Rogier van der Weyden - ending (Portraits). Rogier van der Weyden – biography and paintings of the artist in the Northern Renaissance genre – Art Challenge The greatest works of world art

Before us is the work of van der Weyden from 1435. A very large canvas. Approximately 7 feet tall and 8.5 feet wide. Christ is taken down from the cross. Flemish art of that time, we see the unique handwriting of van der Weyden. We often see a skull and bones at the foot of the cross. That's what the picture is called... That's right. Christ was taken down from the cross... ... and is about to be laid on the lap of Mary, who has lost consciousness from grief. This is a common pictorial subject. Yes, yes, you are right. Then will follow mourning, entombment, resurrection... Yes, resurrection... This canvas is a typical example of Flemish art of the 1st half of the 15th century. Yes, an obvious Northern Renaissance.

Heavy, numerous, angular folds of the clothes of Mary, and other figures. Resembling paper folds, the elongated figures are tightly grouped in a small space. Many of his portraits are diptychs composed of an image of the Madonna (“Madonna and Child” from the diptych “Philippe de Croix”) and a half-figure of the customer (“Portrait of Philippe de Croix”). The artist also painted single portraits (“Portrait of Francesco d’Este”, “Portrait of Philip the Good”, “Portrait of Charles the Bold”), including women’s (“Portrait of a Young Woman”).

“Portrait of a Young Woman” was written in the 40s, about ten years after Rogier married a girl from Brussels and settled in this city. This dedication to his beloved is not typical for Van der Wein, who wrote on religious themes, but nevertheless replenished the treasury of world painting.

Portrait of a young woman. Circa 1460, National Gallery of Art, Washington

Isabella of Portugal (wife of Philip III Duke of Burgundy), J. Paul Getty Museum, Malibu

Among male portraits I’ll show you a few that are most characteristic of Rogier’s style.

The portraits created by Van der Weyden are distinguished by the artist's attention to complex world human feelings and moods. A sideways glance, a hidden smile, and raised eyebrows visibly indicate a person’s habits and character. The same characteristic of the person being portrayed is his earthly merits: the master often introduces signs of power and valor into his portraits: a ring, an order chain, an honorary baton, etc.

Charles the Bold (1433-77) - Count of Charolais, Duke of Burgundy (from 1467). Son of Philip the Good. Charles the Bold sought to unite his fragmented possessions, to expand the territory of the Burgundian state and turn it into a powerful power. Repeatedly with merciless cruelty he suppressed the uprisings of the Dutch cities that were part of the Burgundian state. Charles the Bold was the most dangerous and powerful opponent of Louis XI, who energetically pursued the centralization and territorial unification of France; the struggle between both sovereigns died down only for short periods. During his father’s lifetime, Charles the Bold actually led a coalition against Louis XI (the League of the Public Weal), forcing French king cede to him the cities on the Somme. To secure the support of the English king Edward IV, Charles the Bold married his sister Margaret. Tried to take possession of Alsace and Lorraine. However, thanks to the dexterity of Louis XI, who resorted to diplomatic negotiations and bribery, Charles the Bold lost his allies (including the English king), remaining isolated. In the Burgundian Wars of 1474–77 (waged against Charles the Bold by Switzerland and Lorraine, secretly supported and subsidized by France), Charles the Bold was betrayed by mercenaries bribed by Louis XI and died at the Battle of Nancy.

Philip III the Good (1396-1467) - Duke of Burgundy from 1419. In the Hundred Years' War 1337-1453. At first he was an ally of the British (in 1430 he participated in the siege of Compiegne, when Joan of Arc was captured). In 1435 he went over to the side of the French: for the concession of Picardy to him, he recognized Charles VII as the legitimate sovereign of France. With the help of marriages, money , skillful diplomacy, Philip Ill significantly expanded his possessions, annexing the County of Namur in 1421, in 1428-33 - the counties of Hainault, Zeeland, Holland, in 1430 - the duchies of Brabant and Limburg, in 1431-43. - Duchy of Luxembourg, etc.

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

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

The first three years are fully independent creativity Rogyra (from 1432 to 1435) are not documented in any way. Perhaps the artist spent them in Bruges with van Eyck (with whom he had probably crossed paths in Tournai before). 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 represented a conditional “third force” in Western Europe in relation to France, waging the grueling 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 concentrated under their rule vast territories that currently belong to the Netherlands, Belgium, Luxembourg and northeastern France, and actually laid claim to the creation of a separate, distinctive state. It was during this unique period in the history of the lower lands, now politically and territorially divided between the Benelux countries, that the life and heyday of van der Weyden’s work occurred.

