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Rogier van der Weyden (Dutch. Rogier van der Weyden, 1399/1400, Tournai - June 18, 1464, Brussels) - Dutch painter, along with Jan van Eyck, is considered one of the founders and most influential masters of early Netherlandish painting. Van der Weyden's work is focused on understanding the individuality of the human person in all its depth. Having preserved the spiritualism of the previous tradition, van der Weyden filled the old pictorial schemes with the Renaissance concept of the active human personality, supplemented them with deep psychologism and emotional intensity. At the end of his life, according to the TSB, “rejects the universalism of van Eyck’s artistic worldview and concentrates all attention on inner world person."

The period of Rogier's creative formation (to which, apparently, the Louvre "Annunciation" belongs) is also poorly covered by sources. There is a hypothesis that it was Rogier who, in his youth, created the works attributed to the so-called. Flemalsky master (a more likely candidate for their authorship is his mentor Robert Campin). The student so learned Campin's desire to saturate biblical scenes with realistic details of domestic life that it is almost impossible to distinguish between their works of the early 1430s (both artists did not sign their works).

The first three years of Rogier's fully independent work (from 1432 to 1435) are not documented in any way. Perhaps the artist spent them in Bruges with van Eyck (with whom he probably crossed paths before in Tournai). In any case, one of Rogier's most famous compositions, Luke the Evangelist Painting the Madonna, is imbued with the obvious influence of an older contemporary.

It is known that by 1435 the artist and his family moved to Brussels, which was then one of the largest European cities and one of the most important residences of the powerful Duke of Burgundy. Burgundy of that time was a conditional "third force" in Western Europe in relation to France, leading the exhausting Hundred Years War, and the Holy Roman Empire. Formally being vassals of the French king, by the beginning of the 14th century, the Burgundian dukes had concentrated vast territories under their authority, currently belonging to the Netherlands, Belgium, Luxembourg and northeastern France, and really claimed to create a separate, original state. It was during this peculiar period in the history of the lower lands, now politically and territorially divided between the Benelux countries, that the life and flowering of van der Weyden's work falls.

