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267:("living in Brussels"). At the same time, the first mention of Rogier de Weyden places him as the official painter of Brussels. It is this fact that puts de la Pasture and van der Weyden as one and the same painter. The post of city painter was created especially for Van der Weyden and was meant to lapse on his death. It was linked to a huge commission to paint four justice scenes for the "Golden Chamber" of
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and working in Campin's household for at least a decade. It is possible that Rogier obtained an academic title (Master) before he became a painter and that he was awarded the wine of honour on the occasion of his graduation. The sophisticated and learned iconographical and compositional qualities of the paintings attributed to him are sometimes used as an argument in favour of this supposition.
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105:. His portraits tend to be half length and half profile, and he is as sympathetic here as in his religious triptychs. Van der Weyden used an unusually broad range of colours and varied tones; in his finest work the same tone is not repeated in any other area of the canvas, so even the whites are varied.
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The social and intellectual status of Rogier in his later life surpassed that of a mere craftsman at that time. In general, the close stylistic link between the documented works of
Jacques Daret and the paintings attributed to Robert Campin and van der Weyden are the main arguments to consider Rogier
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His later entry into apprenticeship might be explained by the fact that during the 1420s the city of
Tournai was in crisis and as a result the guilds were not functioning normally. The late apprenticeship may have been a legal formality. Also Jacques Daret was then in his twenties and had been living
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in 1695, but are known from many surviving descriptions, from a free partial copy in tapestry (Bern, Historisches Museum) and from other free and partial copies in drawing and painting. The paintings probably measured about 4.5 m each, which was an enormous scale for a painting on panel at that
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Many of his most important works were destroyed during the late 17th century. He is first mentioned in historical records in 1427 when, relatively late in life, he studied painting under Campin during 1427–32, and soon outshone his master and, later, even influenced him. After his apprenticeship, he
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Relatively few works are attributed to van der Weyden's relatively long career, but this does not mean he was un-prolific, more that it is likely that many have been lost. Nonetheless, he had a very well defined style, and the majority of the attributions are generally accepted. Van der Weyden left
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Rogier's apprenticeship under Campin instilled a number of preoccupations, most noticeably his approach to feminine beauty, which was often expressed both through the elegant form of the model herself as well as her dress. Both painters positioned their models within strong diagonal lines, rendered
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were completely destroyed during World War II, but had been partly transcribed in the 19th and early 20th century. The sources on his early life are confusing and have led to different interpretations by scholars. It is known that the city council of
Tournai offered eight pitchers of wine in honour
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monk and
Margaretha, born in 1432. By 21 October 1435, the family had settled in Brussels, where the two younger children were born: Pieter in 1437 and Jan in 1438. These latter two would go on to become respectively a painter and a goldsmith. On moving to Brussels, Rogier began using the Flemish
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Very few details of van der Weyden's life are known. The few facts we know come from fragmentary civic records. Yet the attribution of paintings now associated to him is widely accepted, partly on the basis of circumstantial evidence, but primarily on the stylistic evidence of a number of paintings
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Different properties and investments are documented and witness his material prosperity. The portraits he painted of the
Burgundian Dukes, their relatives and courtiers, demonstrate a close relationship with the elite of the Netherlands. Whilst Rogier van der Weyden became increasingly wealthy, he
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In his commissioned portraits, van der Weyden typically flattered his sitters. He often idealised or softened their facial features, allowing them a handsomeness or beauty, or interest or intelligence they might not have been blessed with in life. He often enlargened the eyes, better defined the
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was sent to the King of Spain. While the ship on which it was travelling sank, the painting fortunately floated, and careful packaging meant that it was scarcely damaged. A copy of the masterpiece by Michel Coxcie was donated to the people of Leuven to replace the original sent to Spain. The
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writes how Rogier van der Weyden introduced new religious iconography in his painting; he depicted patrons participating in sacred events and combined half-portraits of the
Madonna with portraits of people in prayer to form diptychs. He also reformulated and popularised the subject of
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attributed a group of works of art to the "Maître de Flémalle"; despite discrepancies, these works are similar to those of Van der Weyden and so it was believed that these works were in fact by Rogier and that he was the "Maître de Flémalle". It was only in 1913 that
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either through headdress or folds of surrounding draperies or cloth. Both emphasised the vivacity of their model's character by contrasting them against dark flat backgrounds and throwing strong light from the near left hand side. Campbell compares Campin's