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Dutch painter Rogier van der Weyden (1400 - 1464)

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

Rogier van der Weyden (Dutch. Rogier van der Weyden, 1399/1400, Tournai - June 18, 1464, Brussels) is a Dutch painter, along with Jan van Eyck, 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.

The future classic of the Northern Renaissance was born in 1399 or 1400 in Tournai (Duchy of Burgundy) into 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.

Alleged self-portrait in the guise of St. Luke creating an icon. 137x110cm, 1440, Boston, USA

The circumstances known to us of Rogier receiving art education confused. It is known that in 1427 there was a mention of Rogier as “Master Roger de la Pasture” (French: Maistre Rogier de le Pasture), which allows us to assume that he had a university education. This hypothesis is also supported by the artist’s deep familiarity with theology, and the sophisticated and skillful interpretation of gospel stories characteristic of his works. 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 Flémalles. 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 guild of painters of Tournai.

Adoration of the Magi. Alte Pinakothek, Munich

The outstanding humanist, scientist and philosopher Nikolai Kuzansky spoke of Rogir as the greatest artist of its time. IN last years During his lifetime, 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 undeniable influence on such recognized masters as Dirk Bouts and Hugo van der Goes. They spread his influence throughout France, Germany and Spain. In the second half of the 15th century in northern Europe, Rogier's expressive, intensely emotional style prevailed over the legacy of Campin and van Eyck. Albrecht Durer also had reverence for the master; with the corresponding description, the latter mentions Rogier along with van der Goes in the diary of his trip to the Netherlands. Even in the 16th century, many painters remained under the influence of Rogier, from Bernard Orley to Quentin Masseys. However, with the passage of time, the work of Rogier van der Weyden gradually fell into oblivion.

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

Special interest in early Netherlandish painting in Europe arose only in early XIX century. By this time, many of the master's works were attributed to other artists, mainly Jan van Eyck or Dürer. Thus, they say that in 1815 Johann Wolfgang Goethe saw the “Altarpiece of the Church of St. Columb” (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 it literary heritage does not stand up to 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 historians of that time. In addition, one of the first historians of the “Flemish primitives”, Karel van Mander, argued that Rogier was a student and imitator of van Eyck.

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

A huge part of Rogier's work, lion's share which - on secular subjects, has now been lost. Recovering it creative path, and also the attribution of works is complicated by the fact that the master did not have the habit of signing his works. Thus, the only one of Rogier’s surviving works that bears the author’s signature is the Washington portrait of a woman. In addition, we should not forget that Rogier, at the zenith of his lifetime fame, stood at the head of a huge commercial workshop, which put the production of works “under the Master” on stream. However, 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 a painting of St. Luke creating an icon.

Portrait of Antoine of Burgundy, 1460. Royal Museum of Fine Arts of 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, Confirmation, 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

Altar in Middelburg  1450 Berlin Art Gallery, Berlin

Madonna in Red, 1438. Prado Museum, Madrid

Painting detail Madonna in Red

Pieta, 1464. National Gallery, London

Diptych with the Virgin Mary 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

(about 1399 -1464)

(Roger de la Pasture) - a famous and mysterious figure was born in 1399. Despite the fact that he was one of the most notable artists in Flemish painting of the 15th century, we know very little about his life. Not a single painting signed by him has reached us, and those of his works that are mentioned in documents are described so approximately that they cannot be identified. Thus, when attributing this or that painting to the master, art critics are forced to be guided exclusively by indirect signs. Only about a few works by Rogier van der Weyden - in particular, about the "Descent from the Cross", now stored in Madrid Museum Prado, says contemporary written sources in sufficient detail and accuracy. The fact that during the Second World War almost all the archives where one could have found something relating to the life of the master does not add optimism to art historians. In order to recreate at least a somewhat complete and consistent picture of Rogier van der Weyden’s creative path, art historians have to piece together scattered and meager information about him. The artist is believed to have been born around 1399 in the French-speaking city of Tournai, located in modern-day Belgium. His father was a successful hardware merchant, Henri de la Pasture ("de la Pasture" is the French equivalent of the Flemish "van der Weyden" and translates as "Meadow"). Further traces of the painter are lost - until March 5, 1427. It is this date that dates the document indicating that “a certain Roger de la Pasture became an apprentice to master Robert Campin.” The fact of Rogier's apprenticeship with Robert Campin (c. 1378-1444) does not raise doubts among researchers. One thing is surprising - in 1427 Rogier was already quite an adult. At the age of 27-28, contemporary artists were already opening their own workshops, and Rogier was just starting to study.