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Before us is the work of van der Weyden in 1435. A very large canvas. Approximately 7 feet high and 8.5 wide. Christ is taken down from the cross. The picture is named like that ... Right. Christ has been taken down from the cross... ...and is about to be laid on the knees of Mary, who has lost consciousness from grief. This is a frequent pictorial subject. Yes, yes, you are right. This will be followed by mourning, burial, resurrection… Yes, resurrection… This canvas is a typical example of Flemish art of the 1st half of the 15th century. Yes, the obvious Northern Renaissance. Heavy, numerous, angular folds of Mary's clothes, and other figures. Like paper folds, the elongated figures are tightly clustered in a small space. They are almost life size. Gold embroidery of the clothes of a man to the right of Christ; the play of light on the metal of this embroidery - all this is the Northern Renaissance. Exactly... Transfer of texture, especially illuminated. For example, his fur collar. Yes, the collar, faces, hair, fabrics - everything is carefully drawn to the smallest detail of texture, this is so typical of a northern artist. Even these plants are carefully written out. Undoubtedly, the authorship of the picture is van der Weyden; along with the typical characteristics of the Flemish art of the time, we see the unique handwriting of van der Weyden. Yes. For example, there is no depth of space of van Eyck's Ghent Altarpiece. Exactly. Weyden's compositions tend to be shallow; and the characters seem to be moved to the plane of the image. It enhances the drama. And the intensity of emotions. Yes, this is correct. This is facilitated by the emotionality of his characters. Yes. On the canvases of other Flemish artists, the emotions of people were rarely displayed as expressively as those of van der Weyden; For example, look at the crying myrrh-bearing woman: her nose is red, tears run down her cheek. Like real ones. Exactly. Here you can see the artist's interest in lighting effects; light is reflected from tears and refracted in them. Someone once pointed out to me this tear at the corner of my mouth. It is as if she is now rolling into the mouth of the myrrh-bearing woman; when you look at it, you can almost taste the tears. I want to brush it off. Yes, the picture causes empathy in the viewer. As if we are standing next to them. Do you think this is what the author wanted? Yes, I think so. And I just now noticed this tiny pin. We see even smoothed folds. It's like this feature, amazing. Yes I agree. All of these traits help establish authorship. I will note several interesting aspects of this picture. Christ is taken down from the cross. He will now be placed on Mary's knees. See how their poses echo each other. The position of Christ is very similar to that of Mary. A downward movement of the composition is created, symbolizing the position of the body of Christ in the plot. Finally buried. Yes, in the tomb. The similarity of their postures establishes between... Their arms hang down... Yes, it establishes a connection between them.... This is mother and son. There is a relationship between them that is not with any other of the characters. Their poses emphasize this. And they evoke our sympathy for Mary, for her experiences at that moment. She is very pale, not only because of her cleanliness, but also because she fainted. And this also expresses their connection: Maria is unconscious, but soon she - as it happens - will come to her senses. And this is seen as an association with Christ. Now he is dead after the execution, but, according to the Testament, in 3 days he will rise from the grave. I think the artist is hinting at this connection between her fainting and his death. We seem to be reminded of the resurrection. Yes, this is a premonition. And this skull at the bottom of the canvas: on the one hand, a reminder of death, but on the other, an element of Christian doctrine. Yes, it serves not only as a reminder of death, but also as an expression of the legend that Christ was crucified on the tomb of Adam. We often see the skull and bones at the foot of the cross. These are the bones of Adam. Adam was a man Old Testament, Christ is the new Adam, he symbolizes the birth new man, New Testament. Yes. Adam and Eve plunged mankind into sin, Christ and Mary atone for this original sin. Yes. This is a truly magnificent picture. Let's talk a little about van der Weyden's composition. We mentioned the postures of Mary and Christ. And now look: there are 4 figures on the left, and 3 on the right. It would seem that this should upset the balance of the composition; but here's what the artist did: he more carefully drew the clothes of the figures on the right: brocade, 4 different colors of the clothes of Mary Magdalene; and the clothes of the figures on the left are plain, without ornaments. Thus, it simplifies the left side, thereby compensating for additional characters. Visually, this balances the composition. And look, all the figures lean towards the center, directing our attention to Christ, and create a kind of frame for him. Right.

Dutch painter Rogier van der Weyden (1400 - 1464)

"Descent from the Cross" - one of the peaks Northern Renaissance, between 1435 and 1438, Height: 220 cm. Width: 262 cm. Prado Museum

The future classic of the Northern Renaissance was born in 1399 or 1400 in Tournai (Duchy of Burgundy) in the family of a cutler (fr. maître-coutelier) named Henri. There is practically no reliable information about the childhood and youth of the future master.

Supposed self-portrait as St. Luke, who creates the icon. 137x110cm, 1440, Boston, USA

Known to us the circumstances of the receipt of Rogier art education confused. It is known that Rogier is mentioned in 1427 as "Master Roger de la Pasture" (fr. Maistre Rogier de le Pasture), which allows us to suggest that he had a university education. This hypothesis is also supported by the artist's deep acquaintance with theology, the refined and skillful interpretation of the gospel stories, characteristic of his work. At the same time, it is known that, despite the title of "Master", in the period from 1427 to 1432 Rogier studied in the workshop of Robert Campin, known as the Master of Flemal. There is an assumption that this contradiction is explained by the fact that Rogier received the academic title of Master (respectively, in a field other than painting) before becoming an artist. Be that as it may, in 1432 Rogier became a member of the city painters' guild of Tournai.