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in popularity. However his fame lasted only until the 17th century, and largely due to changing taste, he was almost totally forgotten by the mid-18th century. His reputation was slowly rebuilt during the 200 years that followed; today he is known, with
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Van der Weyden worked from life models, and details were closely observed. Yet he often idealised certain elements of his models' facial features, who were typically statuesque, especially in his triptychs. All of his forms are rendered with rich, warm
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indicated that these works were actually painted by Rogier's teacher Robert Campin. There was still a divide in critical opinion over whether there was one Rogier van der Weyden or two artists, the other being Rogier de la
Pasture of Tournai, until
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has been described by
Campbell as "one of the great masterpieces of fifteenth-century art and among Rogier's most important early works". Since the 1970s, this painting has been linked to two small heads in the collection of the
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625:(Lisbon), of Saint Catherine and of St Joseph. It is now widely believed that these three fragments came from the same large altarpiece depicting the "Virgin and Child with Saints", partly recorded in a later drawing now in
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time. They served as 'examples of justice' for the aldermen of the city who had to speak justice in this room. The paintings were praised or described by a series of commentators until their destruction, including
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Châtelet illustrates how subsequent generations of art historians have conflated and confused Rogier van der Weyden's identity, thereby mis-attributing works of art. It can be traced back to a geographical error in
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whose prints were distributed all over Europe from the last decades of the 15th century. Indirectly
Schongauer's prints helped to disseminate van der Weyden's style. Delenda writes that, with the exception of
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no self-portraits. However it has been suggested that he painted a self-portrait into one of the
Justice panels, which was subsequently copied into the Bern tapestry. A drawing with the inscription "
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of 1604. Châtelet explains how the Brussels archivist Alphonse Walters discovered in 1846 that there was a Rogier van der Weyden who lived in Brussels but that he had died earlier than stated in the
145:(in present-day Belgium) in 1399 or 1400. His parents were Henri de le Pasture and Agnes de Watrélos. The Pasture family had earlier settled in the city of Tournai where Rogier's father worked as a
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His vigorous, subtle, expressive painting and popular religious conceptions had considerable influence on European painting, not only in France and Germany but also in Italy and in Spain.
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also gave generously in alms to the poor. Further testimony of his philanthropy is van der Weyden's position as administrator of the hospital and charitable foundation Ter Kisten of the
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512:, who knew that Rogier van der Weyden resided in Brussels, read Vasari's text and believed that there were two different artists with the same name, who both appear separately in his
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414:, Madrid. Campbell points out that this painting's provenance can be traced in some detail from the 16th century. Originally hung in the church Notre-Dame-hors-des-Murs in
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Guild of St Luke. He moved to Brussels in 1435, where he quickly established his reputation for his technical skill and emotional use of line and colour. He completed his
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in 1435, which as he had deliberately intended, made him one of the most sought after and influential artists in northern Europe and is still considered his masterpiece.
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Due to the loss of archives in 1695 and again in 1940, there are few certain facts of van der Weyden's life. Rogelet de le Pasture (Roger of the Pasture) was born in
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to claim that there were two Rogier van der Weyden painters, a father and son. A further complication arose at the end of the 19th century when William Bode and
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was his greatest follower, although it is not proven that he studied under Rogier. Van der Weyden had also a large influence on the German painter and engraver
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portraits. He was highly successful in his lifetime; his paintings were exported to Italy and Spain, and he received commissions from, amongst others,
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shoemaker, Jan Goffaert and his wife Cathelyne van Stockem. Rogier and Elisabeth had four children, the first being Cornelius (b. 1427), who became a
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contours of the face, and gave a much stronger jaw than the subject may have possessed in life. Among his most celebrated portraits are those of
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Zum Logos der Kunst Rogier van der Weydens. Die "Beweinungen Christi" in den Königlichen Museen in Brüssel und in der Nationalgalerie in London
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1823:– Exhibition on Netherlandish Diptychs in the National Gallery of Art in Washington including Van der Weyden's diptych of Philippe de Croy
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679:. The first and third panels were signed, and the first dated 1439. All four were finished before 1450. They were destroyed in the French
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has stated that three well-authenticated paintings are known, but each has been doubted or underestimated. The best documented is
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family commissioned paintings from him. After interventions from both the Duke of Burgundy and the Dauphin of France, the future
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of van der Weyden, the Belgian art historian Dirk de Vos agrees with Campbell about the authenticity of these three paintings.
