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Artcyclopedia.com |
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The Estridge off Dover, 1800 - Rehs Galleries' biography and an image of an early painting. |
Rogier van der Weyden (Dutch: [roːˈɣiːr vɑn dər ˈʋɛidə(n)]) or Roger de la Pasture (1399 or 1400 – 18 June 1464) was an early Netherlandish painter whose surviving works consist mainly of religious triptychs, altarpieces, and commissioned single and diptych portraits. He was highly successful in his lifetime; his paint... |
Very few details of van der Weyden's life are known. The few facts we know come from fragmentary civic records. Yet the attribution of paintings now associated to him is widely accepted, partly on the basis of circumstantial evidence, but primarily on the stylistic evidence of a number of paintings by an innovative mas... |
Van der Weyden worked from life models, and details were closely observed. Yet he often idealised certain elements of his models' facial features, who were typically statuesque, especially in his triptychs. All of his forms are rendered with rich, warm colourisation and a sympathetic expression, while he is known for h... |
Early life and apprenticeship |
Due to the loss of archives in 1695 and again in 1940, there are few certain facts of van der Weyden's life. Rogelet de le Pasture (Roger of the Pasture) was born in Tournai (in present-day Belgium) in 1399 or 1400. His parents were Henri de le Pasture and Agnes de Watrélos. The Pasture family had earlier settled in th... |
In 1426, Rogier married Elisabeth, the daughter of a Brussels shoemaker, Jan Goffaert and his wife Cathelyne van Stockem. Rogier and Elisabeth had four children, the first being Cornelius (b. 1427), who became a Carthusian monk and Margaretha, born in 1432. By 21 October 1435, the family had settled in Brussels, where ... |
From 2 March 1436 onward, Rogier held the title of 'painter to the town of Brussels' (stadsschilder), a very prestigious post since Brussels was at that time the most important residence of the splendid court of the Dukes of Burgundy. |
Little is known about Rogier's training as a painter. The archival sources from Tournai were completely destroyed during World War II, but had been partly transcribed in the 19th and early 20th century. The sources on his early life are confusing and have led to different interpretations by scholars. It is known that t... |
However, on 5 March of the following year, the records of the painters' guild show a "Rogelet de le Pasture" entered the workshop of Robert Campin together with Jacques Daret. Records show that de le Pasture was already established as a painter. Only five years later, on the first of August 1432, de le Pasture obtained... |
His later entry into apprenticeship might be explained by the fact that during the 1420s the city of Tournai was in crisis and as a result the guilds were not functioning normally. The late apprenticeship may have been a legal formality. Also Jacques Daret was then in his twenties and had been living and working in Cam... |
The social and intellectual status of Rogier in his later life surpassed that of a mere craftsman at that time. In general, the close stylistic link between the documented works of Jacques Daret and the paintings attributed to Robert Campin and van der Weyden are the main arguments to consider Rogier van der Weyden as ... |
Acclaim in Brussels |
The final mention of Rogier de la Pasture in the financial records of Tournai, on 21 October 1435, lists him as demeurrant à Brouxielles ("living in Brussels"). At the same time, the first mention of Rogier de Weyden places him as the official painter of Brussels. It is this fact that puts de la Pasture and van der Wey... |
Different properties and investments are documented and witness his material prosperity. The portraits he painted of the Burgundian Dukes, their relatives and courtiers, demonstrate a close relationship with the elite of the Netherlands. Whilst Rogier van der Weyden became increasingly wealthy, he also gave generously ... |
The Miraflores Altarpiece was probably commissioned by King Juan II of Castile, since Juan II donated it to the monastery of Miraflores in 1445. |
According to some sources, in 1449 Rogier went to Italy, and in the holy year 1450 quite possibly made a pilgrimage to Rome, which brought him in contact with Italian artists and patrons. However, his Italian experiences had no influence on his style. The House of Este and the Medici family commissioned paintings from ... |
Rogier's international reputation increased progressively. In the 1450s and 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 buried in St. Catherine's Chapel of the Cathedral of St. Michael and St. Gudula. |
Attribution |
No single work can be attributed with certainty to van der Weyden on 15th-century documentary evidence alone. However, Lorne Campbell has stated that three well-authenticated paintings are known, but each has been doubted or underestimated. The best documented is The Descent from the Cross in the Museo del Prado, Madri... |
Rogier's apprenticeship under Campin instilled a number of preoccupations, most noticeably his approach to feminine beauty, which was often expressed both through the elegant form of the model herself as well as her dress. Both painters positioned their models within strong diagonal lines, rendered either through headd... |
Châtelet illustrates how subsequent generations of art historians have conflated and confused Rogier van der Weyden's identity, thereby mis-attributing works of art. It can be traced back to a geographical error in Vasari's Vite de' più eccellenti pittori, scultori e architettori where he states that the artist 'Rugie... |
Work |
Relatively few works are attributed to van der Weyden's relatively long career, but this does not mean he was un-prolific, more that it is likely that many have been lost. Nonetheless, he had a very well defined style, and the majority of the attributions are generally accepted. Van der Weyden left no self-portraits. H... |
