131:
150:
unfashionable. Campbell believes that after the removal of the background detail "it looked sufficiently like a genre piece to hang in a well-known collection of Dutch seventeenth-century paintings". From the size of three surviving panels in relation to the drawing, it is estimated that the original was at least 1 m high by 1.5 m wide; the bishop and
Magdalen seem to clearly mark the horizontal extremities, but the extent of the picture above and below the surviving elements and the drawing cannot be judged. Such a size is comparable with smaller altarpieces of the period. The background was overpainted with a thick layer of black/brown pigment until it was cleaned in 1955; it was only after the layer's removal that it was linked to the upper body and head of Joseph from the Lisbon piece. These two works were not recorded in inventory until 1907, when they appear in the collection of Léo Lardus in
206:, and from both the angle of her cloth and the fact that the river behind her would be parallel to that in the exterior of the London panel it can be assumed that she was kneeling. In the Stockholm drawing she is omitted, or only traces of her dress shown. The Joseph panel has a sliver of a view through a window to an exterior scene; if the other female is presumed to be kneeling, the trees above the waterway aligns with those in the London panel. Some art historians, including Martin Davies and John Ward, have been slow to allow the Catherine panel as part of the altarpiece, though it is undoubtedly by van der Weyden or a near-contemporary follower. Evidence against this link includes the fact that the moulding of the window to the left of the Gulbenkian female saint is plain, while that next to Saint Joseph is
774:
22:
108:
217:", it "seems likely" that all three fragments came from the same original work; he points out that "about half way up the right edge of this fragment is a small triangle of red, outlined by a continuous underdrawn brushstroke ... It is likely that the red is part of the contour of the missing figure of the Baptist". The small piece is on the outermost edge of the panel, and only visible when it was removed from the frame. Ward believes the piece corresponds directly with the folds of John's robes.
178:
210:. Such an inconsistency in a single van der Weyden work is unusual. The panels are of equal thickness (1.3 cm) and of near-identical size; the Saint Catherine panel measures 18.6 cm × 21.7 cm (7.3 in × 8.5 in), the Saint Joseph 18.2 cm × 21 cm (7.2 in × 8.3 in).
83:
The altarpiece's date is uncertain but believed to be between 1435 and 1438. Van der Weyden was made painter to the city of
Brussels in 1435, and it is believed to have been painted after this appointment. The National Gallery gives "before 1438". Art historian John Ward notes that the altarpiece was
157:
The London panel shows much of the clothing of two other figures from the original altarpiece. To the left of the
Magdalen is the red robe of what appears to be a kneeling figure. The figure and robe, and less precisely the background, match a kneeling Saint John the Evangelist. Behind the Magdalen
225:
The
Stockholm drawing contains a narrow blank gap to the right of the bishop with a few indistinct lines that could represent the lower profile of the kneeling figure of Saint Catherine. Although none of the faces in the three surviving panels match any in the drawing, a 1971 reconstruction by art
149:
At an unknown point before 1811, the original altarpiece was broken into at least three pieces, possibly due to damage, although the
Magdalen fragment is in good condition. The black overpaint was likely added after the early 17th century when Netherlandish painting had fallen from favour and was
226:
historian John Ward—which combined all of the works into a composition of a central Virgin and Child flanked by six saints—is widely accepted. The
Stockholm drawing's original location or history before the 19th century is unknown, except that the
1079:
80:. The drawing stops at the end of John's robe, at about the point on the London panel where Joseph's walking stick meets John and the Magdalen's robes. This suggests that the Magdalen panel was the first to be cut from the larger work.
29:, some of whose red drapery can be seen in the London fragment. Mary's position on the lower right hand corner (out of view in this image) is guessed at by Ward from van der Weyden's positioning of similar figures in other works.
130:
392:
Davies and Ward have published, in 1957 and 1971 respectively, diagrammatic reconstructions of the altarpiece based on evidence available of the time. Campbell is responsible for much of the scholarship
72:
making a blessing gesture; a narrow gap with a few wavy vertical lines suggesting a start at the outline of a further kneeling figure; a barefoot bearded figure in a rough robe identified as Saint
198:
There is a further small panel in Lisbon of a female head, richly or royally dressed, which first appeared in 1907 with the Joseph panel when it was recorded in the inventory of Leo Nardus at
825:
915:
25:
The
Stockholm drawing, attributed to the Master of the Coburger Rundblätter, possibly shows a portion of the altarpiece. The kneeling figure to the far right is probably Saint
813:
554:
1098:
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76:; a seated Virgin holding on her lap the Christ-child who leans to the right, looking at a book; and holding the book, a kneeling beardless male identified as
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145:, it is of lower quality than the other two known fragments, indicating that it was probably completed by members of van der Weyden's workshop.
