Rogier van der Weyden

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Rogier van der Weyden (“Rogerus Bruxellensis Pictor”)
Engraving from 1572, attributed to Johannes (Jan) Wierix

Rogier van der Weyden , formerly Rogier de le Pasture (* 1399 / 1400 in Tournai , at that time the Kingdom of France belonging city in Flanders ; † 18th June 1464 in Brussels , at that time capital of the Duchy of Burgundy ), was a Flemish painter and is considered one the most important representative of the old Dutch painting .

Life

Origin and youth

Rogier van der Weyden was the son of the Tournais cutler Henry de le Pasture and his wife Agnès de Watrelos. His childhood and youth as well as his early artistic training, which as a rule began at the age of 12 to 14 with an apprenticeship of at least four years, and his first years as a journeyman are in the dark.

Marriage and offspring

In 1426 at the latest he married Elisabeth (Lysebette) Goffaert from Brussels, the daughter of the shoemaker Jan Goffaert and his wife Cathelyne van Stockem. He had four children with her. The eldest son Corneille (1426 / 1427–1473) entered the Carthusian monastery of Hérinnez-Enghien ( Herne ) after studying at the University of Leuven in 1438 or 1439 . The daughter Marguerite, who was probably born in 1432, died in 1473. The two younger sons became artists. Pierre (Pieter) van der Weyden (1437 [?] - around 1515) became a painter and took over his father's workshop in Brussels after his father's death. Jean (Jan) van der Weyden (1438–1468) became a goldsmith in Brussels. The painter Goossen van der Weyden was Pierre van der Weyden’s son and thus Rogier van der Weyden’s grandson.

Robert Campins employee

Entry of "Rogelet de le Pasture" in the Tournai guild register, copy around 1482

On March 5, 1427, Rogier van der Weyden began his apresure (German: "teaching") as "Rogelet de le Pasture" with the master Robert Campin . Why he was considered an apprentice painter, around 27 years old , can only be guessed at. For example, formal legal issues could have played a role. The more recent research assumes that Rogier as well as the other by name known "apprentices" Jacques Daret (called "Jacquelotte Daret"), Haquin de Blandin and Willemet worked as fully trained journeyman in Robert Campins service as early as 1427 . It is conceivable that Rogier spent his actual apprenticeship at Campin and received his basic training and thus got to know the new possibilities of painting, i.e. worked in Campin's workshop before 1427. Early connections between Rogier and Jan van Eyck or his brother Hubert, who died in 1426, are also being considered .

Acquitted master in Tournai

With effect from August 1, 1432, "maistre Rogier de le Pasture" became an acquitted master in the Tournais painters' guild. After Robert Campin's workshop was closed, Rogier founded his own. Artistically demanding orders are documented by payment receipts from 1432/1433.

In 1435 Rogier already had enough wealth to buy a life annuity from the city of Tournai .

City painter in Brussels

In October 1435, Rogier was resident in Brussels with his family. In a file dated May 2, 1436 it was recorded that he had settled down as a painter and took over the office of Brussels city painter. This date is also documented that Rogier now had the surname “van der Weyden”, which was transferred into Flemish-Dutch, instead of the French surname “de la Pasture”.

In 1436 and 1437, as in 1441 and 1459, he was able to acquire annuities for himself, his wife and his two elders.

Tapestry: free copy of Rogier's pictures of justice
Presumed self-portrait of Rogier on the tapestry based on Rogier's pictures of justice

In 1439 the first two of four much admired and as an attraction - for example by Albrecht Dürer in 1520 - pictures of justice for the Brussels City Hall were ready. The second of these was the only surviving picture with Rogier's signature , with which he described himself as a citizen : "Rogerius [S] weidenus civis pixit 1439". These pictures were destroyed in 1695 and are only preserved as copies on a tapestry knitted around 1460/1470. Nikolaus von Kues explained in De visione Dei that God as the all-seeing can be grasped like a parable with a portrait whose face, through the finest art of painting, gives the impression that it is looking at everything around. As an example, he cited, among other things, the “by the outstanding painter Roger in Brussels on a very valuable painting in the town hall” ( [in] Bruxelli's Rogeri maximi pictoris in pretiosissima tabula, quae in praetorio habetur [...] ).

