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WEYDEN, Rogier van der
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Pintura ID: 63883
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Wing of a Carved Altar
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1460-66 Oil on panel Church, Ambierle When Rogier died in Brussels on 18 June 1464, he was the best known and most sought after painter in the Netherlands, an exemplar to the majority of artists north of the Alps. He left behind him not only an obviously large workshop with extremely well trained assistants, but also a continuing demand for his work. The studio was very probably taken over by his son Pieter; it will have completed commissions on which he had embarked, also accepting new orders. One of these works, possibly commissioned in Rogier's own lifetime, consisted of the wing paintings for an altar in Ambierle in France, completed in 1466. It has been proved that the carved central shrine of this altar came from Brussels. The distinguished patrons in Brussels who commissioned it obviously turned to the town painter's famous workshop, where large and impressive paintings similar in typology to Rogier's own were produced, although certainly no longer by the master himself. The altar was donated by Michel de Chaugy, a counsellor of Philip the Good. The shrine in the retable shows carved scenes of the Passion; the donor's family, with its patron saints, occupies the wings. Stone figures of saints are depicted in niches on the exterior. In its construction, this work reflects the exterior of the Beaune Altarpiece.Artist:WEYDEN, Rogier van der Title: Wing of a Carved Altar Painted in 1401-1450 , Flemish - - painting : religious
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WEYDEN, Rogier van der:
Netherlandish Northern Renaissance Painter, ca.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
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