Rogier van der Weyden


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Weyden, Rogier van der

 

(also Rogier de la Pasture) Born circa 1400; buried June 18, 1464, in Brussels. Netherlandish painter. An important artist of the Early Renaissance in northern Europe.

Rogier probably studied in Tournai with R. Campin. Beginning in 1435 he headed a large studio in Brussels. In 1450 he made a pilgrimage to Italy. Rogier’s early works have not survived, although some researchers believe that the works attributed to the Master of Flémalle are actually those of the young Rogier.

Rogier’s style is characterized by an exceptional emotional intensity, a severity of linear rhythms, a crystalline vision, and a harsh palette, in which lucid, cold tones predominate (Descent From the Cross, Prado, Madrid; Crucifixion, Historical Museum of Art, Vienna). Concentrating the action in the foreground without undue attention to the details of landscape and everyday life and deliberately introducing conventional backgrounds, Rogier rejected van Eyck’s passionate desire to convey reality and turned his attention entirely to man’s inner world. His work contained certain Late Gothic elements, for example, the angularity of the figures. However, the depth and complexity of the human images Rogier depicted, especially in his portraits (Francisque d’Este, Metropolitan Museum of Art, New York; Portrait of a Lady, National Gallery of Art, Washington, D.C.), attest to the early-humanist direction of his work.

REFERENCES

Gershenzon-Chegodaeva, N. M. Niderlandskii port ret XV veka. Moscow, 1972. Pages 108–30.
Panofsky, E. Early Netherlandish Painting: Its Origins and Character, vols. 1–2. Cambridge, Mass., 1953.
Davies, M. Rogier van der Weyden. Brussels, 1973.
References in periodicals archive ?
One day, while viewing Rogier van der Weyden's painting Last Judgment, deep conviction filled his heart.
Referencing works by Jan van Eyck, Hans Memling, Rogier van der Weyden, and Robert Campin, the artist chose unorthodox and difficult surfaces and materials, such as cardboard, coral, and a soccer ball (many of these items were found on walks), and pushed the original, canonical scenes beyond the traditional frame and into three-dimensional space.
The artist's friend Bruce Bernard thought these 'disturbing' and 'hallucinatory' works showed Freud 'might well have been a match for anyone in the great Flemish workshops of the fifteenth century', and expressed surprise that he 'hardly ever mentioned the great Northern school [...] though I know that he thinks Rogier van der Weyden's Deposition in the Prado one of the world's great paintings'.
Rogier van der Weyden's sensitive Portrait of an Unknown Woman (c.
Netherlands Yearbook for History of Art 1990; Volume 41: Underdrawing in Paintings of the Rogier van der Weyden and Master of Flemalle Groups (reprint, 1992)
Trascurridas esas tres primeras decadas, los pintores siguen a Cristo a todas partes pues solo falta poco para que todo quede consumado; asi que se ponen a marchar a su lado dejando consigna de los milagros realizados (Giotto di Bondone), del momento dramatico del anuncio de la traicion (Leonardo da Vinci), del encuentro a solas con Poncio Pilato (Nikolai Ge), de la flagelacion (Piero della Francesca), de la crucifixion (Diego Velazquez, Miguel Angel), del descenso de la cruz (Sandro Botticelli, Rogier van der Weyden), en definitiva, del sacrificio y del dolor que es voluntariamente aceptado por este heroe solitario.
Diane Apostolos-Cappadona picks up on that in her analysis of Rogier van der Weyden's Descent from the Cross and Walter Verdin's Sliding Time, in which she shows how art is able to fill the spaces left by Scripture or theological texts and thus provides genuine occasions of revelation and contributions to the theological reflection on the experience of the divine in human existence.
A century and a half later, Rogier van der Weyden's magnificent St.
From his advocacy of Sens Cathedral as the prime example of nascent Gothic sight to the deft analysis of Rogier Van Der Weyden's iconic imagery in imaginative new ways, Recht's offering is of deep value to art historians and theologians alike who are seeking to articulate the values and contexts of medieval art and faith.
For example, in the 15th century Jan van Eyck and Rogier van der Weyden, two masters of Northern Renaissance art, used symbols to communicate messages which would have been viewed as heretical and subversive if spoken or written at that time, (Harbison, 1995).