Rogier and the employees in his workshop didn't just make panel pictures . Although the most important documents that could say something about it, the municipal accounts of Brussels from Rogier's time as town painter, are no longer available, the variety of the usual tasks can be described. Rogier's painting business was responsible for all work that involved “painting in color”. This could include, for example, the colored version of sculptures and reliefs, the painting of furniture and armor, coats of arms, pennants and banners, the making of decorations for religious and secular exhibitions and festivals, as well as the staging of homage when the duke entered.

As a town painter, Rogier was not exclusively bound to the city of Brussels as a client, but was also able, for example, to carry out commissions from the rich bourgeoisie and the Burgundian court. In 1444 Rogier was so wealthy that he was able to buy a house in a manorial location in Brussels. His high social standing is reflected in his membership in the Brotherhood of the Holy Cross, which belongs to the Church of Saint-Jaques-du-Coudenberg, to which the Burgundian duke and many members of the court belonged.

Rome trip and fame in Italy

His reputation as a painter is also shown by numerous commissions that he received from foreign courts. In 1449 Leonello d'Este , Duke of Ferrara, acquired several paintings by Rogier, such as a triptych with the Descent from the Cross . In a collection of biographies edited in 1459, Bartolomeo Facio reported that Rogier ("Rogerius Gallicus") made a pilgrimage to Rome in the jubilee year of 1450 . Facio claims to have seen an erotic painting in Genoa and three canvas paintings with depictions of the Passion by Rogier at court in Naples .

The humanist Cyriacus of Ancona ranked Rogier right behind Jan van Eyck .

In 1460, the Duchess Bianca Maria Sforza of Milan sent the painter Zanetto Bugatto to a two-year training course with Rogier van der Weyden in Brussels.

Entombments of Fra Angelico (left) and Rogier van der Weyden
Rogier van der Weyden: Passion Diptych (around 1460)

That Rogier visited other Italian cities besides Rome is concluded from the fact that impressions of the painting there made themselves felt in his work. For example, he took over from Fra Angelico a type of the burial of Christ , hitherto unknown in the north , in which the dead Christ is presented by Nicodemus in the form of a cross. Fra Angelico's influence is also seen in Rogier's remaining Passion Diptych in the Galleria degli Uffizi with the Crucified, Mary and John from around 1460. The radical reduction of the events and the furnishing of the fictitious room refers to Fra Angelico's mockery of Christ from the fresco cycle created around 1445/1450 in the monastery of San Marco in Florence.

Support for religious institutions

Especially in the last years of his life, Rogier supported religious institutions such as the poor of Sainte-Gudule , the Charterhouse of Scheut near Brussels and that of Hérinnes-lez-Enghien, where his son Corneille lived.

A Latin poem of praise by the humanist Domenicus Lampsonius under the copper engraving portrait of Rogier van der Weyden from 1572 deals with Rogier's charity. It praises Rogier's painting - the images of justice are mentioned in Brussels, but sees their fame as transitory, but not the fame of Rogier's last will, according to which the proceeds from his painting should be an eternal cure for the hunger of the poor. These monuments would shine forever in the sky.

Death in Brussels

Rogier van der Weyden died on June 18, 1464 in Brussels. He was buried in the Brussels Cathedral of St. Gudule . His workshop was continued by his son Pierre van der Weyden. On October 19, 1464, a commemorative mass was held in the chapel of the Tournais Guild of St. Luke Rogier.

plant

With the works of Jan van Eyck , Robert Campin and his colleague Rogier van der Weyden, a new era of painting begins, which is characterized by realistic detailed descriptions and a further development of oil painting. In addition to works of a religious nature, the works of these ancient Dutch painters and their workshops also include some of the earliest autonomous portraits in European painting.

