All the sophistication goes into the clothes and accessories, revealing her upper class status, while her face remains so natural. Luke was the patron saint of painters, and it is possible that Rogier used his own likeness for the saint's face. It was not until Hans Memling (c. 1435–1494), a pupil of van der Weyden, that a Netherlandish artist set a portrait against an exterior or landscape. When you look at her, at first, you notice how wrong the proportions of her body are, with her narrow shoulders, thin waist and very small hands. Staatliche Museen zu Berlin, Gemäldegalerie. Jean de Gros would later serve Charles the Bold, becoming powerful but strongly disliked. This painting is an outstanding example of the abstract elegance characteristic of Rogier's late portraits.

It’s not their mere presence, but also a certain vulnerability that they convey – poor sleep, worries or a consequence of her paleness. framed: 60.9 x 53.3 x 11.4 cm (24 x 21 x 4 1/2 in. Van der Weyden's attention to the structure of the clothing—the careful detailing of the pins pushed into the veil to fix its position—is typical for the artist.

( Log Out /  I wonder what she’s thinking about. Rogier van der Weyden and Workshop, Portrait of Jean Gros, 1460/64. Rogier van der Weyden, Portrait of Laurent Froimont, c. 1460. This may be the earliest surviving portrait by Rogier van der Weyden, and is probably also his liveliest, due to the woman’s open look, directed straight at the viewer, and the intelligent, almost challenging expression in her face.Her hands and the details of her clothing have been painted with intense precision. In contrast to the spareness of execution in most of the painting, the gold filigree of her belt buckle is rendered with meticulous precision. Van der Weyden particularly excelled as a portraitist; he was able to capture a sitter’s distinguishing characteristics and garments with a refined elegance. Perfection is boring.

Musées Royaux des Beaux-Arts, Brussels. Enter your email address to follow this blog and receive notifications of new posts by email. He settled in Brussels and was quickly appointed the city’s official painter, giving him the opportunity to fulfill numerous public commissions. The vivid contrasts of darkness and light enhance the almost unnatural beauty and Gothic elegance of the model.

Stay up to date about our exhibitions, news, programs, and special offers. Jean de Froimont was a friend of Philippe de Croÿ, who appointed him as guardian of Philippe’s children in the event of his death.

1460 and is a 37 x 27. Rogier van der Weyden, Portrait of a Lady (X-Ray). The dress, with its dark bands of fur, almost merges with the background.

Compare the less abstract quality of this portrait painted earlier in Rogier’s career. 1432/1435, The Crucifixion, with the Virgin and Saint John the Evangelist Mourning, ca. It is the only known portrait of a woman accepted as an autograph work by van der Weyden, yet the sitter's name is not recorded and he did not title the work. Francesco d’Este was the illegitimate son of Lionello d’Este, Duke of Ferrara. The miniature on the dedication page of the Chroniques de Hainaut is believed by many to have been painted by Rogier.

The early facts of Rogier van der Weyden’s life are unknown, but he entered the atelier of Robert Campin at the age of 27, where he would adopt his master’s detailed naturalism. Portrait of a Lady Rogier van der Weyden c. 1460.

The few facts we know come from fragmentary civic records.

There, I said it. Workshop of Rogier van der Weyden, Portrait of Isabella of Portugal, c. 1450; later additions c. 1500. The irony that Dutch artist Rogier van der Weyden depicted her body following the Gothic ideal of elongated, narrow forms does not elude me. The duke wears the gold collar of the Order of the Golden Fleece, which he established. Rogier’s most celebrated works are large altarpieces, but he also painted smaller devotional pictures and secular subjects, including civic murals (now lost) for the city of Brussels. Explore museums and play with Art Transfer, Pocket Galleries, Art Selfie, and more. Philippe de Croÿ served both Philip the Good and Charles the Bold, although his family’s relations with the dukes were at times strained. The background is flat and lacks the attention to detail common in van der Weyden's devotional works. Museum of Fine Arts, Boston. Change ), You are commenting using your Google account. Those stand in stark contrast to the size of her head, headdress and towering hairstyle. His portrait was part of a diptych with the Virgin and Child. Rogier van der Weyden, Portrait of Charles the Bold, 1460. Change ), You are commenting using your Facebook account. Yet we sense that this woman is at some remove from the world and from us.

