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Rogier van der Weyden
Rogier van der Weyden 1399/1400 - 1464 was the most important representative of Netherlandish painting or Northern Renaissance ... is, with Jan van Eyck, considered one of the greatest exponents of the school of Early Netherlandish painting. Rogier van der Weyden was born in Tournai as 'Rogier de le Pasture' (Roger of the Pasture) in 1399 or 1400. His parents were Henri de le Pasture and Agnes de Watr??los. The family had settled before in the city of Tournai where Rogiers father worked as a 'maître-coutelier' (knife manufacturer). In 1426 Rogier married Elisabeth, the daughter of the Brussels shoemaker Jan Goffaert and his wife Cathelyne van Stockem. Rogier and Elisabeth had four children: Cornelius, who became a Carthusian monk, was born in 1427, a daughter Margaretha in 1432. Before 21 October 1435 the family settled in Brussels where the two younger children were born: Pieter in 1437 and Jan the next year. From the second of March 1436 onwards held the title of 'painter to the town of Brussels' (stadsschilder) a very prestigious post because Brussels was at that time the most important residence of the splendid court of the Dukes of Burgundy. It was at the occasion of his move to the Dutch-speaking town of Brussels that Rogier began using the Dutch version of his name: 'Rogier van der Weyden'Little is known about Rogier's training as a painter. The archival sources from Tournai (completely destroyed during World War II, but luckily partly transcribed in the 19th and early 20th century) are somewhat confusing and have led to different interpretations by scholars. From a document it is known that the city council of Tournai offered wine in honour of a certain 'Maistre Rogier de le Pasture' on March the 17th 1427. However, on the 5th of March of the following year the records of the painters' guild show a certain 'Rogelet de le Pasture' entered the workshop of Robert Campin together with Jacques Daret. Only five years later, on the first of August 1432, Rogier de le Pasture obtains the title of 'Master' (Maistre) as a painter.[1] Many have doubted whether Campin's apprentice 'Rogelet' was the same as the master 'Rogier' that was offered the wine back in 1426. The fact that in 1426-1427 Rogier was a married man in his late twenties, and well over the normal age of apprenticeship has been used as an argument to consider 'Rogelet' as a younger painter with the same name. In the 1420's however the city of Tournai was in crisis and as a result the guilds were not functioning normally. The late apprenticeship of Rogier/Rogelet may have been a legal formality. Also Jacques Daret was then in his twenties and had been living and working in Campin's household for at least a decade. It is possible that Rogier obtained an academic title (Master) before he became a painter and that he was awarded the wine of honour on the occasion of his graduation. The sophisticated and 'learned' iconographical and compositional qualities of the paintings attributed to him are sometimes used as an argument in favour of this supposition. The social and intellectual status of Rogier in his later life surpassed that of a mere craftsman at that time. In general the close stylistical link between the documented works of Jacques Daret, and the paintings attributed to Robert Campin and Rogier van der Weyden is considered as the main argument to consider Rogier van der Weyden as a pupil of Robert Campin. The last mention of Rogier de la Pasture in the financial records of Tournai, on October 21, 1435, lists him as demeurrant ?? Brouxielles ('living in Brussels'). At the same time, the first mention of Rogier de Weyden is made as the official painter of Brussels. Therefore Rogier de la Pasture and Rogier Van der Weyden are thought to be one and the same painter. The post of city painter was created especially for Van der Weyden and was meant to lapse on his death. It was linked to a huge commission to paint four justice scenes for the 'Golden Chamber' of Brussels City Hall.[2] 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. The Miraflores Altarpiece was probably commissioned by King Juan II of Castile, since Juan II donated it to the monastery of Miraflores in 1445.

 

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Rogier van der Weyden Beaune Altarpiece interior showing the Last Judgment oil painting

Painting ID::  9877

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Rogier van der Weyden
Beaune Altarpiece interior showing the Last Judgment
1450. Oil on panel partially transferred on canvas. Musee Hotel-Dieu, Beaune, France
   
   
     

 

 

Rogier van der Weyden The Annunciation (mk05) oil painting

Painting ID::  19996

X 
 

Rogier van der Weyden
The Annunciation (mk05)
Wood 34 x 36 1/2''(86 x 93 cm)Formerly in the Royal Gallery of Turin entered the Louvre in 1799
   
   
     

 

 