Differentiation of the works of Rogier van der Weyden from the works of Robert Campins workshop

Portrait of a woman, mostly attributed to Rogier van der Weyden
Portrait of a woman, mostly assigned to Robert Campin

Only one signed work by Rogier has survived, and only one copy of this as a tapestry ( Historisches Museum Bern ): the justice images of the Brussels City Hall, one of which he signed Rogerius [S] weidanus civis pinxit in 1439 (“Roger von Weyden, Citizen, painted it in 1439 ”). Other works are identified by old tradition as Rogier's works.

The distinction between Rogier's early work and the works of the so-called Master of Flémalle , who may be identical to Robert Campin , to whose workshop belongs to or represents several Campin employees, is still controversial today. The great Descent from the Cross in the Prado was awarded to Robert Campin on the one hand and Rogier van der Weyden on the other. In the case of the portrait of the Feisten Mann , which was previously considered to be Robert Campin's work, it is considered whether - like other Campin portraits - it might not come from Rogier van der Weyden as an employee in Campin's workshop.

Attempts to divorce hands have come to different results so far. Newer technical processes such as infrared macro photography, infrared reflectography and X radiography as well as dendrochronological examinations can support the results of the comparative connoisseur and in some cases confirm or reject them. The signatures made visible, the choice of pigments and binders, as well as the type of primer and the layered paint application play an important role.

Drawings attributed to Rogier van der Weyden

Pen drawing: draft or redraw
Silver pen drawing: tracing

The pen and silver pen drawings that have survived and are attributed to Rogier could have two reasons. They were drafts or executed templates, called patrons in the Netherlands, for signing paintings or they were drawn from finished paintings. In any case, they could serve as recyclable material for Rogier himself or the employees of his workshops.

In 1436, for example, “maistre Rogier le pointre” was commissioned by the Tournais city authorities to make a drawing based on a fresco with the kings of France and Aragon, for which Robert Campin had been paid. This should make it possible to restore the wall paintings, which had to be partially destroyed due to renovations. However, it is disputed whether this "maistre Rogier pointre", who also did smaller jobs in Tournai in 1436 and 1437 - that is, in Rogier van der Weyden's time in Brussels - with Rogier van der, such as the gilding of numbers on an epitaph and the setting of a coat of arms Weyden is identical. Possibly it was the Tournaise master Rogier Wonebac.

Works, attributed to Rogier van der Weyden, by genre, with current locations (selection)

Crucifixion triptych ; Vienna, Art History Museum
Polyptych
Triptych as an altarpiece
Devotional triptych
Diptych with a portrait of the client

The three diptychs with the client on the right and the Madonna and Child on the left belong to a genre of devotional diptychs developed by Rogier and his workshop. All three were separated in the course of their history and the components ended up in different locations. Connoisseurship and technical investigations were able to show how they belong together.

Diptych without a portrait of the client
Single image with religious content
Single image as an autonomous portrait
Portraits held for copies:
miniature

Workshop work

Collaboration on the Columba Altar (around 1455): Josef on the central panel, painted by Rogier van der Weyden (left), and Josef on the right wing, painted by an employee in his workshop (right) - probably based on the same model.
Comparison of the depiction of assistant figures of the crucifixion on altars by Rogier van der Weyden and one of his collaborators. Left: Section from the central panel of Rogier's Altar of the Seven Sacraments (around 1445). Right: Detail from the central panel of the Abegg triptych of the employee (around 1445).

Rogier van der Weyden's workshops in Tournai and Brussels were organized according to guilds . Rogier as master led them and employed journeymen and apprentices, the number of which was limited depending on the local statutes of the guilds. Only Rogier as a master was competent.

In addition to the master Rogier, his apprentices and journeymen also worked on a panel painting. They ranged from small-scale preparatory work such as priming the panels supplied by a carpenter to artistic execution of the image surface and its protective circuit varnish . Some of the blackboard paintings were designed and executed by employees themselves. Like Rogier, they used the templates that belonged to the workshop's fund. It can be assumed that even the works personally ascribed to Rogier did not come about without the cooperation of members of his workshop. The proportion of their cooperation is disputed.

