Rogier van der Weyden, also known as Rogier de le Pasture (1399/1400 ? June 18, 1464) is, with Jan van Eyck, considered one of the greatest exponents of the school of Early Netherlandish painting.
Rogier van der Weyden was born in Tournai as 'Rogier de le Pasture' (Roger of the Pasture) in 1399 or 1400. His parents were Henri de le Pasture and Agnes de Watr?los. The family had settled before in the city of Tournai where Rogiers father worked as a 'ma?tre-coutelier' (knife manufacturer). In 1426 Rogier married to Elisabeth, the daughter of the Brussels shoemaker Jan Goffaert and his wife Cathelyne van Stockem. Rogier and Elisabeth had four children: Cornelius who became a carthusian monk was born in 1427, a daughter Margaretha in 1432. Before 21 October 1435 the family settled in Brussels where the two younger children were born: Pieter in 1437 and Jan the next year. From the second of March 1436 onwards held the title of 'painter to the town of Brussels' (stadsschilder) a very prestigious post because Brussels was at that time the most important residence of the splendid court of the Dukes of Burgundy. It was at the occasion of his move to the Dutch-speaking town of Brussels that Rogier began using the Dutch version of his name: 'Rogier van der Weyden'.
His vigorous, subtle, expressive painting and popular religious conceptions had considerable influence on European painting, not only in France and Germany but also in Italy and in Spain. Hans Memling was his greatest follower, although it is not proven that he was a direct pupil of Rogier. Van der Weyden had also great influence on the German painter and engraver Martin Schongauer whose prints were distributed all over Europe since the last decades of the 15th century. Indirectly Schongauer's prints helped to disseminate Van der Weyden's style.
Descent of Christ from the Cross by Rogier van der Weyden (c.1435) Oil on oak panel, 220 x 262 cm, on loan from Museo del Prado, Madrid
Self-portrait as Saint Luke making a drawing for his painting of the Virgin. The setting is derived from the Madonna of Chancellor Rolin by Jan van Eyck. Boston, c. 1440.
Detail of Roger van der Weyden's The Seven Sacraments (1445). Extreme Unction
http://i272.photobucket.com/albums/jj171/Azjahh/Art%20Museum/Weyden_Deposition.jpg
Portrait of a woman, c. 1460 by Roger van der Weyden
http://i272.photobucket.com/albums/jj171/Azjahh/Art%20Museum/Rogier_van_der_WeydenPortraitofaWom.jpg
St Ivo (c. 1450) Oil on oak panel, 45 x 35 cm on loan from: National Gallery, London
http://i272.photobucket.com/albums/jj171/Azjahh/Art%20Museum/Weyden_madonna_1440.jpg
Detail, Adoration of the Magi
http://i272.photobucket.com/albums/jj171/Azjahh/Art%20Museum/Weyden-Adoration_of_the_Magi_detail.jpg
Rogier van der Weyden was born in Tournai as 'Rogier de le Pasture' (Roger of the Pasture) in 1399 or 1400. His parents were Henri de le Pasture and Agnes de Watr?los. The family had settled before in the city of Tournai where Rogiers father worked as a 'ma?tre-coutelier' (knife manufacturer). In 1426 Rogier married to Elisabeth, the daughter of the Brussels shoemaker Jan Goffaert and his wife Cathelyne van Stockem. Rogier and Elisabeth had four children: Cornelius who became a carthusian monk was born in 1427, a daughter Margaretha in 1432. Before 21 October 1435 the family settled in Brussels where the two younger children were born: Pieter in 1437 and Jan the next year. From the second of March 1436 onwards held the title of 'painter to the town of Brussels' (stadsschilder) a very prestigious post because Brussels was at that time the most important residence of the splendid court of the Dukes of Burgundy. It was at the occasion of his move to the Dutch-speaking town of Brussels that Rogier began using the Dutch version of his name: 'Rogier van der Weyden'.
His vigorous, subtle, expressive painting and popular religious conceptions had considerable influence on European painting, not only in France and Germany but also in Italy and in Spain. Hans Memling was his greatest follower, although it is not proven that he was a direct pupil of Rogier. Van der Weyden had also great influence on the German painter and engraver Martin Schongauer whose prints were distributed all over Europe since the last decades of the 15th century. Indirectly Schongauer's prints helped to disseminate Van der Weyden's style.
Descent of Christ from the Cross by Rogier van der Weyden (c.1435) Oil on oak panel, 220 x 262 cm, on loan from Museo del Prado, Madrid
Self-portrait as Saint Luke making a drawing for his painting of the Virgin. The setting is derived from the Madonna of Chancellor Rolin by Jan van Eyck. Boston, c. 1440.
Detail of Roger van der Weyden's The Seven Sacraments (1445). Extreme Unction
http://i272.photobucket.com/albums/jj171/Azjahh/Art%20Museum/Weyden_Deposition.jpg
Portrait of a woman, c. 1460 by Roger van der Weyden
http://i272.photobucket.com/albums/jj171/Azjahh/Art%20Museum/Rogier_van_der_WeydenPortraitofaWom.jpg
St Ivo (c. 1450) Oil on oak panel, 45 x 35 cm on loan from: National Gallery, London
http://i272.photobucket.com/albums/jj171/Azjahh/Art%20Museum/Weyden_madonna_1440.jpg
Detail, Adoration of the Magi
http://i272.photobucket.com/albums/jj171/Azjahh/Art%20Museum/Weyden-Adoration_of_the_Magi_detail.jpg