It is quite possible that Kampen’s apprenticeship was a kind of “fictitious marriage” for our hero. Researchers suggest that by 1427 Rogier was already a fully established painter, and he “fictitiously entered” Kampen only for the sake of obtaining the official status of a master. This is what happened in 1432. By this time, the artist had already married the daughter of a wealthy shoemaker and had a son (it is known that he became a monk and died in 1473). Subsequently, Rogier van der Weyden and his wife had at least three more children, one of whom, Peter (c. 1437-after 1514), followed in his father's footsteps.

Having received the title of master, Rogier achieved success very quickly. In April 1435, he had already moved his family to Brussels, which was then the capital of the Duchy of Brabant and official residence Dukes of Burgundy. And already in May next year he is called the main city painter.

Around this time, Brussels entrusted the artist with a serious commission. Rogier was to paint four panels on the theme of justice for City Hall. For two hundred and fifty years they were considered the best works masters But in 1695, these panels were practically destroyed during the siege of Brussels by Marshal de Villeroy. Now we can form an idea about them only from copies preserved in the form of tapestries. Rogier completed the first of four panels for the Brussels Town Hall in 1439, and work on the rest lasted throughout almost the entire 1440s. Most of all, the spectators who came from all over Europe to see these panels were amazed by Rogier’s “living” self-portrait, which he included in the composition of one of them. Some even said that there was something infernal about it, because the painter’s gaze inexplicably followed the viewer everywhere.

Speaking about this period in the artist’s work, it is impossible not to mention his most famous works - “The Descent from the Cross” (1435-40) and “St. Luke Painting the Madonna” (1435-40). Composition last picture, by the way, Rogier “took” exactly one of the works of Jan van Eyck, his elder contemporary.

Creative success was accompanied by material success. Soon after moving to Brussels, the master had accounts - and considerable ones - in banks in Tournai and Brussels. In 1443 he acquired two big houses in one of the most fashionable areas of the city. By this time, Rogier's fame had spread far beyond the borders of his native Flanders and even reached the Spanish royal court. In 1445, John (Juan) John II of Castile presented an altarpiece painted by Rogier to the Miraflores monastery. The words spoken by the monarch about the artist are known: “The Great Fleming.”

It was from the mid-1440s that the “composition of Rogier van der Weyden’s clientele” began to change. If earlier wealthy burghers predominated among his customers, now representatives of the aristocracy are increasingly turning to the master. However, Rogier never became anyone’s court artist, probably wanting to preserve his independence.

In the archives of Brussels there is a record that in 1450 Rogier van der Weyden left the city. Some art historians believe that the artist left Brussels in connection with a trip to Rome. But no one talks about this trip except the Italian humanist Bartolomeo Fazio (d. 1457), who mentioned it in his essay “On famous people"However, this book has always been considered a serious, trustworthy source. Let us also add that Rogier was very devout (it is known that he donated to monasteries and churches more than once large sums, and in 1462 he even became a member of the Brotherhood of the Holy Cross), and therefore we have no reason to doubt his “pilgrimage” to Rome.

Fazio’s book is valuable not only for the news of the painter’s visit to Rome. It also shows that in the 1450s the fame of Rogier van der Weyden reached Italy. Six works written by the master for Italian clients have come down to us, including the Medici Madonna (c. 1460).

Also in 1460, Duchess of Milan Bianca Maria Sforza (1425-1468) sent her court painter Zenetto Bugatto to Brussels to study with Rogier van der Weyden. The painters did not get along and very soon quarreled. We know about this episode thanks to the fact that Prince Louis of France, the future King Louis XI, who lived at the Burgundian court at that time, undertook to reconcile the teacher and student. After Bugatto returned to Italy in 1463, the Duchess of Milan wrote a letter to the “respected and beloved Master Rogier”, thanking him for his kind attitude towards her protégé. We do not know whether Rogier van der Weyden actually began to treat Bugatto more tenderly after the reconciliation achieved with the help of the future king of France. It is possible that this letter from the Duchess is a simple tribute to decency. And, most likely, the “respected and beloved master” did not pay much attention to the duchess’s letter. He was already too old to be vain, and the praise of aristocrats was nothing new to him.

On June 18, 1464, Rogier van der Weyden died. He was buried in the Brussels Church of St. Gudula (now it is Cathedral). At the same time, a memorial service was held in hometown the great master, Tournai. Rogier's workshop, which produced many wonderful works, went to his son Peter. But its actual leader was one of the last assistants of Rogier van der Weyden, Hans Memling (c. 1433-1494), who continued the traditions of his teacher.