Even pictures for which Rogier only made the preliminary drawings , or pictures that he had not designed himself or on which he had not participated at all, left his workshop under his name.

Rogier's last commissions, which he left unfinished, were possibly completed by his colleague whose name was unknown and who had the emergency name Meister von Ambierle . It is considered whether this stranger is perhaps Rogier's son Pierre (Pieter) van der Weyden.

Examples of workshop work
Left wing of a diptych: Mary with Child - Right wing of a diptych: St. Catherine , Kunsthistorisches Museum , Vienna
triptych
Diptych
  • Around 1430/1432 or around 1451: Left wing of a diptych: Maria with child - Right wing of a diptych: St. Catherine , Kunsthistorisches Museum , Vienna
Probably the rest of a triptych.
Single image with religious content
Single image as an autonomous portrait

aftermath

Rogier van der Weyden: Middle panel of the Three Kings Altar (around 1455)
Hans Memling: middle panel of the three king altar (around 1470)

More than Jan van Eyck and Robert Campin, Rogier van der Weyden left his mark on painting across Europe from around 1450 to the beginning of the 16th century. The painters next to and after him owe essentials to his art. This applies in particular to well-known painters such as his son Pierre van der Weyden (perhaps identical with the master of the Catherine legend ), Dierick Bouts , Vrancke van der Stockt and Hans Memling , who are considered to be Rogier's pupils, but also to many painters unknown by name such as the master of the Barbarian legend , the master of Sainte Gudule and the master of the Ursula legend . They adopted and varied Rogier's compositions and individual figures, buildings and background landscapes. Max J. Friedländer even said that Rogier's work was “like a quarry” for these painters. Echoes of the later Flemish grandmasters such as Hugo van der Goes , Quentin Massys and Gerard David , as well as Rogier's grandson Goosen van der Weyden. Outside the Netherlands, the influence extends to Bartolomé Bermejo and Fernando Gallego in Spain , Giovanni Bellini in Italy and the German painters Martin Schongauer and Albrecht Dürer.

literature

swell

  • Elisabeth Dahnens: Rogier van der Weyden. Revisie van de documents. In: Verhandelingen van de Koniklijke Academie voor Wetenschappen, Letteren en Schone Kunsten van België. Class of Fine Arts, 57, Br. 59.Brussels 1995.
  • Elisabeth Dahnens, Jellie Dijkstra: Rogier de le Pasture van der Weyden: introduction à l'œuvre, relecture des sources. La renaissance du livre, Trounai 1999.