Many of his most important works were destroyed during the late 17th century. He is first mentioned in historical records in 1427 when, relatively late in life, he studied painting under Campin during 1427–32, and soon outshone his master and, later, even influenced him. After his apprenticeship, he was made master of ... |
The fragment of the London 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 important early works". Since the 1970s, this painting has been linked to two small heads in the collection of the Calouste Gulbenkian Mus... |
The lost The Justice of Trajan and Herkinbald, which survived until the end of the 17th century, consisted of four large 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. The first and th... |
In his commissioned portraits, van der Weyden typically flattered his sitters. He often idealised or softened their facial features, allowing them a handsomeness or beauty, or interest or intelligence they might not have been blessed with in life. He often enlargened the eyes, better defined the contours of the face, a... |
Influence |
His vigorous, subtle, expressive painting and popular religious conceptions had considerable influence on European painting, not only in France and Germany but also in Italy and in Spain. Panofsky writes how Rogier van der Weyden introduced new religious iconography in his painting; he depicted patrons participating in... |
Hans Memling was his greatest follower, although it is not proven that he studied under Rogier. Van der Weyden had also a large influence on the German painter and engraver Martin Schongauer whose prints were distributed all over Europe from the last decades of the 15th century. Indirectly Schongauer's prints helped to... |
Gallery |
Notes |
Sources |
Campbell, Lorne. Van der Weyden. London: Chaucer Press, 2004. ISBN 1-904449-24-7 |
Campbell, Lorne. The Fifteenth Century Netherlandish Schools. London: National Gallery Publications, 1998. ISBN 1-85709-171-X |
Campbell, Lorne & Van der Stock, Jan. Rogier van der Weyden: 1400–1464. Master 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 Critical Catalogue of Paintings Assigned 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 Flemish 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 in Christian Art. 2nd Ed. New 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 in Brüssel und in der Nationalgalerie 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 by Agustín Temes, 2012; original edition Schilder-Boeck, 1604. ISBN 978-84-15715-02-3 |
Marzio, Peter C. A Permanent Legacy: 150 works from the Collection of the Museum of Fine Arts, Houston. New 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 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. Louis Art Museum Bulletin, Summer 1982. OCLC 716268497 |
Snyder, James. Northern Renaissance Art: Painting, Sculpture, The Graphic Arts from 1350 to 1575. 2nd ed. New Jersey: Prentice Hall Inc. and Pearson Education, 2005. |
External links |
Media related to Rogier van der Weyden at Wikimedia Commons |
Christopher D. M. Atkins and Mark S. Tucker, The Crucifixion, with the Virgin and Saint John the Evangelist Mourning in The John G. Johnson Collection: A History and Selected Works, a Philadelphia Museum of Art digital scholarly catalogue (fully available as a free PDF) |
La exposición Rogier van der Weyden – Lorne Campbell on the 2015 exhibition at the Museo Nacional del Prado |
Rogier van der Weyden on BALaT – Belgian Art Links and Tools (KIK-IRPA, Brussels) |
"Rogier van der Weyden, database of paintings". Centre for the Study of Fifteenth Century Painting in the Southern Netherlands and the Principality of Liège. 2015. Archived from the original on 12 February 2015. |
Gallery of works by Rogier van der Weyden |
The Netherlandish Diptych Unfolded – Exhibition on Netherlandish Diptychs in the National Gallery of Art in Washington including Van der Weyden's diptych of Philippe de Croy |
Flemish Primitives, Vlaamse kunstcollectie |
Rutilio di Lorenzo Manetti (c. 1571 – 22 July 1639) was an Italian painter of late-Mannerism or proto-Baroque, active mainly in Siena. |
Biography |
He was influenced and/or taught by the local artists Francesco Vanni and Ventura Salimbeni. He is known to have collaborated with Raffaello Vanni, the son of Francesco. Among his masterpieces are his contributions to the Casino Mediceo, which he worked alongside Matteo Rosselli, Giovanni Lanfranco, and Cesare Dandini. ... |
He is known for the following works in Siena or nearby towns: Story of St Catherine and Pope Gregory (1597; Palazzo Pubblico), Baptism of Christ (1600; church of San Giovannino in Pantaneto); a fresco cycle of the Story of St Roch (1605–1610; San Rocco alla Lupa), Pope Alexander I freed from prison by an Angel from San... |
His style moved from one derived from Barocci to a more Caravaggesque manner after the first decade of the 17th century. Whether this change was mediated by local painters from Siena and Florence, or from direct visits to Rome, is unclear. |
Sources |
Artnet biography from Grove encyclopedia of Art |
Italycyberguide biography |
Getty ULAN entry |
The Manetti Exhibition in Siena, Charles McCorquodale. The Burlington Magazine. (1978) Vol 120 (909): pages 885-889. |
External links |
Media related to Rutilio Manetti at Wikimedia Commons |
Salomon Rombouts (1655 – ca. 1702) was a Dutch Golden Age painter. |
Biography |
Rombouts was born in Haarlem. According to the RKD he was the son of the landscape painter Gillis Rombouts and, like his father, painted landscapes and beach scenes. His parents had had two sons before him that were also named Salomon who died in infancy, leading to some confusion in the literature about his date of bi... |
References |
Salomon Rombouts on Artnet |
Salomon van Ruysdael (c. 1602, Naarden – buried 3 November 1670, Haarlem) was a Dutch Golden Age landscape painter. He was the uncle of Jacob van Ruisdael. |
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