Roger van der Weyden

Roger van der Weyden:

see Weyden, Roger van derWeyden, Roger van der
, c.1400–1464, major early Flemish master, known also as Roger de la Pasture. He is believed to have studied with Robert Campin. His early works also show the influence of Jan van Eyck.
..... Click the link for more information.
.

Van der Weyden, Roger:

see Weyden, Roger van derWeyden, Roger van der
, c.1400–1464, major early Flemish master, known also as Roger de la Pasture. He is believed to have studied with Robert Campin. His early works also show the influence of Jan van Eyck.
..... Click the link for more information.
.

Weyden, Roger van der

(vän dər vī`dən), c.1400–1464, major early Flemish master, known also as Roger de la Pasture. He is believed to have studied with Robert Campin. His early works also show the influence of Jan van Eyck. Van Eyck, however, had been a master at objective rendering of detail, whereas Roger in his work portrayed emotions with an assurance that has not been surpassed. His ability to depict piety is reflected in the early masterpiece Descent from the Cross (c.1435; Prado); he depicted with significant restraint the profound grief of the mourners grouped around the tragic figure of Jesus. His composition strongly affected later representations of the theme. Roger became City Painter in Brussels in 1436. He then produced a series of undated altarpieces including the Last Judgment (hospital, Beaune), the Braque Triptych (Louvre), Crucifixion with Donors (Vienna), and Adoration of the Magi (Berlin), which vary in execution from a stress on sumptuous details to a more sculptural rendering of the figures. Roger is believed to have made a pilgrimage to Italy in the holy year 1450. Whether this supposed excursion had any effect on his style is much debated. It has been shown that his Entombment (Uffizi) bears an affinity to the Tuscan treatment of the subject, particularly by Fra Angelico, and that Roger's Virgin and Child with Saints (Frankfurt) has a strong resemblance to the Italian religious art of the day. His style is, however, highly individual. His religious paintings and his portraits are characterized by a straightforward monumentality. The portraits, such as that of a young lady (National Gall. of Art, Washington, D.C.) and of Francesco d'Este (Metropolitan Mus.) exhibit a simple clarity of contour and psychological penetration. Other notable works are his St. Luke Painting the Virgin, of which a version or replica is in the Museum of Fine Arts, Boston, the Crucifixion (Philadelphia Mus.), and paintings in the museums of Chicago, Houston, and San Marino, Calif. Roger's influence was great, and his tradition was carried on by such painters as Dierick Bouts and Hans Memling.

Bibliography

See E. Panofsky, Early Netherlandish Painting (1953); M. Davies, Roger van der Weyden (1972).

References in periodicals archive ?
Contract notice: Designation of a project team authors (study mission and site supervision) for the construction of a passive gym in interior island located at the corner of the street and newfoundland rue roger van der weyden 1000 brussels.
Peter Hitchens fue ateo en su juventud y comenzo un proceso de conversion a raiz de ver el cuadro del Juicio Final de Roger van der Weyden.
Ultimately, Hey had a highly personal style in a derivative mode, going back not to a French painter, but to Roger van der Weyden (1399/1400-1464).
Readers of this journal will be fascinated by Jasper's writing on the depiction of the (saintly) glorious body in the art of Luca Signorelli, Velazquez, Georges la Tour, Roger van der Weyden, and Rembrandt, which follows a complex reading of how the saintly body is rendered beautiful by the sustained disciplines of asceticism.
It sees the composer working out the aesthetic principles characteristic of the Flemish Primitive painter Roger Van der Weyden in a modern musical language.
Among the other restored paintings on view are a 'Deposition in the Sepulchre' by Roger van der Weyden, an 'Apparition of the Virgin' by Dosso Dossi, the portrait of a young man by Parmigianino, 'Santa Caterina d'Alessandria' by Artemisia Gentileschi, two still lives by Empoli and 'Porto con Villa Medici' by Claud Lorrain.
In it there is the left panel, the crucifixion, by Roger van der Weyden.