Overall representations

Representations in connection with old Dutch painting

Individual aspects

  • Hansjürg Buchmeier, Peter Stobbe: Van der Weyden's director. Lose sheet book, Wallimann, Alpnach 1999, ISBN 3-908713-00-5 .
  • Renate Hartleb : Rogier van der Weyden, Visitation. Museum of Fine Arts, Leipzig. Kulturstiftung der Länder , Berlin 1998, OCLC 40829961 .
  • Stephan Kemperdick, Jochen Sander (eds.): The Master of Flémalle and Rogier van der Weyden: an exhibition of the Städel Museum, Frankfurt am Main, [21. November 2008 to February 22, 2009] and the Gemäldegalerie of the Staatliche Museen zu Berlin (March 20, 2009 to June 21, 2009). Hatje Cantz Verl. Ostfildern u. Städel Museum, Frankfurt am Main 2008.
    Among other things:
    • Stephan Kemperdick: Robert Campin, Jaques Daret, Rogier van der Weyden: the written tradition.
    • Ders .: The workshop and its work material.
    • Ders .: I tableau à II hysseoires - a picture with two wings. Changeable and non-changeable picture ensembles in the time of Rogier van der Weyden .
    • Peter Klein: Dendrological investigations on panels of paintings by the groups Meister von Flémalle and Rogier van der Weyden.
    • Stephan Kemperdick u. Jochen Sander: The master of Flémalle, Robert Campin and Rogier van der Weyden - a summary.
    • Jochen Sander: The reconstruction of artist personalities and groups of works.
  • Reinhard Liess : On the logos of art by Rogier van der Weyden. The "Behavior of Christ" in the Royal Museums in Brussels and in the National Gallery in London ( Ad Opus-Kunstgeschichtliche Werkanalysen ), 2 vols. Lit, Münster 2000, ISBN 3-8258-4158-8 .
  • On the other hand : Rogier van der Weyden's self-portrait on the Trajan-Herkinbald tapestry in Bern. The Rogier-Campin problem. In: Reinhard Liess: Jan Vermeer van Delft, Pieter Bruegel the Elder. Ä., Rogier van der Weyden. Three studies on Dutch art. Göttingen 2004, pp. 93–155. ISBN 3-89971-149-1 .
  • Felix Thürlemann: Separating hands without heads? : thirteen theses on the practice of connoisseurship using the example of the masters von Flémalle / Rogier at the Weyden debate. In: Journal for Swiss Archeology and Art History. (Schwegler. Zurich) Vol. 2005, 62 (2005), 3/4, pp. 225–232.

