portrait of a lady rogier van der weyden

Washington, DC, United States This painting is an outstanding example of the abstract elegance characteristic of Rogier's late portraits. Rogier van der Weyden - Portrait of a lady. The gold filigree decorating her belt, the folds creasing her transparent veil, her delicate lashes, all seem very real. This portrait of a young lady by Rogier van der Weyden is dated at around 1460 and must be considered one of the finest contributions by any artist in this genre. © 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. Portrait of a Lady c. 1455 Oil on oak panel, 37 x 27 cm National Gallery of Art, Washington: Rogier van der Weyden's independent portraits are very like each other in concept and in structure. Little is known about the life of Rogier van der Weyden. 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. Portrait of a Lady, oil on panel by Rogier van der Weyden, c. 1460; in the National Gallery of Art, Washington, D.C. 34 × 25.5 cm. Staatliche Museen zu Berlin, Gemäldegalerie. This is a part of the Wikipedia article used under the Creative Commons Attribution-Sharealike 3.0 Unported License (CC-BY-SA). The background is flat and lacks the attention to detail common in van der Weyden's devotional works. Van der Weyden was preoccupied with portraiture towards the end of his life and like Van Eyck used dark backgrounds to focus the attention on the sitter. Rogier van der Weyden, Portrait d'Antoine de Bourgogne ca. Fine Art Print/Poster. The background has darkened with age; it is likely that the angles created by the sitter's hennin and dress were once much sharper. Courtesy National Gallery of Art, Washington, D.C., Andrew W. Mellon Collection, 1937.1.44 Nevertheless, the fame of Rogier van der Weyden quickly waned, and no painting by him had been signed or dated. The National Gallery of Art and Sculpture Garden are temporarily closed. Portrait of a Lady 1460 Rogier van der Weyden ( Roger de la Pasture ) 1399 – 1464) was an Early Netherlandish painter whose surviving works consist mainly of religious triptychs, Dutch, Netherlands. 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. He was internationally famed for the naturalism of his detail and his expressive pathos. Many of Rogier’s portraits were parts of devotional diptychs, a form he helped popularize. Philip the Good stands beneath the canopy. Rogier van der Weyden Like most of Rogier van der Weyden's portraits, the story behind this painting is as unknown as the woman portrayed. Rogier van der Weyden, Portrait of a Lady (X-Ray). Portrait of a Lady (or Portrait of a Woman) is a small oil-on-oak panel painting executed around 1460 by the Netherlandish painter Rogier van der Weyden. The elegant, stylized lines of the sitter’s face and hands are among the qualities that established Rogier’s supremacy as a court portraitist in the Netherlands. A contemporary described him as proud, eloquent, ambitious, and clever. Some have suggested it represents the artist’s wife. 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. Rogier van der Weyden (Dutch: [roːˈɣiːr vɑn dɛr ˈʋɛi̯də(n)]) or Roger de la Pasture (1399 or 1400 – 18 June 1464) was an Early Netherlandish painter whose surviving works consist mainly of religious triptychs, altarpieces and commissioned single and diptych portraits. Rogier Van Der Wyeden was a painter of the 15th Century known for spot on portrayals of a person's character through his work. Antoine, Grand Bastard of Burgundy, was an illegitimate son of Philip the Good (one of many). Museum of Fine Arts, Boston. Rogier van der Weyden, Portrait of a Young Lady, c. 1440. Isabella of Portugal was the wife of Philip the Good and mother of Charles the Bold. Jump to navigation Jump to search. Rogier’s graceful and expressive figures are set in stark settings and shallow planes; austerity lends them a haunting quality. Workshop of Rogier van der Weyden, Portrait of Isabella of Portugal, c. 1450; later additions c. 1500. Portrait of a Lady is a small oil-on-oak panel painting executed around 1460 by the Netherlandish painter Rogier van der Weyden. Charles was also known as Charles the Rash. The overall Paper Size is 20 x 28 inches and the image size is 20 x 28 inches. The alternation of black and white in her dress, bodice, and veil are relieved only by a red belt (which x-rays show was altered from her original even more slender waist). Staatliche Museen zu Berlin, Gemäldegalerie. shipping: + $7.96 shipping . Her clothes are of the then-fashionable Burgundian style, which emphasises the tall and thin aesthetic of the Gothic ideal. Notice how the fall of the veil over the sitter’s shoulders responds to the V of her neckline, and how her body divides the deep blue-green of the background into framing triangles. Koninklijk Museum voor Schone Kunsten, Antwerp. Born in Tournai in 1399 or 1400 to a family of the rising merchant class, he may have received a university education. Like his contemporary Jan van Eyck (c. 1395 – 1441), when working in portraiture, he used dark planes to focus attention on the sitter. Sharp, interlocking shapes produce a severe balance of form in this portrait. Van der Weyden’s original Portrait of a Lady, was painted c.1460 on panel and is currently situated in The National Gallery of Art in Washington DC. Triangular forms abstract and flatten her image, giving it a formal elegance that underscores her aristocratic reserve. Rogier van der Weyden, celebrated by contemporaries for the invention and intensity of his religious paintings, produced a number of portraits at the Burgundian court at the end of his career, from about 1450 until his death in 1464, apparently including this one. 1460 and is a 37 x 27. Although the identity of the sitter is unknown, her air of self–conscious dignity suggests that she is a member of the nobility. Rogier van der Weyden was one of the most profound and influential painters of the 15th century. He lived in Brussels for the rest of his life but during the Jubilee year of 1450 he traveled to Italy and enjoyed an international reputation. In this work, the woman's humility and reserved demeanour are conveyed through her fragile physique, lowered eyes and tightly grasped fingers. Closed, Sculpture Garden He settled in Brussels and was quickly appointed the city’s official painter, giving him the opportunity to … Whilst the model herself has never been identified, she is immediately memorable. Some believe that she is depicted in Jan van Eyck’s Annunciation in the National Gallery of Art. The composition is built from the geometric shapes that form the lines of the womans veil, neckline, face, and arms, and by the fall of the light Her name is lost to us, but she was likely at the court of Philip the Good, Duke of Burgundy. c. 1455, 37 x 27 cm, Oil on wood, National Gallery of Art, Washington, D.C. Andrew W. Mellon Collection She is defined more by contours than by three-dimensional forms, except in her full, sensual mouth. 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