Adoration of the Magi. Alte Pinakothek, Munich

The outstanding humanist, scientist and philosopher Nicholas of Cusa spoke of Rogier as the greatest artist of his time. AT last years During his life, Rogier worked in his Brussels workshop, surrounded by numerous students, among whom, apparently, was such a significant representative of the next generation as Hans Memling. Rogier had an undoubted influence on such recognized masters like Dirk Bouts and Hugo van der Goes. They spread his influence across France, Germany and Spain. In the second half of the 15th century in the north of Europe, the expressive, intensely emotional style of Rogier prevailed over the legacy of Campin and van Eyck. Reverence for the master was also nourished by Albrecht Dürer; with a corresponding characteristic, the latter mentions Rogier along with van der Goes in the diary of a trip to the Netherlands. Even in the 16th century, many painters remained under the influence of Rogier, from Bernart Orlais to Quentin Masseys. However, with the passage of time, the work of Rogier van der Weyden gradually sank into oblivion.

Calvary and the Crucifixion (1457-1464), oil on oak panel, 323.5 x 192 cm, Escorial, Madrid

A special interest in early Netherlandish painting in Europe awakened only to early XIX century. By this time, many of the master's works were attributed to other artists, mainly Jan van Eyck or Dürer. So, they say that in 1815 Johann Wolfgang Goethe saw the "Altar of the Church of St. Columbus" (kept in the Alte Pinakothek in Munich), a triptych depicting the Annunciation, the Adoration of the Magi and the bringing of the Christ child into the temple, and declared that half of its literary heritage does not stand any comparison with the genius of the altar composition. At the same time, Goethe was sure that in front of him was the work of Jan van Eyck, to whom the altar was attributed by the art history of that time. In addition, one of the first historians of the "Flemish primitives" Karel van Mander claimed that Rogier was a student and imitator of van Eyck.

St. Ivo (asc. 1450), oil on oak panel, 45 x 35 cm National Gallery, London

A huge part of Rogier's works, the lion's share of which are on secular subjects, has now been lost. Restoring it creative way, as well as the attribution of works is hampered by the fact that the master was not in the habit of signing his works. So the only one of the works of Rogier that has survived to this day, bearing the author's signature, is the Washington portrait of a woman. In addition, it should not be forgotten that Rogier, at the zenith of his lifetime fame, was at the head of a huge commercial workshop, which put the production of works "under the Master" on stream. Nevertheless, to date, the work of Rogier van der Weyden rightfully occupies one of the highest places in the history of European painting.

Rogier van der Weyden Self portrait, 1450

Detail of the painting of St. Luke, who creates the icon.

Portrait of Antoine of Burgundy, 1460. Royal Museum fine arts Belgium

Portrait of a young woman. Berlin Art Gallery

Portrait of a lady. National Gallery, London.

Portrait of a Man, 1450, Royal Museum of Fine Arts Antwerp

Portrait of Isabella Portugal, Getty, Los Angeles

Virgin and child, 1454, 31 cm x 22.8 cm Museum fine arts, Houston

Magdalene Reads,National Gallery, London

Detail

Baptism, Chrismation, Repentance,. Royal Museum of Fine Arts Antwerp

Seven Sacraments of the altar; detail, right wing - Ordination, Marriage and Unction, Royal Museum of Fine Arts Antwerp

Altar of Columbus, left side - Annunciation. Alte Pinakothek, Munich

Altarpiece In Middelburg 1450 Berlin Picture gallery, Berlin

Madonna in Red, 1438. Prado Museum, Madrid

Painting detail Madonna in Red

Pieta, 1464. National Gallery, London

Diptych with the Virgin and St. Catherine 1440 Kunsthistorisches Museum Vienna

Triptych "Crucifixion". 1440-1445. Kunsthistorisches Museum (Vienna)

Detail of the painting Triptych "Crucifixion".

Rogier Van Der Weyden | Descent from the Cross, 1435

Rogier van der Weyden (Dutch. Rogier van der Weyden, 1399/1400, Tournai - June 18, 1464, Brussels) - van Eyck's rival for the title of the most influential master of early Netherlandish painting. The artist saw the goal of creativity in understanding the individuality of the individual, he was a deep psychologist and an excellent portrait painter. Having preserved the spiritualism of medieval art, he filled the old pictorial schemes with the Renaissance concept of an active human personality. At the end of his life, according to the TSB, "rejects the universalism of van Eyck's artistic worldview and focuses all attention on the inner world of man."