Lexicon article

Web links

Commons : Rogier van der Weyden  - collection of images, videos and audio files

Museums

Individual evidence

  1. ↑ Possibly after an original by Rogier or a drawing by Jacques Le Boucq d'Artois . Retrieved February 11, 2018.
  2. ↑ a b Odile Delenda: Rogier van der Weyden. The master's complete works. Belser, Stuttgart 1996, p. 23.
  3. ↑ No death or burial dates are documented
  4. ↑ a b Felix Thürlemann: Rogier van der Weyden, life and work. CH Beck, Munich 2006, p. 20.
  5. ^ Stephan Kemperdick: Robert Campin, Jaques Daret, Rogier van der Weyden: the written tradition. In: Stephan Kemperdick, Jochen Sander (eds.): The Master of Flémalle and Rogier van der Weyden: an exhibition of the Städel Museum, Frankfurt am Main, [November 21, 2008 to February 22, 2009] and the picture gallery of the State Museums in Berlin (March 20, 2009 to June 21, 2009). Hatje Cantz Verl. Ostfildern u. Städel Museum, Frankfurt am Main 2008, p. 61.
  6. ↑ a b Felix Thürlemann: Rogier van der Weyden, life and work. CH Beck, Munich, 2006, p. 21.
  7. ↑ Jochen Sander, Fabian Wolf: Possibilities of painting anew explored. In Jochen Sander (ed.): In new splendor. The Flémalle Master's thief fragment in context. Fast u. Steiner, Regensburg, p. 17.
  8. ↑ a b c d Felix Thürlemann: Rogier van der Weyden, life and work. CH Beck, Munich 2006, p. 23.
  9. ^ Stephan Kemperdick: Robert Campin, Jaques Daret, Rogier van der Weyden: the written tradition. In: Stephan Kemperdick, Jochen Sander (eds.): The Master of Flémalle and Rogier van der Weyden: an exhibition of the Städel Museum, Frankfurt am Main, [November 21, 2008 to February 22, 2009] and the picture gallery of the State Museums in Berlin (March 20, 2009 to June 21, 2009). Hatje Cantz Verl. Ostfildern u. Städel Museum, Frankfurt am Main 2008, p. 67.
  10. ↑ a b Felix Thürlemann: Rogier van der Weyden, life and work. CH Beck, Munich 2006, p. 22.
  11. ^ Stephan Kemperdick: Robert Campin, Jaques Daret, Rogier van der Weyden: the written tradition. In: Stephan Kemperdick, Jochen Sander (eds.): The Master of Flémalle and Rogier van der Weyden: an exhibition of the Städel Museum, Frankfurt am Main, [November 21, 2008 to February 22, 2009] and the picture gallery of the State Museums in Berlin (March 20, 2009 to June 21, 2009). Hatje Cantz Verl. Ostfildern u. Städel Museum, Frankfurt am Main 2008, p. 68.
  12. ^ Felix Thürlemann: Rogier van der Weyden, life and work. Munich: Beck, 2006, p. 30.
  13. ↑ Latin quotation and German translation, online in the Cusanus portal of the University of Trier. Retrieved February 22, 2018.
  14. ↑ Odile Delenda: Rogier van der Weyden. The master's complete works. Belser, Stuttgart 1996, pp. 20-22.
  15. ^ Stephan Kemperdick: Robert Campin, Jaques Daret, Rogier van der Weyden: the written tradition. In: Stephan Kemperdick, Jochen Sander (eds.): The Master of Flémalle and Rogier van der Weyden: an exhibition of the Städel Museum, Frankfurt am Main, [November 21, 2008 to February 22, 2009] and the picture gallery of the State Museums in Berlin (March 20, 2009 to June 21, 2009). Hatje Cantz Verl. Ostfildern u. Städel Museum, Frankfurt am Main 2008, p. 70.
  16. ^ Felix Thürlemann: Rogier van der Weyden, life and work. CH Beck, Munich 2006, pp. 104-112.
  17. ^ Image, poem of praise and English translation by The Courtyard Institute of Art . Retrieved February 10, 2018.
  18. ^ Felix Thürlemann: Rogier van der Weyden, life and work. CH Beck, Munich 2006, p. 7 f.
  19. ^ Felix Thürlemann: Rogier van der Weyden, life and work. CH Beck, Munich 2006, p. 24.
  20. ↑ Odile Delenda: Rogier van der Weyden. The master's complete works. Belser, Stuttgart 1996, p. 26.
  21. ↑ See as examples the portrait of a fat man by Robert Campin and the portrait of Francesco d'Este by Rogier van der Weyden.
  22. ^ Felix Thürlemann: Rogier van der Weyden, life and work. CH Beck, Munich 2006. pp. 14-17.
