Rogier van der
Weyden

Rogier van der Weyden (born in Tournai 1399/1400 in, died in Brussels in 1464) is among the important artists of the fifteenth century: along with his predecessor Jan van Eyck is the founder of the early Netherlandish painting. The activities of van der Weyden focused on in-depth and rigorous exploration of the subtleties and peculiarities of human personality.

Especially the artist Rogier van der Weydenthe lion's share of the altar of the creations of the Belgian Maestro demonstrates the tragic stories of Scripture. The early work of van der Weyden has not yet found in significant fascination with the spatial part of the canvas. In the works of that period the artist often refers to monochrome grisaille technique that simulates a thread. However, Rogier van der Weyden and famous as a portraitist. Mostly the artist has captured the images of people of higher class. Shaped the interpretation of these paintings expresses the dominant desire to reveal the physical and spiritual nobility of the individual. Portraying women, Rogier van der Weyden uses a radically new approach, trying to put all the emphasis on grace and beauty of the model. He presents women as a model of purity, freshness, emphasizes the feminity of each model.

Famous paintings by artist Rogier van der Weydenthe earliest creation is a "descent from the cross". It is in the top of the main artistic masterpieces in the world. Master gave profound drama of the action only through gestures of actors. This picture is the only creation, the authorship of which the researchers secured Rohira. However, to collect accurate list of the paintings probably belong to the brush of van der Weyden, is not possible.

The paintings of Rogier van der Weyden

Rogier van der Weyden – the notorious but enigmatic figure. Though he is recognized as one of the most important artists in Flemish painting of the fifteenth century, biographical facts about him have survived quite a bit. Till today nobody made one painting of Rogier van der Weyden, signed by him personally. As for those of his creations, of which there are documentary references, they are only indicative and cannot be regarded as full proof.

It turns out that the painter attributing authorship for a work, critics have to rely on indirect signs. The only painting described in detail in the contemporary sources — "the descent from the cross". Now that the canvas is kept in Madrid's Prado Museum.
In the period of the war years was destroyed almost all the archives that store at least some information about the Dutch painter. Cultural figures literally small details restore the stages of artist development and creative path of van der Weyden.

A common assumption is that the artist's father was a successful entrepreneur. The researchers also agree that Rogier van der Weyden studied with Robert Kampen. The only thing that is surprising is the late age at which the painter received the training. In thirty years, other artists of that time had opened their own workshops. Art historians believe that Rogier did the "fake" in order to obtain the official master title. By the time the Dutch Maestro had to get his wife and son.

Based in Brussels, is seeking from the Creator and creative, and financial success. From Rogier accumulate a solid Bank account, and in 1443 he buys two prestigious penthouse in the most fashionable districts of the Belgian capital. By the time the news of the Dutch artist began to spread across Europe, reaching the Royal court of Spain.

Since the mid-forties of the fifteenth century in the circle of Rogier customers, there are significant changes. If informed his clients were mainly wealthy brewery, now Rohira interested representatives of the aristocracy. But in spite of this, a court painter Rogier still did not — apparently he did not want to lose their independence.

Religious motifs in the artist

The early activities of the painter represented in the majority of works on religious themes. Unlike his predecessor, Jan van Eyck, who enthusiastically praised the world in the paintings of Rogier van der Weyden can be traced to the tragedy. This is particularly noticeable on the painting "the last judgement", where the surface of the earth – naked, lifeless plain, of which there are naked people, caused by the sound of trumpets, to the terrible anguish wait for fate to which they will fall.

But on his return from Italy brushwork of the artist varies considerably. In the compositions of Rogier increases spatiality, more attention is paid on the canvas background. Increasingly, the painter traced the gospel stories and the characters. Indicative in this respect is the right wing of "Triptych of the family of Marriage". Here in the foreground is calm and peaceful, Mary Magdalene, and behind it lies a rocky landscape, steep heights which tighten deep inside of the picture.

Religious works by van der Weyden was a great success. The paintings of the painter actively copied other artists. This is evidenced by the numerous copies made in the fifteenth century with his works.

Rogier van der Weyden as a portraitist

Unlike the paintings of van Eyck, which was depicted on his canvases mostly representatives of the burgher companies, portraits of Rogier's more in line with the tastes of the aristocracy. It the artist often depicted in his paintings.

One of the illustrative works in this genre is the portrait of Francesco d'este. On the canvas appears new to Dutch painting detail – light background. Due to this decision, the silhouette of a young man is drawn more clearly. The main focus of the artist is focusing on a sophisticated person with an expressive nose. In the long thin fingers of a man clutching a hammer with the ring – obviously, testifying to his high office. Portrayed dressed in dark clothes, which shaded gold chain and gold trim on the sleeves and collar. A sight as it is directed past the viewer that expresses an arrogant desire to be above the world.

Creating portraits of women belonging to the Belgian aristocracy, the painter idealized images of young aristocratic beauties. To convey their youth and softness hell, Rogier used mostly bright colors, making them a scarlet color. The artist conveyed the textures of fabrics so skillfully that the canvas exquisite ladies ' faces come to life — their porcelain skin literally glows and jewelry otvlekaut in the sunlight, transforming delicate appearance. All this makes the works of van der Weyden real masterpieces, which are known to the present day, and inspire its special magic other artists.