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Topic: Rogier van der Weyden

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	Biography
		Rogier was the son of a master cutler, and his childhood must have been spent in the comfortable surroundings of the rising class of merchants and craftsmen.
		The removal of Rogier's art from concern with outward appearances and his return to medieval conventions is surprising; for it was during this decade that Rogier's international reputation was secured and commissions increased from noblemen such as Philip the Good, duke of Burgundy, and his powerful chancellor, Nicolas Rolin.
		Rogier's art was also a vehicle for transporting the Flemish style throughout Europe, and during the second half of the 15th century his influence dominated painting in France, Germany, and Spain.
	www.wga.hu /bio/w/weyden/rogier/biograph.html (1154 words)

	Stockt - AMAM
		Works ascribed to Vrancke van der Stockt are distinguished by their slim, elegant figures with rather angular, mannered silhouettes; they are further characterized by a consistent use of Rogerian motifs, repeated virtually unchanged from the original.
		The inclusion of Christ's temptations in representations of the Baptist is relatively rare; the central panel of Rogier's Saint John Altarpiece in Berlin, representing the Baptism of Christ, incorporates the three temptations of Christ in the painted archivolt surrounding the scene and probably served as a prototype for van der Stockt's composition.
		Van der Stockt was a friend and possibly a collaborator of van der Weyden, and succeeded him as official painter to the town of Brussels in 1464.
	www.oberlin.edu /allenart/collection/stockt.html (1458 words)

	Rogier van der Weyden. - Olga's Gallery
		Rogier van der Weyden was the most important representative of Netherlandish painting in the years immediately following Jan and Hubert van Eyck.
		Rogier was born in Tournai around 1399/1400, son of the cutler Henry de le Pasture and Agnes de Wattrelos.
		Rogier came to Brussels in 1435, changing his name from the French ‘de le Pasture’ to its Flemish equivalent, which is ‘van der Weyden’.
	www.abcgallery.com /W/weyden/weydenbio.html (1215 words)

	ART / 4 / 2DAY (Site not responding. Last check: 2007-10-21)
		Rogier now replaced Mary by the donor of the diptych engaged in prayer, and in turn replaced Christ by his mother as the recipient of the donor's devotions.
		The painting is very much in Rogier van der Weyden's style, but shows weaknesses in the drawing of the hands and the foreshortening of the face, and is therefore probably from his workshop.
		Rogier's male portraits are built on similar structural principles and expressive qualities to those of the female portraits.
	www.safran-arts.com /42day/art/art4jun/weyden/portrait.html (2027 words)

	Vincent Art Gallery: About Rogier van Weyden
		It was then, on March 5, 1427, that Rogier enrolled as an apprentice in the workshop of Robert Campin, the foremost painter in Tournai and dean of the painters' guild.
		Although as an apprentice Rogier must certainly have met Jan van Eyck when the latter visited Tournai in 1427, it was more likely in Bruges, where Rogier may have resided between 1432 and 1435, that he became thoroughly acquainted with van Eyks style.
		Rogier continued what Campin and also Jan van Eyk had begun, perfecting anatomical considerations and the perspectival representation of interior space and landscapes.
	www.vincent.nl /gallery/about/vanweyden.htm (940 words)

	Famous Belgians - Rogier van der Weyden (Site not responding. Last check: 2007-10-21)
		Rogier's paintings, like those of other contemporary Netherlandish masters (particularly those of Jan van Eyck), are precise and highly detailed, although Rogier during his career moved toward a new technique of light and shadow that emphasized the central figure of the painting while subduing other elements.
		They are characterized by cold colors, by rhythmic elongated lines (particularly evident in fluttering robes and draperies), by the elegant mannered poses of the figures, and especially by a tragic religious intensity that reached a peak in three versions of the crucifixion (circa 1440).
		Rogier was one of the most influential north European 15th-century painters not only in the Netherlands but also in Spain, Italy, France, and Germany, to which many of his commissioned paintings were sent.
	www.famousbelgians.net /vanderweyden.htm (347 words)

