All the oil paintings of Roger Van Der Weyden

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ID	Image	Painting(From A to Z)	Details
33430		Adoration of the Magi	mk86 c.1455 Tempera on wood 138x153cm Munich,Bayerische Staatsgemaldesammlungen, Alte Pinakothek
90995		Crucifixion	Oil on oak panel, 77 x 47 cm Staatliche Museen, Berlin Date 1440s cyf
33369		Crucifixion in a Church	mk86 c.1445 Tempera on wood 200x97cm
30410		Deposition	mk68 Oil on oak Madird
33432		Entombment	mk86 c.1450 Oil on panel 110x96cm Florence,Galleria degli Uffizi
33428		Madonna with Four Saints	mk86 c.1450 Tempera on wood 53x38cm Frankfurt am Main,Stadelsches Kunstinstitut
33431		Mary Magdalene	mk86 c.1453 Oil on wood 41x34cm Paris,Musee National du Louvre
88773		Pieta	1448(1448) Medium Oil on panel Dimensions 96 x 126.5 cm (37.8 x 49.8 in) cyf
26705		Saint Luke Drawing the Virgin and Child	mk52 c.1435 Oil on wood 137.5x110.8cm Museum of Fine Arts,Boston
87062		St Columba Altarpiece	1455(1455) Medium Oil on oak panel cyf
87301		St Luke Drawing the Portrait of the Madonna	1450(1450) Medium Oil on oak panel cyf
32104		The Annunciation	mk78 c.1435 Oil on panel 86x92cm
39431		The Beweinung	mk148 Nikodemus and Josef of Arimatäa support the corpse

Roger Van Der Weyden
c.1399-1464 Rogier van der Weyden was the son of Henri de le Pasture, a cutler in Tournai, and Agn?s de Watreloz. His birthdate is estimated from the facts that he was stated to be 35 in April 1435 and 43 in September 1441. Before or in 1427 he married Elisabeth Goffaert (c. 1405-77), whose father was a prosperous shoemaker in Brussels. 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. On 5 March 1427 'Rogelet de le Pasture, natif de Tournai' was apprenticed to the Tournai painter Robert Campin. This Rogelet duly completed his apprenticeship in 1431 and on 1 August 1432 became a master of the Tournai guild. Despite much debate, it would appear that Rogelet was Rogier van der Weyden, though it has also been argued that in 1427 Rogier was a married man well past the normal age of apprenticeship and that Rogelet must have been a second Tournai painter of the same name. JACQUES DARET, however, was in his twenties when in 1428 he was apprenticed to Campin, and other instances can be cited of married apprentices. The political situation at Tournai in 1427-8 was unusual, and the guild system was not functioning normally.