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Artists
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WEYDEN, Rogier van der
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Seven Sacraments Altarpiece new21/WEYDEN, Rogier van der-387773.jpg ID de tableau:: 63929 |
1445-50 Oil on oak panel Koninklijk Museum voor Schone Kunsten, AntwerpArtist:WEYDEN, Rogier van der Title: Seven Sacraments Altarpiece (detail) Painted in 1401-1450 , Flemish - - painting : religious | |
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Bladelin Triptych new21/WEYDEN, Rogier van der-253674.jpg ID de tableau:: 63930 |
1445-50 Oil on oak panel, 91 x 40 cm Staatliche Museen, Berlin The scenes in the side panels depict the advent of the Son of God on earth being announced in miraculous visions to the Roman emperor Octavian (Augustus) and to the three Magi. The Christ Child receives the homage of both East and West, that is to say the whole world as displayed in the panorama of the open triptych: the West is symbolized by the Roman empire - which was regarded as the direct predecessor of the medieval Holy Roman Empire - the East by the Magi, and between them stands the Holy Land with Bethlehem, to the medieval mind the centre and navel of the world. The three pictures in the triptych are united not so much by their background setting as by the figures. These are all on the same scale, and are linked to create a compositional line running through the three panels: arranged on both wings in a semi-circle turning in, and on the central panel in a semi-circle turning out, they curve rhythmically in an undulating line - a good example of Rogier's "sense of rhythm." The panels are also linked by the skillful distribution of colour, with the red robe of the oldest king on the right, for instance, echoing the red garments of St. Joseph on the central panel, while the red-patterned gold brocade worn by the central king is matched by Octavian's robe on the opposite wing. These mirror-image correspondences are slightly shifted toward the central axis, and there are many other interrelating colour notes. However, the colour also has other meanings. On the wings, where it is distributed in smaller areas over the surface of the picture and is thus more varied, it illustrates the secular magnificence of earthly rulers, while on the central panel the symphony of red, white and black makes a nobler and sterner effect. Symbolically, white stands for Mary's virginity, while the black worn by the donor was the fashionable colour of the upper classes of the time. The colour composition of the altarpiece as a whole, constantly balancing its slight asymmetries, is well calculated, although ultimately the impression is of rather too regular a kind of diversity, without deep meaning or resonance.Artist:WEYDEN, Rogier van der Title: Bladelin Triptych (right wing) Painted in 1401-1450 , Flemish - - painting : religious | |
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Braque Family Triptych new21/WEYDEN, Rogier van der-523656.jpg ID de tableau:: 63931 |
1450 Oil on oak panel, 41 x 34 cm Mus?e du Louvre, Paris The picture shows the right wing of the Braque Family Triptych representing St Mary Magdalene. This is finest panel of the triptych. She sits with her hand resting on the lid of an alabaster vase, about to spread perfume on Jesus's feet. Her face, veiled with a band of gauze, her blond hair hanging down her back in long waves, even the corselet that only partly conceals her bosom - everything about her suggest not a repentant sinner, but a young woman rightly proud of her beauty. She is tenderly holding the vessel of ointment with which, as the text above reminds us, she anointed the feet of Jesus after moistening them with her tears and drying them with her hair. The text is probably the reason why tears, not entirely suitable to the pictorial context, are running down the Magdalene's face.Artist:WEYDEN, Rogier van der Title: Braque Family Triptych (right wing) Painted in 1401-1450 , Flemish - - painting : religious | |
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St Columba Altarpiece new21/WEYDEN, Rogier van der-362833.jpg ID de tableau:: 63932 |
1455 Oil on oak panel, 138 x 70 cm Alte Pinakothek, Munich The picture shows the Presentation in the Temple, the right panel of the altarpiece executed for the St Columba church in Cologne. According to Mosaic law, all firstborn sons had to be presented to God in the temple. When Mary and Joseph carried out this duty, the pious old Simeon recognized the child as the Redeemer whom, according to a prophecy, he was to see before he died. He thanks God with the words, "Lord, now lettest thou they servant depart in peace, according to thy word." The old prophetess Anna, who also recognizes the Christ, is standing behind Simeon. The servant behind Mary is holding two doves for the sacrifice of purification that followed childbirth.Artist:WEYDEN, Rogier van der Title: St Columba Altarpiece (right panel) Painted in 1401-1450 , Flemish - - painting : religious | |
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Crucifixion Triptych new21/WEYDEN, Rogier van der-442659.jpg ID de tableau:: 63933 |
1445 Oil on oak panel, 101 x 35 Kunsthistorisches Museum, Vienna The right wing represents St Veronica.Artist:WEYDEN, Rogier van der Title: Crucifixion Triptych (right wing) Painted in 1401-1450 , Flemish - - painting : religious | |
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