	ART / 4 / 2DAY (Site not responding. Last check: 2007-10-21)
		Van der Weyden had so much work that he left the reproduction of popular compositions like the Lamentation to the other painters in his workshop.
		It is improbable that Rogier van der Weyden saw Fra Angelico's work by chance on his Italian journey, and then reworked it for his own Medici altarpiece - particularly as we do not know whether he passed through Florence at all on his way to Rome.
		A two-dimensionality at least matching that of the Saint John Altarpiece (Staatliche Museen, Berlin), and not at all in line with the artistic ideals of the Renaissance, is particularly noticeable in the Magdalene kneeling at the front, her limbs compressed into the same plane.
	www.safran-arts.com /42day/art/art4jun/weyden/cruzfixz.html (1932 words)

	Weyden (Site not responding. Last check: 2007-10-21)
		It is generally accepted that this is Rogier van der Weyden (the French and Flemish forms of the name both meaning `Rogier of the Meadow'), although it is uncertain why he should have started his apprenticeship so late.
		Unlike Jan van Eyck he seems to have had a large workshop with numerous assistants and pupils, and many of his compositions are known in several versions.
		Rogier's portraits, usually serene and aristocratic, were also much imitated, influencing Netherlandish art until the end of the 15th century.
	webpages.shepherd.edu /JWILLI11/weyden.html (457 words)

	Rogier van der Weyden Online
		Rogier van der Weyden at the Louvre Museum, Paris
		Rogier van der Weyden at the National Gallery, London, UK Rogier van der Weyden at the Prado Museum, Madrid
		Rogier van der Weyden at the Prado Museum, Madrid
	www.artcyclopedia.com /artists/weyden_rogier_van_der.html (357 words)

	Amsterdam University Press
		The biography was given a new twist as a result of interesting recently discovered Doornik documents, since Van der Weyden was working in his birth town of Doornik until at least the age of thirty-five.
		The picture of Van der Weyden as a draughtsman was virtually non-existent until recently.
		Van der Weyden interpreted humanity's personal instinctive identification with the holy figures and events, with the mystical content.
	www.aup.nl /do.php?a=show_visitor_book&isbn=9061534275&l=2 (540 words)

	Roger van der Weyden - Wikipedia, the free encyclopedia
		He did not study with Jan van Eyck, his older colleague, who perfected the art of oil painting during Roger's lifetime.
		His style differs from van Eyck's in its direct appeal to emotion and the sometimes highly dramatic composition; but his handling of paint is akin to van Eyck in its lucid, gemlike perfection.
		The Crucifixion in the Royal Museums of Fine Arts, Brussels, assigned either to him or to Memling, and containing portraits of the Sforzas, probably represents Roger van der Weyden in some of the principal figures at least, though Memling may have completed the picture.
	en.wikipedia.org /wiki/Roger_van_der_Weyden (415 words)

	Jan van Eyck - Wikipedia, the free encyclopedia
		Jan belonged to the Van Eyck family of painters and was a younger brother of Hubert van Eyck.
		He was frequently employed in missions of trust; and following the fortunes of a chief who was always in the saddle, he appears for a time to have been in ceaseless motion, receiving extra pay for secret services at Leiden, drawing his salary at Bruges, yet settled in a fixed abode at Lille.
		Sometimes a crude ruddiness in flesh strikes us as a growing defect, an instance of which is the picture in the museum of Bruges, in which Canon van der Paelen is represented kneeling before the Virgin under the protection of St George (1434).
	en.wikipedia.org /wiki/Jan_van_Eyck (1007 words)