© 2020 National Gallery of Art   Notices   Terms of Use   Privacy Policy, Rogier van der Weyden, Portrait of a Lady, c. 1460, Musées royaux des Beaux-Arts de Belgique, Bruxelles. Oct 16, 2020 - Portrait Of A Lady By Rogier Van Der Weyden Wall Art, Canvas Prints, Framed Prints, Wall Peels The woman, who is probably in her late teens or early twenties, is shown half-length and in three-quarters profile, set against a two-dimensional interior background of deep blue-green. Some believe that she is depicted in Jan van Eyck’s Annunciation in the National Gallery of Art. Portrait of a Lady by: Rogier Van Der Weyden Portrait of a Lady was created in ca. He was raised in and spent most of his life at the Burgundian court. The background has darkened with age; it is likely that the angles created by the sitter's hennin and dress were once much sharper. Humble artists of today can take some small comfort in the old masters making some anatomical blunders, or so we tell ourselves knowing they were mostly deliberate. It’s a beautiful painting. The court was the mid-15th century’s most magnificent and established tastes for virtuosity and refinement across Europe. National Gallery of Art, Washington, D.C. Saint George and the Dragon, ca. Her down-turned eyes and nervously pressed fingers suggest introspective emotion. Overall (panel): 37 x 27 cm (14 9/16 x 10 5/8 in.) If so, it would be his only surviving manuscript illustration.

The scarlet belt serves as a foil to set off her delicately clasped hands. From National Gallery of Art, Washington, D.C., Rogier van der Weyden, Portrait of a Lady (ca.

Although van der Weyden did not adhere to the conventions of idealisation, he generally sought to flatter his sitters. Oct 16, 2020 - Portrait Of A Lady By Rogier Van Der Weyden Wall Art, Canvas Prints, Framed Prints, Wall Peels 1494, Portrait of Mathias Mulich (1470-1528), Burgomaster of Lübeck, half-length, Courtesy National Gallery of Art, Washington.

Their spare formalism and mannered aspect were well matched to an aristocratic ideal of control, which was itself no less an expression of power than the lavish displays of luxury textiles, gold, and gems for which the dukes of Burgundy were known.

); (verso) A Tethered Roebuck, ca. Many of Rogier’s portraits were parts of devotional diptychs, a form he helped popularize. In this work, the woman's humility and reserved demeanour are conveyed through her fragile physique, lowered eyes and tightly grasped fingers. Musee des Beaux-Arts, Dijon, France. Although the identity of the sitter is unknown, her air of self-conscious dignity suggests that she is a member of the nobility.

Her bonnet shows her to be a married woman; the superior but not luxurious clothing indicates a woman from the middle class, who may have lived in Brussels.

The hammer he holds is connected with tournaments, the ring perhaps a tournament prize.

The downcast eyes, the firmly set lips, and the tense fingers reflect this woman's mental concentration. Art Institute of Chicago. Rogier van der Weyden - Portrait of a Lady - Google Art Project.jpg 4,181 × 5,729; 8.8 MB. Some have suggested it represents the artist’s wife. He depicted his models in highly fashionable clothing, often with rounded—almost sculpted—facial features, some of which deviated from natural representation. This is a part of the Wikipedia article used under the Creative Commons Attribution-Sharealike 3.0 Unported License (CC-BY-SA). Her clothes are of the then-fashionable Burgundian style, which emphasises the tall and thin aesthetic of the Gothic ideal.

The identity of the young woman is unknown. In these hinged two-panel works, the sitter, typically on the right, was depicted in prayerful attitude toward a religious image, usually the Virgin and Child, on the opposite panel. Van der Weyden’s later work tended towards austerity in color and composition, drawing on medieval aesthetics.

Rogier van der Weyden – Portrait of a Lady (c. 1460). He was, however, together with Jan van Eyck, the greatest painter working in the Low Countries in the 1400s.