Search results
Results from the WOW.Com Content Network
Rogier van der Weyden (Dutch: [roːˈɣiːr vɑn dər ˈʋɛidə(n)]; 1399 or 1400 – 18 June 1464), initially known as Roger de le Pasture (French: [ʁɔʒe d(ə) la pastyʁ]), was an early Netherlandish painter whose surviving works consist mainly of religious triptychs, altarpieces, and commissioned single and diptych portraits.
Most of the works of Rogier van der Weyden consist of triptychs, diptychs or polyptychs, each including more than one panel. Some are dismembered and the parts are kept in different museums. Some panels are only fragmentary remains. This list features the paintings accepted as authentic by Dirk de Vos (2000). They are listed chronologically ...
Rogier van der Weyden: Portrait of Francesco d'Este ; Artist: Rogier van der Weyden (1399/1400–1464) Alternative names: ... Date of birth/death: 1399 or 1400
The view with the wings folded of six panels with the donors kneeling in the far wings. The Beaune Altarpiece (or The Last Judgement) is a large polyptych c. 1443–1451 altarpiece by the Early Netherlandish artist Rogier van der Weyden, painted in oil on oak panels with parts later transferred to canvas.
The Lamentation of Christ is an oil-on-panel painting of the common subject of the Lamentation of Christ by the Netherlandish artist Rogier van der Weyden, dating from around 1460–1463 and now in the Uffizi Gallery, Florence, Italy.
Rogier van der Weyden, Portrait of a Lady, c. 1460, National Gallery of Art, Washington, D.C. 34 × 25.5 cm (13 × 10 in). Portrait of a Lady (or Portrait of a Woman) is a small oil-on-oak panel painting executed around 1460 by the Netherlandish painter Rogier van der Weyden.
Rogier van der Weyden, Head of the Virgin, silverpoint on white prepared paper, Circa 1455-1464, Louvre, Paris. Friedrich Winkler and others think this was by van der Weyden himself, an attribution widely accepted today. [5] At the bottom there is an inscription mistakenly attributing it to Albrecht Dürer.
The composition draws much from the 1420 Nativity of van der Weyden's master, Robert Campin, in Dijon. The stable is a half-ruined thatched Romanesque building, rather than the traditional wooden hut, with stone walls and arched windows, and one prominent classical pillar, uniquely in van der Weyden's work shown in an oblique perspective view.