  23. ^ Jochen Sander: The reconstruction of artist personalities and groups of works. In: Stephan Kemperdick, Jochen Sander (eds.): The Master of Flémalle and Rogier van der Weyden: an exhibition of the Städel Museum, Frankfurt am Main, [November 21, 2008 to February 22, 2009] and the picture gallery of the State Museums in Berlin (March 20, 2009 to June 21, 2009). Hatje Cantz Verl. Ostfildern u. Städel Museum, Frankfurt am Main 2008. pp. 76–79.
  24. ↑ Stepahn Kemperdick, Jochen Sander: Introduction . In: Stephan Kemperdick, Jochen Sander (eds.): The Master of Flémalle and Rogier van der Weyden: an exhibition of the Städel Museum, Frankfurt am Main, [November 21, 2008 to February 22, 2009] and the picture gallery of the State Museums in Berlin (March 20, 2009 to June 21, 2009). Hatje Cantz Verl. Ostfildern u. Städel Museum, Frankfurt am Main 2008. pp. 16–22.
  25. ↑ Stephan Kemperdick, Jochen Sander (eds.): The Master of Flémalle and Rogier van der Weyden: an exhibition of the Städel Museum, Frankfurt am Main, [November 21, 2008 to February 22, 2009] and the Gemäldegalerie der Staatliche Museen zu Berlin ( March 20, 2009 to June 21, 2009). Hatje Cantz Verl. Ostfildern u. Städel Museum, Frankfurt am Main 2008. pp. 16–22. Pp. 265-268.
  26. ↑ Felix Thürlemann: Separating hands without heads? : thirteen theses on the practice of connoisseurship using the example of the masters von Flémalle / Rogier at the Weyden debate. In: Journal for Swiss Archeology and Art History. Vol. 2005, 62 (2005), 3/4, pp. 225-232.
  27. ↑ For the application of the newer methods, see the short report on the restoration of the sacrament altar in the KMSKA . Retrieved February 7, 2018.
  28. ↑ Peter Klein: Dendrological examinations on panels of the groups Meister von Flémalle and Rogier van der Weyden. In: Stephan Kemperdick, Jochen Sander (eds.): The Master of Flémalle and Rogier van der Weyden: an exhibition of the Städel Museum, Frankfurt am Main, [November 21, 2008 to February 22, 2009] and the picture gallery of the State Museums in Berlin (March 20, 2009 to June 21, 2009). Hatje Cantz Verl. Ostfildern u. Städel Museum, Frankfurt am Main 2008, pp. 161–167.
  29. ^ Mostly assigned to Rogier, but assigned to Robert Campin by Felix Thürlemann. See Felix Thürlemann: The Descent from the Cross in Madrid and the Carrying of the Grave in Paris: Robert Campin's main pictorial and graphic work. In: Pantheon . 51: 30-32 (1993).
  30. ↑ See the right wing of the Braque Altar .
  31. ^ Stephan Kemperdick: The workshop and its work material. In: Stephan Kemperdick, Jochen Sander (eds.): The Master of Flémalle and Rogier van der Weyden: an exhibition of the Städel Museum, Frankfurt am Main, [November 21, 2008 to February 22, 2009] and the picture gallery of the State Museums in Berlin (March 20, 2009 to June 21, 2009). Hatje Cantz Verl. Ostfildern u. Städel Museum, Frankfurt am Main 2008, pp. 104–114.
  32. ^ Stephan Kemperdick: Robert Campin, Jaques Daret, Rogier van der Weyden: the written tradition. In: Stephan Kemperdick, Jochen Sander (eds.): The Master of Flémalle and Rogier van der Weyden: an exhibition of the Städel Museum, Frankfurt am Main, [November 21, 2008 to February 22, 2009] and the picture gallery of the State Museums in Berlin (March 20, 2009 to June 21, 2009). Hatje Cantz Verl. Ostfildern u. Städel Museum, Frankfurt am Main 2008. P. 66 f.
  33. ↑ Élisabeth Dahnens, Jellie Dijkstra: Rogier de le Pasture van der Weyden: introduction à l'œuvre, relecture des sources. La renaissance du livre, Trounai 1999, p. 156 f.
  34. ^ Felix Thürlemann: Rogier van der Weyden, life and work. CH Beck, Munich 2006, pp. 46-49.
  35. ↑ Peter Klein: Dendrological investigations on panels of paintings by the groups Meister von Flémalle and Rogier van der Weyden. In: Stephan Kemperdick, Jochen Sander (eds.): The Master of Flémalle and Rogier van der Weyden: an exhibition of the Städel Museum, Frankfurt am Main, [November 21, 2008 to February 22, 2009] and the picture gallery of the State Museums in Berlin (March 20, 2009 to June 21, 2009). Hatje Cantz Verl. Ostfildern u. Städel Museum, Frankfurt am Main 2008, p. 167
