Van der Weyden
Chaucer, 2004 - 128 pàgines
Rogier Van der Weyden emerged from scholarly and critical neglect only with the revival of interest in the so-called 'Flemish Primitives' during the second half of the nineteenth century. The immensely forceful, frequently disturbing images which Van der Weyden produced owed as much to his supreme control of paint as they did to his observation of detail, which was never permitted to dominate the general rhythm and pattern of the picture itself. These qualities fused to create a style with a direct impact but one which was the result of only the most subtle and painstaking calculations of color and balance. Dr Campbell explores Van der Weyden's position both as official painter to the city of Brussels and within the international system of princely patronage which was evolving during his lifetime.
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Antwerp artists attributed Beaune bequeathed Braque Triptych Bruges Brussels Burgundian court Capilla Real centre panel chapel Charterhouse Chevrot Christ Appearing coat of arms collection colour Columba Triptych commissioned composition copy Cross Crucifixion decorated Descent diptych Duke of Cleves Early Netherlandish Painting Eyck Eyck's Francesco d'Este Frankfurt Gemaldegalerie Granada half-length head Holy Family imitated Imst inventory Jean Gros Justice of Herkinbald Justice of Trajan Last Judgement Last Judgement altarpiece Latin inscription left wing Madrid Memlinc Metropolitan Museum Museum of Art National Gallery Nativity triptych Netherlands Oak panel painter panel showed Paris pattern Philip Philippe de Croy Pieta polyptych Portrait of Jean Portrait of Philippe pose probably representation reverse right wing Robert CAMPIN Rogier Rolin saints Seven Sacraments altarpiece Sint Janshospitaal sitter spatial recession St John St Luke Drawing St Michael Stadelsches tapestry Tiburtine Sibyl Tournai triptych Triptych Plates Virgin and Child Weyden wing panels workshop Zanetto Zanetto Bugatto