WEYDEN, Rogier van der

Featured Paintings in Detail

(1)

Altarpieces

Deposition | St Luke Madonna | Annunciation

WEYDEN, Rogier van derDepositionc. 1435Oil on oak panel, 220 x 262 cmMuseo del Prado, Madrid

WEYDEN, Rogier van derDeposition (detail)c. 1435Oil on oak panel, 220 x 262 cmMuseo del Prado, Madrid

WEYDEN, Rogier van derDeposition (detail)c. 1435Oil on oak panel, 220 x 262 cmMuseo del Prado, Madrid

WEYDEN, Rogier van derDeposition (detail)c. 1435Oil on oak panel, 220 x 262 cmMuseo del Prado, Madrid

WEYDEN, Rogier van derDeposition (detail)c. 1435Oil on oak panel, 220 x 262 cmMuseo del Prado, Madrid

WEYDEN, Rogier van derDeposition (detail)c. 1435Oil on oak panel, 220 x 262 cmMuseo del Prado, Madrid

WEYDEN, Rogier van derDeposition (detail)c. 1435Oil on oak panel, 220 x 262 cmMuseo del Prado, Madrid

WEYDEN, Rogier van derDeposition (detail)c. 1435Oil on oak panel, 220 x 262 cmMuseo del Prado, Madrid

WEYDEN, Rogier van derDeposition (detail)c. 1435Oil on oak panel, 220 x 262 cmMuseo del Prado, Madrid

WEYDEN, Rogier van derDeposition (detail)c. 1435Oil on oak panel, 220 x 262 cmMuseo del Prado, Madrid

WEYDEN, Rogier van derDeposition (detail)c. 1435Oil on oak panel, 220 x 262 cmMuseo del Prado, Madrid

WEYDEN, Rogier van derDeposition (detail)c. 1435Oil on oak panel, 220 x 262 cmMuseo del Prado, Madrid

WEYDEN, Rogier van derDeposition (detail)c. 1435Oil on oak panel, 220 x 262 cmMuseo del Prado, Madrid

WEYDEN, Rogier van derDeposition (detail)c. 1435Oil on oak panel, 220 x 262 cmMuseo del Prado, Madrid

WEYDEN, Rogier van derDeposition (detail)c. 1435Oil on oak panel, 220 x 262 cmMuseo del Prado, Madrid

WEYDEN, Rogier van derDeposition (detail)c. 1435Oil on oak panel, 220 x 262 cmMuseo del Prado, Madrid

WEYDEN, Rogier van derDeposition (detail)c. 1435Oil on oak panel, 220 x 262 cmMuseo del Prado, Madrid

WEYDEN, Rogier van derDeposition (detail)c. 1435Oil on oak panel, 220 x 262 cmMuseo del Prado, Madrid

WEYDEN, Rogier van derSt Luke Drawing a Portrait of the Madonna1435Oil and tempera on panel, 138 x 111 cmMuseum of Fine Arts, Boston

WEYDEN, Rogier van derSt Luke Drawing a Portrait of the Madonna (detail)1435Oil and tempera on panel, 138 x 111 cmMuseum of Fine Arts, Boston

WEYDEN, Rogier van derSt Luke Drawing a Portrait of the Madonna (detail)1435Oil and tempera on panel, 138 x 111 cmMuseum of Fine Arts, Boston

WEYDEN, Rogier van derSt Luke Drawing a Portrait of the Madonna (detail)1435Oil and tempera on panel, 138 x 111 cmMuseum of Fine Arts, Boston

WEYDEN, Rogier van derSt Luke Drawing a Portrait of the Madonna (detail)1435Oil and tempera on panel, 138 x 111 cmMuseum of Fine Arts, Boston

WEYDEN, Rogier van derSt Luke Drawing a Portrait of the Madonna (detail)1435Oil and tempera on panel, 138 x 111 cmMuseum of Fine Arts, Boston

WEYDEN, Rogier van derSt Luke Drawing a Portrait of the Madonna (detail)1435Oil and tempera on panel, 138 x 111 cmMuseum of Fine Arts, Boston