Rogier van der Weyden Crucifixion in a Church (mk08) oil painting

Painting ID::  21198

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Rogier van der Weyden
Crucifixion in a Church (mk08)
c.1445 Tempera on wood 200x97cm Antwerp, Koninklijk Museum voor Schone Kunsten
   
   
     

 

 

Rogier van der Weyden Madonna with Four Saints (mk08) oil painting

Painting ID::  21249

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Rogier van der Weyden
Madonna with Four Saints (mk08)
c.1450 Tempera on wood 53x38cm Frankfurt am Main,Stadelsches Kunstinstitut
   
   
     

 

 

Rogier van der Weyden The Descent from the Cross (nn03) oil painting

Painting ID::  23531

X 
 

Rogier van der Weyden
The Descent from the Cross (nn03)
c 1435/8 Oil on panel 220 x 262 cm 86 5/8 x 103 1/8 in Museo del Prado Madrid
   
   
     

 

 

Rogier van der Weyden Portrait of a Lady (mk45) oil painting

Painting ID::  25879

X 
 

Rogier van der Weyden
Portrait of a Lady (mk45)
c.1460 Oil on oak panel. 34x25.5cm
   
   
     

 

 

Rogier van der Weyden Portrait of a Lady (mk45) oil painting

Painting ID::  25880

X 
 

Rogier van der Weyden
Portrait of a Lady (mk45)
1435/40 Oil on oak panel. 47x32cm Berlin,Staatlicher Museen zu Berlin-Preubischer Kulturbesitz,Gemaldegalerie
   
   
     

 

 

Rogier van der Weyden The Entombent oil painting

Painting ID::  29817

X 
 

Rogier van der Weyden
The Entombent
mk67 Oil on panel 43 5/16x37 13/16in Uffizi,Gallery
   
   
     

 

 

Rogier van der Weyden Descent from the Cross oil painting

Painting ID::  33429

X 
 

Rogier van der Weyden
Descent from the Cross
mk86 c.1435-1440 Tempera on wood 220x262cm Madrid,Museo del Prado
   
   
     

 

 

Rogier van der Weyden Crucifixion triptych with SS Mary Magdalene and Veronica oil painting

Painting ID::  39640

X 
 

Rogier van der Weyden
Crucifixion triptych with SS Mary Magdalene and Veronica
mk150 c.1440 Oak,central penel 96x69cm
   
   
     

 

 

Rogier van der Weyden Deposition oil painting

Painting ID::  40183

X 
 

Rogier van der Weyden
Deposition
mk156 c.1435 Oil on panel 220x262cm
   
   
     

 

 

Rogier van der Weyden St Luke Drawing the Virgin oil painting

Painting ID::  40190

X 
 

Rogier van der Weyden
St Luke Drawing the Virgin
mk156 c.1440 Oil on canvas 102.5x108.5cm
   
   
     

 

 

Rogier van der Weyden St.John Altarpiece oil painting

Painting ID::  40196

X 
 

Rogier van der Weyden
St.John Altarpiece
mk156 c.1446-53 Oil on oak panel 77x48cm
   
   
     

 

 

Rogier van der Weyden St.Columba Altarpiece oil painting

Painting ID::  40208

X 
 

Rogier van der Weyden
St.Columba Altarpiece
mk156 c.1455 Tempera on wood 138x153cm
   
   
     

 

 

Rogier van der Weyden St Luke Drawing a Portrait of the Virgin oil painting

Painting ID::  40969

X 
 

Rogier van der Weyden
St Luke Drawing a Portrait of the Virgin
mk159 Oil on canvas transferred from panel 102.5x108.5cm
   
   
     

 

 

Rogier van der Weyden Christ Appearing to His Mother oil painting

Painting ID::  41321

X 
 

Rogier van der Weyden
Christ Appearing to His Mother
mk161 Tempera and oil on wood 25x15
   
   
     

 

 

Rogier van der Weyden San Lucas Painting to the Virgin one oil painting

Painting ID::  41967

X 
 

Rogier van der Weyden
San Lucas Painting to the Virgin one
mk166 1450 I Wave on wood 138x110cm Old art Gallery, Munich
   
   
     

 

 

Rogier van der Weyden Women portrait oil painting

Painting ID::  42623

X 
 

Rogier van der Weyden
Women portrait
mk169 ca. 1455 oil Paint on panel 36.8x27.3cm National Gallery or Art
   