53:. The work is lost since at least the 17th century, known only through three surviving fragments and drawing of the full work in Stockholm's
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Lorne
Campbell thinks that though the Catherine head is "obviously less well drawn and less successfully painted than the
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504:
Campbell, Lorne. "The
Materials and Technique of Five Paintings by Rogier van der Weyden and his Workshop". London:
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138:
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one of van der Weyden's first masterpieces, created early in his career when he was still heavily influenced by
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The drawing has a loosely sketched background and shows, from left to right: an unidentified bishop saint with
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370:, which was painted around the same time and is on permanent display in the National Gallery alongside
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174:; the background and clothes match with those of the figure behind the Magdalen on the London panel.
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77:
26:
321:
511:
White, R. "Medium
Analysis of Campin Group Paintings in the National Gallery" in Foister, Susan;
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414:
Campbell (1998), 398–400, illustrating the drawing, and with a drawing of a full reconstruction.
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190:, 62.2 cm × 54.4 cm (24.5 in × 21.4 in). Date unknown but possibly 1435–38. Oil on oak panel.
177:
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625:
325:
191:
73:
998:
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54:
39:
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85:
487:
Ward, John. "A Proposed Reconstruction of an Altarpiece by Rogier van der Weyden".
171:
119:
512:
42:
57:
by a follower of van der Weyden. The drawing is sometimes attributed to the
137:(fragment). 21 cm × 18 cm (8.3 in × 7.1 in).
114:(fragment). 21 cm × 18 cm (8.3 in × 7.1 in).
233:
199:
151:
1080:
Jean Wauquelin presenting his 'Chroniques de Hainaut' to Philip the Good
532:
473:. "Netherlandish Primitives: Rogier van der Weyden and Robert Campin".
207:
69:
167:
159:
162:
beads in one hand and a walking stick in the other. A panel at the
232:
shows a surviving carving of the Virgin and Child attributed to a
129:
65:
236:
workshop from about 1440. This carving is also now in Portugal.
536:
88:. He proposes a c. 1437 date based on similarities to Campin's
480:
Davies, Martin. "Rogier van der Weyden's Magdalen Reading".
158:
is a standing figure in blue and red robes, with linear
1108:
1090:
1071:
1048:
1025:
930:
916:
Diptych of Philip de Croÿ with The Virgin and Child
883:
781:
579:
826:Portrait of Antoine, 'Grand Bâtard' of Burgundy
170:shows the head of a figure believed to be the
1099:Fragments of a Cope with the Seven Sacraments
548:
443:The Fifteenth Century Netherlandish Paintings
364:Joseph's beads closely resemble those in the
8:
517:Robert Campin: New Directions in Scholarship
122:, whose body is visible to his upper arm in
16:Altarpeice painting by Rogier van der Weyden
484:. Antwerp: Uitgevrij de Sikkel, 1957. 77–89
772:
555:
541:
533:
307:
305:
303:
301:
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135:Head of a Female Saint (Saint Catherine?)
475:The Burlington Magazine for Connoisseurs
176:
118:, Lisbon. This panel is thought to show
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20:
261:
141:, Lisbon. A possible representation of
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399:
246:List of works by Rogier van der Weyden
289:
287:
285:
283:
7:
1057:The Justice of Trajan and Herkinbald
429:The Collectors: Old Masters Painting
506:National Gallery Technical Bulletin
1166:Paintings of the Madonna and Child
1156:Paintings by Rogier van der Weyden
874:Portrait of John I, Duke of Cleves
445:. London: National Gallery, 1998.
14:
519:. Antwerp: Turnhout, 1996. 71–76
814:Portrait of Isabella of Portugal
328:, London. Retrieved 24 May 2011.
482:Miscellanea Prof. Dr. D. Roggen
459:. London: Chaucer Press, 2004.
431:. London: Sphinx Books, 2009.