Portrait of a lady, detail, c. 1455

early years

Born in the family of a wood carver. The artist's works testify to a deep acquaintance with theology, and already in 1426 he was called "master Roger", which allows us to suggest that he had a university education. He began working as a sculptor, at a mature age (after 26 years) began to study painting with Robert Campin in Tournai. He spent 5 years in his workshop.

The period of Rogier's creative formation (to which, apparently, the Louvre "Annunciation" belongs) is poorly covered by sources. There is a hypothesis that it was he who, in his youth, created works attributed to the so-called. Flemalsky master (a more likely candidate for their authorship is his mentor Campin). The apprentice so learned Campin's desire to saturate biblical scenes with cozy details of domestic life that it is almost impossible to distinguish between their works of the early 1430s (both artists did not sign their works).

The first three years of Rogier's independent work are not documented in any way. Perhaps he spent them in Bruges with van Eyck (with whom he probably crossed paths before in Tournai). In any case, his well-known composition "The Evangelist Luke Painting the Madonna" is imbued with the obvious influence of van Eyck.

In 1435, the artist moved to Brussels in connection with his marriage to a native of this city and translated his real name Roger de la Pasture from French into Dutch. Became a member of the city guild of painters, became rich. He worked as a city painter on orders from the ducal court of Philip the Good, monasteries, nobility, Italian merchants. Painted city hall pictures of the administration of justice famous people past (the frescoes are lost).

By the beginning of the Brussels period belongs the grandiose emotional Descent from the Cross. In this work, the artist radically abandoned the pictorial background, focusing the viewer's attention on the tragic experiences of numerous characters that fill the entire space of the canvas. Some researchers are inclined to explain the turn in his work as a passion for the doctrine of Thomas a Kempis.

Rogier's return from the crude Campenian realism and refinement of the Vaneik proto-Renaissance to the medieval tradition is most evident in the Last Judgment polyptych. It was written in 1443-1454. Commissioned by Chancellor Nicolas Rolen for the altar of the hospital chapel, founded by the latter in the Burgundian city of Beaune. The place of complex landscape backgrounds here is occupied by the golden glow tested by the generations of his predecessors, which cannot distract the viewer from reverence for the holy images.

Trip to Italy

In the jubilee year 1450, Rogier van der Weyden made a trip to Italy and visited Rome, Ferrara and Florence. He was warmly welcomed by the Italian humanists (Nicholas of Cusa is famous for his praise), but he himself was interested mainly in conservative artists like Fra Angelico and Gentile da Fabriano.

With this trip in the history of art, it is customary to associate the first acquaintance of Italians with the technique of oil painting, which Rogier mastered to perfection. By order of the Italian dynasties Medici and d "Este, the Fleming executed the Madonna from the Uffizi and famous portrait Francesco d'Este. Italian impressions were refracted in the altar compositions ("The Altar of John the Baptist", the triptychs "The Seven Sacraments" and "The Adoration of the Magi"), made by him upon his return to Flanders.
Portrait of Antoine of Burgundy

The portraits by Rogier have some common features, which is largely due to the fact that almost all of them depict representatives of the highest nobility of Burgundy, whose appearance and demeanor were influenced by the general environment, upbringing and traditions. The artist draws in detail the hands of the models (especially the fingers), ennobles and lengthens the features of their faces.

Influence

In recent years, Rogier worked in his Brussels workshop, surrounded by numerous students, among whom, apparently, were such prominent representatives of the next generation as Hans Memling. They spread his influence across France, Germany and Spain. In the second half of the 15th century in northern Europe, Rogier's expressive manner prevailed over the more technical lessons of Campin and van Eyck. Even in the 16th century, many painters remained under his influence, from Bernart Orlais to Quentin Masseys. By the end of the century, his name began to be forgotten, and already in the 19th century, the artist was remembered only in special studies on early Netherlandish painting. The restoration of his creative path is complicated by the fact that he did not sign any of his works, with the exception of the Washington portrait of a woman.

Supposed self-portrait as St. Luke making an icon