   
     

 

 

Rogier van der Weyden The Magdalen Reading oil painting

Painting ID::  42846

X 
 

Rogier van der Weyden
The Magdalen Reading
mk170 Circa 1435 Oil on mahogany 62.2x54.4cm
   
   
     

 

 

Rogier van der Weyden The Exhumation of Saint Hubert oil painting

Painting ID::  42847

X 
 

Rogier van der Weyden
The Exhumation of Saint Hubert
mk170 circa 1440 Oil on oak 88.2x81.2cm
   
   
     

 

       Prev    1  2  3  4  5  6     Next

 

Rogier van der Weyden
Rogier van der Weyden 1399/1400 - 1464 was the most important representative of Netherlandish painting or Northern Renaissance ... is, with Jan van Eyck, considered one of the greatest exponents of the school of Early Netherlandish painting. Rogier van der Weyden was born in Tournai as 'Rogier de le Pasture' (Roger of the Pasture) in 1399 or 1400. His parents were Henri de le Pasture and Agnes de Watr??los. The family had settled before in the city of Tournai where Rogiers father worked as a 'maître-coutelier' (knife manufacturer). In 1426 Rogier married Elisabeth, the daughter of the Brussels shoemaker Jan Goffaert and his wife Cathelyne van Stockem. Rogier and Elisabeth had four children: Cornelius, who became a Carthusian monk, was born in 1427, a daughter Margaretha in 1432. Before 21 October 1435 the family settled in Brussels where the two younger children were born: Pieter in 1437 and Jan the next year. From the second of March 1436 onwards held the title of 'painter to the town of Brussels' (stadsschilder) a very prestigious post because Brussels was at that time the most important residence of the splendid court of the Dukes of Burgundy. It was at the occasion of his move to the Dutch-speaking town of Brussels that Rogier began using the Dutch version of his name: 'Rogier van der Weyden'Little is known about Rogier's training as a painter. The archival sources from Tournai (completely destroyed during World War II, but luckily partly transcribed in the 19th and early 20th century) are somewhat confusing and have led to different interpretations by scholars. From a document it is known that the city council of Tournai offered wine in honour of a certain 'Maistre Rogier de le Pasture' on March the 17th 1427. However, on the 5th of March of the following year the records of the painters' guild show a certain 'Rogelet de le Pasture' entered the workshop of Robert Campin together with Jacques Daret. Only five years later, on the first of August 1432, Rogier de le Pasture obtains the title of 'Master' (Maistre) as a painter.[1] Many have doubted whether Campin's apprentice 'Rogelet' was the same as the master 'Rogier' that was offered the wine back in 1426. The fact that in 1426-1427 Rogier was a married man in his late twenties, and well over the normal age of apprenticeship has been used as an argument to consider 'Rogelet' as a younger painter with the same name. In the 1420's however the city of Tournai was in crisis and as a result the guilds were not functioning normally. The late apprenticeship of Rogier/Rogelet may have been a legal formality. Also Jacques Daret was then in his twenties and had been living and working in Campin's household for at least a decade. It is possible that Rogier obtained an academic title (Master) before he became a painter and that he was awarded the wine of honour on the occasion of his graduation. The sophisticated and 'learned' iconographical and compositional qualities of the paintings attributed to him are sometimes used as an argument in favour of this supposition. The social and intellectual status of Rogier in his later life surpassed that of a mere craftsman at that time. In general the close stylistical link between the documented works of Jacques Daret, and the paintings attributed to Robert Campin and Rogier van der Weyden is considered as the main argument to consider Rogier van der Weyden as a pupil of Robert Campin. The last mention of Rogier de la Pasture in the financial records of Tournai, on October 21, 1435, lists him as demeurrant ?? Brouxielles ('living in Brussels'). At the same time, the first mention of Rogier de Weyden is made as the official painter of Brussels. Therefore Rogier de la Pasture and Rogier Van der Weyden are thought to be one and the same painter. The post of city painter was created especially for Van der Weyden and was meant to lapse on his death. It was linked to a huge commission to paint four justice scenes for the 'Golden Chamber' of Brussels City Hall.[2] 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. The Miraflores Altarpiece was probably commissioned by King Juan II of Castile, since Juan II donated it to the monastery of Miraflores in 1445.