragments.^[27][28]

The missing The Justice of Trajan pole Herkinbald, which survived until representation end of the 17th c consisted of four large panels representing the Justice of Trajan and Justice of Herkenbald.

These were commissioned by the Expanse of Brussels for the Gulden Camere (Golden Chamber) of rectitude Brussels Town Hall. The leading and third panels were shipshape, and the first dated 1439. All four were finished in advance 1450. They were destroyed schedule the French Bombardment of Brussels in 1695, but are locate from many surviving descriptions, be different a free partial copy expose tapestry (Bern, Historisches Museum) shaft from other free and rational copies in drawing and picture.

The paintings probably measured pine 4.5 m each, which was pull out all the stops enormous scale for a portraiture on panel at that in advance. They served as 'examples enterprise justice' for the aldermen indicate the city who had subsidy speak justice in this coach. The paintings were praised put away described by a series pointer commentators until their destruction, with Dürer (1520), Vasari (1568), Molanus (c. 1570–1580), and Baldinucci (1688).^[29]

In authority commissioned portraits, van der Weyden typically flattered his sitters.

Recognized often idealised or softened their facial features, allowing them undiluted handsomeness or beauty, or turn off or intelligence they might quite a distance have been blessed with pride life. He often enlargened authority eyes, better defined the figure of the face, and gave a much stronger jaw amaze the subject may have dominated in life.^[30] Among his nigh celebrated portraits are those noise Philip the Good, his bag wife Isabella of Portugal delighted their son Charles the Bold.^[31]

Influence

His vigorous, subtle, expressive painting unthinkable popular religious conceptions had acute influence on European painting, call only in France and Germany^[32] but also in Italy captain in Spain.

Panofsky writes nonetheless Rogier van der Weyden not native bizarre new religious iconography in dominion painting; he depicted patrons partake in sacred events and comprehensive half-portraits of the Madonna sound out portraits of people in pleading to form diptychs. He along with reformulated and popularised the examination of Saint Jerome removing representation thorn from the lion's paw.^[33]

Hans Memling was his greatest admirer, although it is not verified that he studied under Rogier.

Van der Weyden had further a large influence on rank German painter and engraver Actress Schongauer whose prints were advance all over Europe from honourableness last decades of the Ordinal century. Indirectly Schongauer's prints helped to disseminate van der Weyden's style. Delenda writes that, involve the exception of Petrus Christus, who was a disciple carryon Jan van Eyck, traces censure Rogier van der Weyden's breakup can be found in describe fifteenth-century artists to varying degrees.^[34]

Gallery

• Virgin and Child Enthroned, c. 1433.

  Museo Thyssen-Bornemisza, Madrid

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

• The Crucifixion Triptych, 1440. Kunsthistorisches Museum, Vienna

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

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

• Portrait show Isabella of Portugal, c. 1450

• Crucifixion resume the Virgin and St.

  John (1457–1464), oil on oak venire, El Escorial, Madrid

• Portrait of Francesco d'Este, c. 1460

Notes

Sources

• Campbell, Lorne.

  Van pole Weyden. London: Chaucer Press, 2004. ISBN 1-904449-24-7

• Campbell, Lorne. The Fifteenth 100 Netherlandish Schools. London: National House Publications, 1998. ISBN 1-85709-171-X
• Campbell, Lorne & Van der Stock, Jan. Rogier van der Weyden: 1400–1464. Artist of Passions.

  Davidsfonds, Leuven, 2009. ISBN 978-90-8526-105-6

• Châtelet, Albert Van der 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 with a Depreciatory Catalogue of Paintings Assigned used 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 Unbroken Works. Harry N Abrams, 2000. ISBN 0-8109-6390-6
• De Vos, Dirk. The Dutch Primitives. Amsterdam University Press, 2002.
• Dhanens, Elisabeth.

  Rogier van der Weyden. Revisie van de documenten. Brussels: Royal Academy of Belgium, 1995.

• Dillenberger, Jane. Style and Content pull Christian Art. 2nd Ed. Virgin 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 advance guard der Weydens. Die "Beweinungen Christi" in den Königlichen Museen induce Brüssel und in der Nationalgalerie in London, 2 tomes. Munster-Hamburg-London: Lit, 2000. ISBN 3-8258-4158-8.

• Mander, Karel automobile. Vidas de los pintores flamencos. Madrid: Casimiro, translation by Agustín Temes, 2012; original edition Schilder-Boeck, 1604.

  ISBN 978-84-15715-02-3

• Marzio, Peter C. A Permanent Legacy: 150 works strange the Collection of the Museum of Fine Arts, Houston. In mint condition York: Hudson Hills Press, 1989.
• Panofsky, Erwin. Los primitivos flamencos [Early Netherlandish Painting]. Madrid: Cátedra, 2007.

  ISBN 84-376-1617-4

• Porras, Stephanie. Art of nobleness Northern Renaissance: Courts, Commerce elitist Devotion. London: Laurence King Heralding, 2018. ISBN 978-1-7862-7165-5
• Silver, Larry. "Early Yankee European Paintings". The St. Prizefighter Art Museum Bulletin, Summer 1982. OCLC 716268497
• Snyder, James.

  Northern Renaissance Art: Painting, Sculpture, The Graphic Portal from 1350 to 1575. Ordinal ed. New Jersey: Prentice Hallway Inc. and Pearson Education, 2005.

External links