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No single work can be attributed with certainty to van der Weyden on 15th-century documentary evidence alone. However,
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168:), a very prestigious post since Brussels was at that time the most important residence of the splendid court of the
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The final mention of Rogier de la Pasture in the financial records of Tournai, on 21 October 1435, lists him as
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Centre for the Study of Fifteenth Century Painting in the Southern Netherlands and the Principality of Liège
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Rogier's international reputation increased progressively. In the 1450s and 1460s humanist scholars such as
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Rogier van der Weyden: An Essay with a Critical Catalogue of Paintings Assigned to him and to Robert Campin
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Kemperdick, Stephan, Jochen Sander, Bastian Eclercy, Maître de Flémalle, and Rogier van der Weyden. 2008.
770:, traces of Rogier van der Weyden's art can be found in all fifteenth-century artists to varying degrees.
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in their emotional depictions of anguish. The resemblance was to such an extent – compare Campin's
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convent in Brussels between 1455 and 1457. The Miraflores Altarpiece was probably commissioned by King
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Silver, Larry. "Early Northern European Paintings". The St. Louis Art Museum Bulletin, Summer 1982.
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or "Flemish Primitives"), and widely as the most influential Northern painter of the 15th century.
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Van der Weyden died on 18 June 1464 at Brussels, and was buried in St. Catherine's Chapel of the
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1651:. Madrid: Casimiro, translation by Agustín Temes, 2012; original edition Schilder-Boeck, 1604.
629:. At some unknown date before 1811, this altarpiece was carved up into these three fragments.
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One or more of the preceding sentences incorporates text from a publication now in the
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1780:, a Philadelphia Museum of Art digital scholarly catalogue (fully available as a free PDF)
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19:"Van der Weyden" redirects here. For the surname and list of people with the name, see
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From 2 March 1436 onward, Rogier held the title of 'painter to the town of Brussels' (
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A Permanent Legacy: 150 works from the Collection of the Museum of Fine Arts, Houston
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and van Eyck, as the third (by birth date) of the three great Early Flemish artists (
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Rogier van der Weyden on BALaT – Belgian Art Links and Tools (KIK-IRPA, Brussels)
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Northern Renaissance Art: Painting, Sculpture, The Graphic Arts from 1350 to 1575
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Little is known about Rogier's training as a painter. The archival sources from
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referred to him in superlatives: 'the greatest', 'the most noble' of painters.
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Some of his work from this period was attributed to 'Rogelet de la Pasture'
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Lorne Campbell, "The New Pictorial Language of Rogier van der Weyden", in
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Jean Wauquelin presenting his 'Chroniques de Hainaut' to Philip the Good
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1443:. Vol. 27 (11th ed.). Cambridge University Press. p. 887.
1153:. Vol. 28 (11th ed.). Cambridge University Press. p. 567.
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Jean Wauquelin presenting his 'Chroniques de Hainaut' to Philip the Good
283:, since Juan II donated it to the monastery of Miraflores in 1445.
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The Crucifixion, with the Virgin and Saint John the Evangelist Mourning
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452:; it was described in the deed of gift as the work of great and famous
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1713:. 2nd ed. New Jersey: Prentice Hall Inc. and Pearson Education, 2005.
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where he states that the artist 'Rugiero da Brugia' lived in Bruges.
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and a sympathetic expression, while he is known for his expressive
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of a certain 'Maistre Rogier de le Pasture' on 17 November 1426.
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and established that there was only one painter with two names.
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318:, and in the holy year 1450 quite possibly made a pilgrimage to
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1835:
334:, Rogier van der Weyden was persuaded to accept the request of
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Art of the Northern Renaissance: Courts, Commerce and Devotion
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However, on 5 March of the following year, the records of the
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The John G. Johnson Collection: A History and Selected Works
671:. These were commissioned by the City of Brussels for the
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has two different entries for the same person; see below.
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Vite de' più eccellenti pittori, scultori e architettori
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go to Brussels to become an apprentice in his workshop.