WEYDEN, Rogier van derThe Annunciationc. 1440Oil on oak panel, 86 x 93 cmMusée du Louvre, Paris

WEYDEN, Rogier van derThe Annunciation (detail)c. 1440Oil on oak panel, 86 x 93 cmMusée du Louvre, Paris

WEYDEN, Rogier van derThe Annunciation (detail)c. 1440Oil on oak panel, 86 x 93 cmMusée du Louvre, Paris

WEYDEN, Rogier van derThe Annunciation (detail)c. 1440Oil on oak panel, 86 x 93 cmMusée du Louvre, Paris

WEYDEN, Rogier van derThe Annunciation (detail)c. 1440Oil on oak panel, 86 x 93 cmMusée du Louvre, Paris

WEYDEN, Rogier van derThe Annunciation (detail)c. 1440Oil on oak panel, 86 x 93 cmMusée du Louvre, Paris

WEYDEN, Rogier van derThe Annunciation (detail)c. 1440Oil on oak panelMusée du Louvre, Paris

The Archangel Gabriel is clothed like a priest conducting a liturgical service, wearing a cope of expensive gold brocade over his alb, and a stole of red-gold brocade fabric. The huge clasp of the cope, in the form of a quatrefoil, shows a standing figure, probably God, in an architectural frame that looks like a cross section through a basilica. Two small figures at the sides, presumably angels, are revering the central figure.

WEYDEN, Rogier van derThe Annunciation (detail)c. 1440Oil on oak panel, 86 x 93 cmMusée du Louvre, Paris

WEYDEN, Rogier van derThe Annunciation (detail)c. 1440Oil on oak panel, 86 x 93 cmMusée du Louvre, Paris

WEYDEN, Rogier van derThe Annunciation (detail)c. 1440Oil on oak panel, 86 x 93 cmMusée du Louvre, Paris

WEYDEN, Rogier van der, Featured Paintings in Detail (1)

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Annunciation Triptych, c. 1440by Rogier van der WEYDEN

Musée du Louvre, Paris (central), Galleria Sabauda, Turin (wings)

Chiaroscuro in the manner of Jan van Eyck is a prominent feature of the Annunciation that was originally the central panel of a triptych. Although the two wings of the altarpiece are not by the painter of the central panel, they try to achieve the atmospheric effects of light and shade seen in van

Eyck's paintings.

Annunciation Triptych, c. 1440by Rogier van der WEYDEN

The central scene of the Annunciation takes place in a luxurious interior, depicted with convincing spatial feeling. The white lilies and glass carafe symbolize the purity of Mary. The fireplace is already out of use on March 25, Annunciation Day, and has a wooden cover over it. The donor in the left-hand wing (the two wings may be by another hand) was later entirely overpainted, and not very well. The right-hand wing shows the Visitation.

Deposition in the Prado, Madridby Rogier van der WEYDEN

The earliest painting that can be ascribed to Rogier van der Weyden with any certainty is also the artist's greatest and most influential extant work: the great Deposition. It was an altarpiece, intended for the chapel of the Confraternity of the Archers of Leuven, who commissioned it.

St Luke Madonna, 1435-40

Rogier created another great work during his early period in Brussels, roughly between the middle of the 1430s and the beginning of the 1440s: the painting of St Luke Drawing a Portrait of the Virgin, known as the St Luke Madonna. St Luke the Evangelist was also the first Christian painter, and

had painted the Virgin Mary from life. As a consequence he was the patron saint of painters, and in many towns and cities was regarded as patron of their guilds. As a result, most of the major pictures of St Luke were destined for the altars of these communities; Rogier's painting was probably an

altarpiece for the Brussels guild.

There exist several examples of this composition, identical apart from a few details, of which the one in the Museum of Fine Arts in Boston, since its restoration in 1932-33, is regarded by most art historians as the original (other examples in Munich, Alte Pinakothek, St Petersburg, Hermitage, and

Bruges, Groeninge Museum).