van der Weyden


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van der Weyden

(Dutch vɑn də ˈwɛjdə)
n
(Biography) Rogier (roːˈxiːr). ?1400–64, Flemish painter, esp of religious works and portraits
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The discussion of Jan van Eyck and Rogier van der Weyden borders on parody.
In these likenesses, the encyclopaedic eternal insight of a Van Eyck or the courtly vogue for the flatteringly abstract so unerringly captured by Memling's teacher, Rogier van der Weyden, give way to a far more matter of factual identity, functioning entirely in the here and now.
Most important of these works is the "Descent from the Cross" painted by Fleming Rogier van der Weyden around 1435.
Nuttall identifies 'realism' as a crucial aim of Italian renaissance art and art theory and argues that this was exactly where the works of Jan van Eyck, Rogier van der Weyden, Memling and their compatriots excelled.
The question of whether Jean Perreal ever painted a real picture of "la Magdelaine" remains unclear to this day although some art historians have conjectured that one of his best paintings was precisely a Saint Mary Magdalen wrongly attributed to Roger van der Weyden.(17) Since most of the works by Perreal are now unfortunately lost, it is virtually impossible to reconstruct the historical context which would prove that such a painting ever existed.
Thus, whilst unsurprisingly Van Eyck and Albrecht Durer feature recurrently, other key practitioners, such as Rogier van der Weyden (arguably the most influential artist of the fifteenth century, north or south of the Alps), receive insufficient emphasis.
In a similar way, Rogier van der Weyden's Braque Triptych in the Louvre is a combination of admonition and epitaph: the skull refers to Adam and original sin as well as the recently deceased Braque himself for whom the work was commissioned, warning the viewer of the inevitability of death.
It has compositional similarities to the portraits of Rogier van der Weyden, court artist to Philip the Good, and like Van der Weyden's portrait of Philippe de Croy, for instance, this painting of Lodewijk was once part of a diptych, the missing panel probably depicting the Virgin and Child.
In 2013 Adam's colleague and wife, Louise van der Weyden, PhD, injected mouse melanoma cells into 24 different mouse strains.
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.
Por un lado el pintor inscribio su trabajo en la tradicion de los primitivos flamencos como Jan van Eyck, Rogier van der Weyden y Dirk Bouts, y por otro su soledad le permitio romper radicalmente con sus antecesores en el plano estetico, iconografico y tecnico."