	Painter/Artist: Weyden, Rogier van der (Rogier de la Pasture) (1399/1400-1464)
		His genius is characterized by a profound psychological and aesthetic sensitivity, a tender poetic reserve, a strong feeling for rhythmic equilibrium, and most of all a fertility in the invention of emotional symbols that became the basic vocabulary of Flemish painting.
		Although a Rogier de la Pasture was honored by the town of Tournai in 1426, a Rogelet de la Pasture was inscribed in the following year as an apprentice to Robert Campin (see), and made a member of the guild of painters only in 1432.
		If one assumes that Rogier van der Weyden is not identical with the Master of Flemalle, then his earliest masterpiece, and one which made him immediately famous, is the Descent from the Cross (c.1432-33, Prado), devised as a painted imitation of a wood-carved relief and exhibiting his gift for transforming emotion into aesthetic symbols.
	www.oldandsold.com /articles04/article1436.shtml (375 words)

	Jan van Eyck as Court Painter
		In May of 1425, Jan Van Eyck was appointed pour cause de l'excellent ouvrage de son mestier qu'il fait [On account of the excellent work in his craft that he made] to become a valet de chambre in the household of Philip the Good.
		Rogier van der Weyden, Bladelin Altarpiece, Peter Bladelin is shown in prayer in the central panel.
		This suggests that the commissions that Van Eyck fulfilled were gained by permission of the Duke for whom Van Eyck was in readiness to serve whenever called upon.
	employees.oneonta.edu /farberas/arth/arth214_folder/van_eyck/court_painter.html (1916 words)

	History of NETHERLANDS ART (Site not responding. Last check: 2007-10-21)
		Van Eyck's most famous portrait is of a married couple - an Italian merchant in Bruges, Giovanni Arnolfini, and his wife Giovanna.
		Rogier van der Weyden, who probably learns his craft in the studio of Robert Campin, becomes the official painter to the city of Brussels in 1435.
		Van der Weyden retains the clarity and realism of Campin and van Eyck, but replaces the calm and stillness of their work with a new intensity of emotion - seen in the Prado painting in the gruesome dead weight of Christ's body and the collapse into grief of his mother.
	www.historyworld.net /wrldhis/PlainTextHistories.asp?historyid=ac91 (1385 words)

	Rogier van der Weyden Biography / Biography of Rogier van der Weyden Biography Biography
		The Flemish painter Rogier van der Weyden (1399-1464) was the most influential northern artist of the 15th century.
		Rogier van der Weyden, Jan van Eyck, and Robert Campin were the founding fathers of the main traditions of early Netherlandish painting.
		Rogier van der Weyden, probably born at Tournai, was the son of a master cutler.
	www.bookrags.com /biography-rogier-van-der-weyden (239 words)

	Biographies from famous aritsts in the world (Site not responding. Last check: 2007-10-21)
		Rogier van der Weyden was a Flemish painter- a leading artist of the mid-15th century.
		Rogier was born in Tournai, Flanders (now in Belgium); although details of his early training are sketchy, it is generally accepted that he entered the workshop of the painter Robert Campin in Tournai in 1427 and became a licensed master in 1432.
		In 1435 he was appointed the official painter of the city of Bruges (now in Belgium), where he spent most of the rest of his life.
	www.euro-art-gallery.com /history/weyden.htm (360 words)

	Rogier van der Weyden (Site not responding. Last check: 2007-10-21)
		Rogier again shows his debt to sculpture, not only in the sculpted frames, but in the sculptural quality of the main scenes.
		Rogier buys a house in the vicinity of the ducal palace, and garners many commissions from the duke's circle in the 1440s.
		Rogier seems to have had strong connections to the Carthusians: his son also became a monk in 1449, and was friends w/ the founder of this monastery.
	www.medieval.pdx.edu /medart3/4rogier/4rogier.htm (5891 words)

	artnet.com: Resource Library: Weyden, van der: (1) Rogier van der Weyden (Site not responding. Last check: 2007-10-21)
		Rogier van der Weyden was the son of Henri de le Pasture, a cutler in Tournai, and Agnès de Watreloz.
		Rogier may have lived for a time in Brussels: his eldest child Cornelis (b 1427) was sometimes referred to as ‘de Bruxella’ but was not necessarily a native of Brussels.
		Van der Weyden maintained connections with Tournai and the Tournai guild of painters, which in 1464 held a funeral service in his honour.
	www.artnet.com /library/09/0913/T091310.asp (666 words)