1612:. 2nd Ed. New York: Crossroad Publishing Company, 1986.
211:
show a "Rogelet de le Pasture" entered the workshop of
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Burials at the Cathedral of St. Michael and St. Gudula
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on the 2015 exhibition at the Museo Nacional del Prado
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In 1426, Rogier married Elisabeth, the daughter of a
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Rogier van der Weyden: 1400–1464. Master of Passions
56:(1399 or 1400 – 18 June 1464) was an
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Diptych of Philip de Croÿ with The Virgin and Child
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1293:] (in Spanish). Madrid: Cátedra. p. 246.
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314:According to some sources, in 1449 Rogier went to
60:whose surviving works consist mainly of religious
1361:. Museu Gulbenkian. 19 April 2009. Archived from
3032:15th-century painters from the Holy Roman Empire
1603:Rogier van der Weyden. Revisie van de documenten
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1006:The Master of Flémalle and Rogier van der Weyden
2125:Portrait of Antoine, 'Grand Bâtard' of Burgundy
1507:. London: National Gallery Publications, 1998.
1202:, ed. Campbell & Van der Stock, 2009, 32–64
1800:"Rogier van der Weyden, database of paintings"
1633:, 2 tomes. Munster-Hamburg-London: Lit, 2000.
1359:"Bust of 'St Catherine'?; Bust of 'St Joseph'"
1249:(in French). Paris: Gallimard. pp. 9–10.
161:version of his name: "Rogier van der Weyden".
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2398:Fragments of a Cope with the Seven Sacraments
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1772:Christopher D. M. Atkins and Mark S. Tucker,
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8:
16:Early Netherlandish painter (c. 1399 – 1464)
2830:Master of the Amsterdam Death of the Virgin
2738:Master of the Legend of St. Ursula (Bruges)
1605:. Brussels: Royal Academy of Belgium, 1995.
1549:. New York: Holt Rinehart and Winston, 1960
1505:The Fifteenth Century Netherlandish Schools
1008:. Frankfurt am Main: Städel Museum. p. 67.
882:Philip the Good (copy of van der Weyden of
338:, Duchess of Milan, that her court painter
302:–1450. 220 cm × 548 cm (excluding frames).
64:, altarpieces, and commissioned single and
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2071:
1854:
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1827:Flemish Primitives, Vlaamse kunstcollectie
1686:. London: Laurence King Publishing, 2018.
1517:Campbell, Lorne & Van der Stock, Jan.
1582:Rogier van der Weyden: The Complete Works
1200:Rogier van der Weyden, Master of Passions
988:
986:
591:" is also said to depict Van der Weyden.
1051:(in French). Cerf/Tricorne. p. 21.
925:Crucifixion with the Virgin and St. John
751:removing the thorn from the lion's paw.
181:Portrait of a Woman with a Winged Bonnet
964:
777:
362:Cathedral of St. Michael and St. Gudula
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556:List of works by Rogier van der Weyden
1665:. New York: Hudson Hills Press, 1989.
1321:, London. Retrieved 25 December 2010.
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231:van der Weyden as a pupil of Campin.
47:
7:
3017:Arts in the court of Philip the Good
2911:Arts in the court of Philip the Good
2901:Works by Early Netherlandish masters
2743:Master of the Legend of the Magdalen
2356:The Justice of Trajan and Herkinbald
658:The Justice of Trajan and Herkinbald
2728:Master of the Legend of St. Barbara
1784:La exposición Rogier van der Weyden
1598:. Amsterdam University Press, 2002.
738:– Follower of Rogier van der Weyden
468:of Scheut outside Brussels. In his
129:), oil on oak panel, 220 × 262 cm.
2921:Members of the Guild of Saint Luke
2733:Master of the Legend of Saint Lucy
2173:Portrait of John I, Duke of Cleves
1821:The Netherlandish Diptych Unfolded
1610:Style and Content in Christian Art
581:Royal Museum of Fine Arts, Antwerp
540:wrote his definitive work in 1953
14:
2723:Master of the Embroidered Foliage
49:[roːˈɣiːrvɑndərˈʋɛidə(n)]
2773:Master of the View of Ste-Gudule
2113:Portrait of Isabella of Portugal
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1739:
1730:
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917:
903:Portrait of Isabella of Portugal
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2835:Master of the Figdor Deposition
2763:Master of the Morrison Triptych
2718:Master of the Antwerp Adoration
1649:Vidas de los pintores flamencos
1493:. London: Chaucer Press, 2004.