38:, is a large mid-15th century
1:
662:Saint Luke Drawing the Virgin
204:Saint Catherine of Alexandria
143:Saint Catherine of Alexandria
59:Master of the Drapery Studies
1133:Portrait of Charles the Bold
838:Portrait of Francesco d'Este
650:Virgin and Child with Saints
35:Virgin and Child with Saints
1125:Portrait of Philip the Good
975:Seven Sacraments Altarpiece
892:Diptych of Jeanne of France
202:. The figure may represent
1187:
1117:A Man Reading (Saint Ivo?)
638:The Descent from the Cross
590:Virgin and Child Enthroned
477:, vol. 71, 1937. 140–145.
467:(The text dates from 1977)
802:Portrait of a Young Woman
770:
710:Saint Jerome and the Lion
570:
346:Campbell (1998), 394, 398
164:Museu Calouste Gulbenkian
139:Museu Calouste Gulbenkian
116:Museu Calouste Gulbenkian
1011:Saint Columba Altarpiece
493:, vol. 53, 1971. 27–35.
311:Campbell (1998), 398–400
674:Saint Hubert Altarpiece
195:
146:
127:
30:
963:Miraflores Altarpiece
939:Annunciation Triptych
862:Portrait of Jean Gros
746:Lamentation of Christ
722:Saint John Altarpiece
564:Rogier van der Weyden
322:Rogier van der Weyden
182:Rogier van der Weyden
180:
133:
110:
51:Rogier van der Weyden
24:
951:Crucifixion Triptych
614:The Magdalen Reading
602:The Madonna Standing
372:The Magdalen Reading
355:Campbell (1998), 405
187:The Magdalen Reading
124:The Magdalen Reading
112:Head of Saint Joseph
999:The Braque Triptych
987:Bladelin Altarpiece
904:Crucifixion Diptych
790:Portrait of a Woman
374:. See Jones, 46, 54
293:Campbell (2004), 49
78:John the Evangelist
27:John the Evangelist
850:Portrait of a Lady
427:Bolton, Roy (ed).
383:Campell (2009), 49
367:Arnolfini Portrait
196:
147:
128:
31:
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1034:Beaune Altarpiece
525:978-2-503-50500-8
508:, 18, 1997. 68–86
455:Campbell, Lorne.
451:978-1-85709-171-7
441:Campbell, Lorne.
437:978-1-907200-03-8
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573:List of works
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47:Netherlandish
45:by the early
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172:Saint Joseph
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120:Saint Joseph
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34:
33:
32:
18:
1171:Altarpieces
1083:(1447–1448)
681:late 1430s)
513:Nash, Susie
1150:Categories
1091:Embroidery
1072:Miniatures
1041:1445–1450)
1026:Polyptychs
970:1442–1445)
911:1464–1465)
899:1452–1470)
869:1460–1464)
821:1445–1450)
809:1440–1445)
765:1460–1464)
753:1460–1463)
717:1450–1465)
698:Visitation
669:1435–1440)
657:1435–1438)
645:1435–1438)
633:1435–1438)
621:1435–1438)
609:1430–1432)
597:1430–1432)
252:References
154:, France.
43:altarpiece
40:oil-on-oak
1120:(c. 1450)
931:Triptychs
782:Portraits
208:chamfered
194:, London.
103:Fragments
1109:Workshop
884:Diptychs
240:See also
234:Brussels
215:Magdalen
200:Suresnes
152:Suresnes
98:Remnants
49:painter
515:(eds).
221:Drawing
70:crosier
1136:(1460)
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393:since.
168:Lisbon
160:rosary
1064:1450)
1049:Civic
1018:1455)
1006:1452)
994:1450)
982:1448)
958:1440)
946:1434)
923:1460)
857:1460)
845:1460)
833:1460)
797:1435)
741:1460)
729:1455)
705:1445)
693:1441)
686:Pietà
582:works
257:Notes
229:verso
66:mitre
521:ISBN
461:ISBN
447:ISBN
433:ISBN
68:and
1060:(c.
1037:(c.
1014:(c.
1002:(c.
990:(c.
978:(c.
966:(c.
954:(c.
942:(c.
919:(c.
907:(c.
895:(c.
865:(c.
853:(c.
841:(c.
829:(c.
817:(c.
805:(c.
793:(c.
761:(c.
749:(c.
737:(c.
725:(c.
713:(c.
701:(c.
689:(c.
677:(c.
665:(c.
653:(c.
641:(c.
629:(c.
605:(c.
593:(c.
324:".
166:in
1152::
398:^
298:^
282:^
184:,
94:.
61:.
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126:.
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