  36. ↑ Stephan Kemperdick, Jochen Sander (eds.): The Master of Flémalle and Rogier van der Weyden: an exhibition of the Städel Museum, Frankfurt am Main, [November 21, 2008 to February 22, 2009] and the Gemäldegalerie der Staatliche Museen zu Berlin ( March 20, 2009 to June 21, 2009). Ostfildern: Hatje Cantz Verl. U. Frankfurt am Main: Städel Museum, 2008, p. 334 ff.
  37. ↑ a b c d Stephan Kemperdick: The workshop and its work material. In: Stephan Kemperdick, Jochen Sander (eds.): The Master of Flémalle and Rogier van der Weyden: an exhibition of the Städel Museum, Frankfurt am Main, [November 21, 2008 to February 22, 2009] and the picture gallery of the State Museums in Berlin (March 20, 2009 to June 21, 2009). Hatje Cantz Verl. Ostfildern and Staedel Museum, Frankfurt am Main 2008, pp. 95–115.
  38. ↑ Stephan Kemperdick, Jochen Sander (eds.): The Master of Flémalle and Rogier van der Weyden: an exhibition of the Städel Museum, Frankfurt am Main, [November 21, 2008 to February 22, 2009] and the Gemäldegalerie der Staatliche Museen zu Berlin ( March 20, 2009 to June 21, 2009). Hatje Cantz Verl. Ostfildern and Stadel Museum, Frankfurt am Main 2008. P. 331 f.
  39. ^ Stephan Kemperdick: The workshop and its work material. In: Stephan Kemperdick, Jochen Sander (eds.): The Master of Flémalle and Rogier van der Weyden: an exhibition of the Städel Museum, Frankfurt am Main, [November 21, 2008 to February 22, 2009] and the picture gallery of the State Museums in Berlin (March 20, 2009 to June 21, 2009). Hatje Cantz Verl. Ostfildern and Staedel Museum, Frankfurt am Main 2008, pp. 97–100.
  40. ↑ Annegret Volk: Moving History. In Jochen Sander (ed.): In new splendor. The Flémalle Master's thief fragment in context. Fast u. Steiner, Regensburg, p. 43 f.
  41. ^ Jochen Sander: The reconstruction of artist personalities and groups of works. In: Stephan Kemperdick, Jochen Sander (eds.): The Master of Flémalle and Rogier van der Weyden: an exhibition of the Städel Museum, Frankfurt am Main, [November 21, 2008 to February 22, 2009] and the picture gallery of the State Museums in Berlin (March 20, 2009 to June 21, 2009). Hatje Cantz Verl. Ostfildern u. Städel Museum, Frankfurt am Main 2008, pp. 75–93.
  42. ↑ Stephan Kemperdick u. Jochen Sander: The master of Flémalle, Robert Campin and Rogier van der Weyden - a summary. In: Stephan Kemperdick, Jochen Sander (eds.): The Master of Flémalle and Rogier van der Weyden: an exhibition of the Städel Museum, Frankfurt am Main, [November 21, 2008 to February 22, 2009] and the picture gallery of the State Museums in Berlin (March 20, 2009 to June 21, 2009). Hatje Cantz Verl. Ostfildern u. Städel Museum, Frankfurt am Main 2008, pp. 149–160
  43. ↑ La succession de R. van der Weyden. In the text accompanying the exhibition L'Héritage de Rogier van der Weyden. 10/12/2013 - 11/21/2013 in the Royal Museums of Fine Arts (Belgium) . Retrieved March 1, 2018.
  44. ↑ Odile Delenda: Rogier van der Weyden. The master's complete works. Belser, Stuttgart 1996, p. 165.
  45. ↑ Compare the Descent from the Cross by Rogier and the Descent from the Cross by the Master of the Bartholomew Altar
  46. ↑ Compare the risen at the grave in the background with Rogier van der Weyden and Hans Murer the Elder. Ä. .
  47. ↑ Compare the buildings in the background of Rogier's Annunciation triptych and The three scenes from the life of St. Ulrich, the master of the Ulrich legend.
  48. ↑ Erwin Panofsky: The old Dutch painting. Their origin and essence. Dumont, Cologne 2001, volume 1, p. 350.
  49. ↑ Erwin Panofsky: The old Dutch painting. Their origin and essence. Dumont, Cologne 2001, volume 1, p. 343 f.
  50. ↑ Erwin Panofsky: The old Dutch painting. Their origin and essence. Dumont, Cologne 2001, Volume 1, p. 356.
  51. ↑ a b Odile Delenda: Rogier van der Weyden. The master's complete works. Belser, Stuttgart 1996, p. 167.
personal data
SURNAME Weyden, Rogier van der
ALTERNATIVE NAMES Pasture, Rogier de le; Pasture, Rogelet de le
BRIEF DESCRIPTION Flemish painter
DATE OF BIRTH 1399 or 1400
PLACE OF BIRTH Tournai
DATE OF DEATH June 18, 1464
Place of death Brussels