1214:Vidas de los pintores flamencos
1107:Vidas de los pintores flamencos
927:(1457–1464), oil on oak panel,
464:, was donated by Rogier to the
2997:Burgundian Netherlands artists
1144:"Weyden, Rogier van der"
1:
2820:Jacob Cornelisz van Oostsanen
2748:Master of the Lille Adoration
1961:Saint Luke Drawing the Virgin
1521:. Davidsfonds, Leuven, 2009.
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109:Early life and apprenticeship
3002:Early Netherlandish painters
2896:Early Netherlandish painting
2758:Master of the Mansi Magdalen
2432:Portrait of Charles the Bold
2137:Portrait of Francesco d'Este
1949:Virgin and Child with Saints
1291:Early Netherlandish Painting
945:Portrait of Francesco d'Este
543:Early Netherlandish Painting
2424:Portrait of Philip the Good
2274:Seven Sacraments Altarpiece
2191:Diptych of Jeanne of France
610:The fragment of the London
566:Seven Sacraments Altarpiece
440:, was given in 1445 to the
58:early Netherlandish painter
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2768:Master of the Prodigal Son
2753:Master of the Lübeck Bible
2416:A Man Reading (Saint Ivo?)
1937:The Descent from the Cross
1889:Virgin and Child Enthroned
1670:Los primitivos flamencos .
1155:Note: the 1911 edition of
789:Virgin and Child Enthroned
650:Philadelphia Museum of Art
623:Calouste Gulbenkian Museum
553:
484:The Descent from the Cross
442:Charterhouse of Miraflores
403:The Descent from the Cross
119:The Descent from the Cross
18:
2941:Netherlandish Renaissance
2101:Portrait of a Young Woman
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2009:Saint Jerome and the Lion
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1738:
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1556:, London: Phaidon, 1972.
1270:Châtelet, Albert (1999).
1245:Châtelet, Albert (1999).
490:s similarity to Rogier's
131:
89:by an innovative master.
2971:Nativity of Jesus in art
2310:Saint Columba Altarpiece
1817:by Rogier van der Weyden
1584:. Harry N Abrams, 2000.
1535:Paris: Gallimard, 1999.
1456:Los primitivos flamencos
1454:Panofsky, Erwin (2007).
1287:Los primitivos flamencos
1285:Panofsky, Erwin (2007).
845:Kunsthistorisches Museum
841:The Crucifixion Triptych
801:Museo Thyssen-Bornemisza
766:, who was a disciple of
675:(Golden Chamber) of the
265:demeurrant à Brouxielles
32:Imaginative portrait by
2476:Early Netherlandish art
1973:Saint Hubert Altarpiece
1672:Madrid: Cátedra, 2007.
1469:Delenda, Odile (1987).
1440:Encyclopædia Britannica
1402:Delenda, Odile (1987).
1348:Campbell 1998, 394, 398
1172:Delenda, Odile (1987).
1157:Encyclopædia Britannica
1150:Encyclopædia Britannica
1120:Delenda, Odile (1987).
1047:Delenda, Odile (1987).
681:Bombardment of Brussels
390:National Gallery of Art
281:Juan II of Castile
2805:Geertgen tot Sint Jans
2663:Vrancke van der Stockt
1806:. 2015. Archived from
1596:The Flemish Primitives
1568:Rogier van der Weyden.
822:
739:
652:
583:
438:Gemäldegalerie, Berlin
428:Triptych of the Virgin
423:Descent from the Cross
408:
393:
311:
260:
196:
194:Gemäldegalerie, Berlin
149:(knife manufacturer).
138:
37:
2992:Rogier van der Weyden
2966:Adoration of the Magi
2673:Rogier van der Weyden
2668:Goswin van der Weyden
2262:Miraflores Altarpiece
2238:Annunciation Triptych
2161:Portrait of Jean Gros
2045:Lamentation of Christ
2021:Saint John Altarpiece
1863:Rogier van der Weyden
1767:Rogier van der Weyden
1617:Rogier van der Weyden
1615:Kemperdick, Stephan.