	NG London/Past Exhibitions/1999/Rogier van der Weyden, 'The Magdalen Reading'
		A celebration of the sixth centenary of the birth of the Netherlandish artist Rogier van der Weyden (c.1399 - 1464).
		Rogier van der Weyden is recognised as one of the greatest draughtsmen and painters of all time.
		One of the Gallery's best-loved pictures, van der Weyden's 'The Magdalen Reading' is in fact one surviving fragment of the lost altarpiece.
	www.nationalgallery.org.uk /exhibitions/past/rogier.htm (325 words)

	ART / 4 / 2DAY
		Rogier was born in Tournai, Flanders (now in Belgium); although details of his early training are sketchy, it is generally accepted that he entered the workshop of the painter Robert Campin in Tournai in 1427 and became a licenced master in 1432.
		Rogier was apprenticed to Campin in 1427 —; a surprisingly late date.
		Jan van Eyck, van der Weyden was the most influential northern European artist of his time.
	www.safran-arts.com /42day/art/art4jun/art0618.html (5830 words)

	Flemish artists in Italy
		Van der Weyden visited Italy in 1450 as a pilgrim to Rome on the occasion of the Jubilee of Pope Nicholas V. The bearded head of Joseph of Arimathea is uncannily similar to that in Fra Angelico's Deposition for the Strozzi chapel in Santa Trinita (1437).
		The precision and texturing of his details, as seen in the plants and vase in the foreground, the glass bottle in St Cosmas' hand, and the sumptuous damask inside the tent-like baldachin, introduced Florentine spectators to the potential afforded by painting in oil.
		Cosimo also owned Rogier's small panel of the Virgin with the Child and Four Saints, painted in 1450, the year Rogier visited Italy, though there is no direct evidence that Rogier ever visited Florence.
	www.philipresheph.com /a424/gallery/flemish/flemish.htm (709 words)

	[No title] (Site not responding. Last check: 2007-10-21)
		In 1430, Jan van Eyck settled in Bruges and opened a studio, which was to become the base for the School of Bruges.
		Rogier van der Weyden (1399-1464) was an apprentice of Campin in 1527; he experienced the influence of both great masters, Campin and van Eyck, and combined their discoveries with his own attitude.
		Jan van Eyck and Rogier van der Weyden were never surpassed by their immediate and by no means unimportant successors.
	www.nycartwork.com /cummings.html (1250 words)

	MSN Encarta - Search Results - Rogier van der Weyden
		Rogier van der Weyden was a painter from Tournai in Flanders, who, unlike Jan van Eyck, seems to have made a trip to Italy in 1450.
		Van Der Zee, James (1886-1983), African American photographer, whose sensitive portraits and views of New York City's Harlem neighborhood were “...
		Weyden, Rogier van der : pictures of his paintings
	ca.encarta.msn.com /Rogier_van_der_Weyden.html (144 words)

	Bladelin Triptych by WEYDEN, Rogier van der
		One need only compare earlier works by Rogier van der Weyden such as the tripartite Altarpiece of Saint John the Baptist - to realize the extent of his advance.
		The bold use of space which the painter makes in each individual scene of the Saint John triptych becomes even more marked in the Bladelin Altarpiece, where the compass of the picture extends over all three panels, and this is also reflected in the abandonment of any dividing architectonic framework.
		Rogier was one of the first great painters of the north to visit Italy.
	gallery.euroweb.hu /html/w/weyden/rogier/07bladel/0bladel.html (710 words)

	Home\|Collections\|Picture Gallery\|Netherlands: 15th century\|Rogier van der Weyden
		With the possible exception of Jan van Eyck, Rogier van der Weyden was considered the greatest Flemish painter, even during his lifetime.
		Rogiers style is full of expressive fervour, the intensity of feeling mounting from quiet mourning to dramatic outburst.
		This is evident not only in the bodies shaken by grief but also in the garments, which seem to move in a storm, and in the deeply creased, broken folds.
	www.khm.at /staticE/page256.html (174 words)

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