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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acquired altarpiece appears arms artists attributed background Berlin Bruges Brussels Burgundy Campin centre panel century certainly chapel Christ church collection colour commissioned composition contrast copy court Cross Crucifixion dated decorated Descent detail died diptych donor drawing Duke early effect Escorial executed expressive Eyck Family figures formed founded four fragment frame gift Granada hands head Holy idea identified imitated inscription interest Italy Justice King known Lady later less London lost Magdalen Memlinc Miraflores moving Musée Museum National Gallery natural Nicholas of Cusa Oak panel once original painter paintings Paris pattern perhaps Philip picture Pietà placed Plate Portrait pose Prado probably Real recorded religious representation represented reverse Rogier Sacraments saints San Marino scale seems similar sitter St John St Michael tapestry Tournai triptych Van der Weyden Virgin and Child Weyden wing panels Woman workshop York Young