1570:Cerf/Tricorne, 1987.
1471:Rogier van der Weyden
1435:Van der Weyden, Roger
1404:Rogier van der Weyden
1315:Rogier van der Weyden
1226:Dirk de Vos, 232, 291
1174:Rogier van der Weyden
1122:Rogier van der Weyden
1074:Rogier van der Weyden
1049:Rogier van der Weyden
734:
669:Justice of Herkenbald
635:
563:
433:Miraflores Altarpiece
375:
336:Bianca Maria Visconti
289:
242:
178:
116:
41:Rogier van der Weyden
31:
3027:Artists from Tournai
2936:Northern Renaissance
2931:International Gothic
2810:Jan Joest van Calcar
2785:Northern Netherlands
2782:Active mainly in the
2653:Aert van den Bossche
2498:Southern Netherlands
2495:Active mainly in the
2250:Crucifixion Triptych
1913:The Magdalen Reading
1901:The Madonna Standing
1810:on 12 February 2015.
1769:at Wikimedia Commons
1747:Crucifixion Triptych
1608:Dillenberger, Jane.
1601:Dhanens, Elisabeth.
992:Campbell (1998), 392
717:Isabella of Portugal
617:The Magdalen Reading
488:Portrait of a Woman'
482:with Rogier's Prado
436:, since 1850 in the
2961:Ghent-Bruges school
2916:Guild of Saint Luke
2788:(mostly present-day
2548:Melchior Broederlam
2501:(mostly present-day
2485:Early Netherlandish
2298:The Braque Triptych
2286:Bladelin Altarpiece
2203:Crucifixion Diptych
2089:Portrait of a Woman
1682:Porras, Stephanie.
1547:Looking at Pictures
1235:Campbell (2004), 19
1212:Mander, Karel van.
1105:Mander, Karel van.
638:Crucifixion Diptych
235:Acclaim in Brussels
83:Vlaamse Primitieven
54:Roger de la Pasture
2946:Northern Mannerism
2906:Flemish Primitives
2713:Master of Affligem
2613:Cornelis Liefrinck
2608:Adriaen Isenbrandt
2149:Portrait of a Lady
1619:. Könemann, 2000.
1383:Dirk de Vos, 58–60
1339:Campbell 1998, 405
740:
677:Brussels Town Hall
653:
584:
470:catalogue raisonné
450:John II of Castile
394:
378:Portrait of a Lady
312:
308:Hospices de Beaune
269:Brussels City Hall
261:
197:
139:
38:
3037:Catholic painters
2979:
2978:
2951:Antwerp Mannerism
2926:Netherlandish art
2843:
2842:
2825:Master of Alkmaar
2708:Jacob van Utrecht
2703:Bernard van Orley
2698:Lieven van Lathem
2658:Hugo van der Goes
2533:Lancelot Blondeel
2442:
2441:
2333:Beaune Altarpiece
1765:Media related to
1757:
1756:
1745:van der Weyden's
1692:978-1-7862-7165-5
1668:Panofsky, Erwin.
1661:Marzio, Peter C.
1657:978-84-15715-02-3
1645:Mander, Karel van
1629:Liess, Reinhard.
1531:Châtelet, Albert
1527:978-90-8526-105-6
1503:Campbell, Lorne.
1365:on 1 October 2009
1300:978-84-376-1617-9
1014:978-3-7757-2259-9
759:Martin Schongauer
715:, his third wife
664:Justice of Trajan
292:Beaune Altarpiece
170:Dukes of Burgundy
3044:
2815:Lucas van Leyden
2800:Hieronymus Bosch
2678:Jan van Dornicke
2598:Gerard Horenbout
2528:Ambrosius Benson
2518:Alexander Bening
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2478:(c. 1420s–1530s)
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1552:Davies, Martin.
1545:Clark, Kenneth.
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454:Flandresco Rogel
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1533:Van der Weyden.
1487:Campbell, Lorne
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524:Alfred Michiels
492:Berlin portrait
462:Escorial Palace
410:Museo del Prado
392:, Washington DC
385:
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347:Nicolas Cusanus
340:Zanetto Bugatto
310:, interior view
299:
257:Musée du Louvre
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245:Braque Triptych
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1458:. p. 247.
