Rogier van der weyden biography of michael
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Great Works: The Deposition (1436), Rogier Van der Weyden
The principal galleries of the Prado in Madrid, stuffed with their brilliant galaxy of Raphaels, Zurburans, Correggios, Murillos and much else, move in a single great processional sweep, from West to East, down the building.
But the painting we are looking for, which entered the Spanish royal collections in the 16th century, is tucked away in a relatively small side gallery off to the left, and seems surprisingly little trumpeted by its position there, considering its importance in the history of Western art – and its size.
Rogier Van der Weyden's Deposition, painted in 1436 when he was serving as official painter to the town of Brussels, is one of the most dramatic religious paintings ever executed. It deals with matters familiar to those who are conversant with the Christian story. In fact, you could say that what it shows us is almost wearisomely over-familiar – until you examine this particular rendering of the story. Van der Weyden has re-imagined an old theme.
Its moment (and it feels like a very brief moment of telescoped time, into which an overwhelming number of significant events have been condensed) is that lowest of low points in the Christian story when the dead body of Christ the Messiah was removed, a
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Rogier van der Weyden
Early Netherlandish painter (c. 1399 – 1464)
"Van der Weyden" redirects here. For the surname and list of people with the name, see Van der Weijden.
In this Dutch name, the surname is van der Weyden, not Weyden.
Rogier van der Weyden (Dutch:[roːˈɣiːrvɑndərˈʋɛidə(n)]; 1399 or 1400 – 18 June 1464), initially known as Roger de le Pasture (French:[ʁɔʒed(ə)lapastyʁ]), was an early Netherlandish painter whose surviving works consist mainly of religious triptychs, altarpieces, and commissioned single and diptych portraits. He was highly successful in his lifetime; his paintings were exported to Italy and Spain, and he received commissions from, amongst others, Philip the Good, Netherlandish nobility, and foreign aristocrats.[1] By the latter half of the 15th century, he had eclipsed Jan van Eyck 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 Robert Campin and van Eyck, as the third (by birth date) of the three great Early Netherlandish artists (Vlaamse Primitieven or "Flemish Primitives"), and widely
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Summary of Rogier van zigzag Weyden
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