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719:and their son
554:Main article:
551:
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538:Erwin Panofsky
520:Schilder-Boeck
515:Schilder-boeck
398:Lorne Campbell
369:
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1499:1-904449-24-7
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1472:
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1215:
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34:Cornelis Cort
30:
26:
22:
3007:1400s births
2848:Main centres
2688:Jan van Eyck
2672:
2648:Jan Provoost
2633:Hans Memling
2593:Jan Gossaert
2578:Jean Delemer
2573:Gerard David
2543:Dieric Bouts
2523:Simon Bening
2430:
2427:(after 1450)
2422:
2414:
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2019:
2007:
1995:
1983:
1971:
1959:
1947:
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1923:
1911:
1899:
1887:
1862:
1808:the original
1803:
1752:Smarthistory
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1438:
1412:
1406:. p. 5.
1403:
1397:
1392:Campbell, 15
1388:
1379:
1367:. Retrieved
1363:the original
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1042:
1025:Campbell, 11
1021:
1005:
976:
967:
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901:
859:
840:
815:
787:
768:Jan van Eyck
755:Hans Memling
753:
749:Saint Jerome
741:
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703:–1580), and
672:
668:
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615:
609:
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533:Hulin de Loo
519:
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53:
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3012:1464 deaths
2791:Netherlands
2583:Jan de Beer
2382:(1447–1448)
1980:late 1430s)
980:Campbell, 7
971:Campbell, 9
953: 1460
929:El Escorial
911: 1450
887: 1450
869: 1448
820:, 1435–38,
797: 1433
701: 1570
646: 1460
577: 1445
522:; this led
458:Crucifixion
386: 1460
368:Attribution
300: 1445
253: 1452
223:) painter.
189: 1440
127: 1435
2986:Categories
2390:Embroidery
2371:Miniatures
2340:1445–1450)
2325:Polyptychs
2269:1442–1445)
2210:1464–1465)
2198:1452–1470)
2168:1460–1464)
2120:1445–1450)
2108:1440–1445)
2064:1460–1464)
2052:1460–1463)
2016:1450–1465)
1997:Visitation
1968:1435–1440)
1956:1435–1438)
1944:1435–1438)
1932:1435–1438)
1920:1435–1438)
1908:1430–1432)
1896:1430–1432)
736:Deposition
705:Baldinucci
605:Deposition
510:Van Mander
304:Oil on oak
158:Carthusian
103:naturalism
2880:The Hague
2865:Brussels
2419:(c. 1450)
2230:Triptychs
2081:Portraits
1702:716268497
1037:Clark, 44
727:Influence
655:The lost
627:Stockholm
595:was made
62:triptychs
2408:Workshop
2183:Diptychs
931:, Madrid
847:, Vienna
843:, 1440.
828:, Madrid
803:, Madrid
744:Panofsky
707:(1688).
692:(1568),
688:(1520),
571:triptych
351:Filarete
326:and the
154:Brussels
137:, Madrid
2889:General
2875:Tournai
2855:Antwerp
2504:Belgium
2487:artists
1481:Sources
1428::
1369:28 July
774:Gallery
694:Molanus
601:Tournai
599:of the
579:–1450.
406:in the
277:Beguine
259:, Paris
221:Maistre
201:Tournai
143:Tournai
66:diptych
2860:Bruges
2435:(1460)
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2338:
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2002:
1990:
1978:
1966:
1954:
1942:
1930:
1918:
1906:
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690:Vasari
597:master
500:Vasari
456:. The
446:Burgos
416:Leuven
328:Medici
99:pathos
45:Dutch:
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2096:1435)
2040:1460)
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2004:1445)
1992:1441)
1985:Pietà
1881:works
1289:[
960:Notes
686:Dürer
479:Thief
444:near
316:Italy
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1698:OCLC
1688:ISBN
1674:ISBN
1653:ISBN
1635:ISBN
1621:ISBN
1586:ISBN
1572:ISBN
1558:ISBN
1537:ISBN
1523:ISBN
1509:ISBN
1495:ISBN
1371:2009
1295:ISBN
1251:ISBN
1053:ISBN
1010:ISBN
667:and
614:'s
569:, a
550:Work
353:and
320:Rome
101:and
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