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Oil Paintings
Come From United Kingdom
An option that you can own an 100% hand-painted oil painting from our talent artists. |
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WEYDEN, Rogier van der
Netherlandish Northern Renaissance Painter, ca.1400-1464
major early Flemish master, known also as Roger de la Pasture. He is believed to have studied with Robert Campin. His early works also show the influence of Jan van Eyck. Van Eyck, however, had been a master at objective rendering of detail, whereas Roger in his work portrayed emotions with an assurance that has not been surpassed. His ability to depict piety is reflected in the early masterpiece Descent from the Cross (c.1435; Prado); he depicted with significant restraint the profound grief of the mourners grouped around the tragic figure of Jesus. His composition strongly affected later representations of the theme. Roger became City Painter in Brussels in 1436. He then produced a series of undated altarpieces including the Last Judgment (hospital, Beaune), the Braque Triptych (Louvre), Crucifixion with Donors (Vienna), and Adoration of the Magi (Berlin), which vary in execution from a stress on sumptuous details to a more sculptural rendering of the figures. Roger is believed to have made a pilgrimage to Italy in the holy year 1450. Whether this supposed excursion had any effect on his style is much debated. It has been shown that his Entombment (Uffizi) bears an affinity to the Tuscan treatment of the subject, particularly by Fra Angelico, and that Roger's Virgin and Child with Saints (Frankfurt) has a strong resemblance to the Italian religious art of the day. His style is, however, highly individual. His religious paintings and his portraits are characterized by a straightforward monumentality. The portraits, such as that of a young lady (National Gall. of Art, Washington, D.C.) and of Francesco d'Este (Metropolitan Mus.) exhibit a simple clarity of contour and psychological penetration. Other notable works are his St. Luke Painting the Virgin, of which a version or replica is in the Museum of Fine Arts, Boston, the Crucifixion |
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WEYDEN, Rogier van der
Portrait of Antony of Burgundy
c. 1461
Oak,
38,4 x 28 cm
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WEYDEN, Rogier van der
St John Altarpiece
1455-60
Oil on oak panel,
77 x 48 cm
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WEYDEN, Rogier van der
Diptych
c. 1440
Oil on oak panel,
18,5 x 12 cm
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WEYDEN, Rogier van der
Dream of Pope Sergius
1437-40
Oil on oak panel,
89 x 80 cm
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WEYDEN, Rogier van der
The Magdalene Reading
c. 1445
Oil, transferred from wood to mahagony,
62 x 55 cm
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WEYDEN, Rogier van der
Abegg Triptych
c. 1445
Oil on oak panel,
102 x 70,5 cm
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WEYDEN, Rogier van der
Portrait Diptych of Philippe de Croy
c. 1460
Oil on oak panel,
49 x 31 cm Henry
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WEYDEN, Rogier van der
Virgin and Child
c. 1440
Oil on panel,
100 x 52 cm
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WEYDEN, Rogier van der
Portrait Diptych of Laurent Froimont
1460s
Oil on oak panel,
51,5 x 33,5 cm
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WEYDEN, Rogier van der
Portrait Diptych of Laurent Froimont
1460s
Oil on oak panel,
49,3 x 31,5 cm
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WEYDEN, Rogier van der
St John Altarpiece
1455-60
Oil on oak panel,
77 x 48 cm
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WEYDEN, Rogier van der
St Luke Drawing the Portrait of the Madonna
c. 1450
Oil on oak panel,
138 x 110 cm
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WEYDEN, Rogier van der
St Luke Drawing the Portrait of the Madonna
c. 1450
Oil on oak panel
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WEYDEN, Rogier van der
Sts Margaret and Apollonia
1445-50
Oil on oak panel,
51,5 x 27,5 cm
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WEYDEN, Rogier van der
Group of Men
c. 1460
Oil on panel,
50,1 x 31,7 cm
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WEYDEN, Rogier van der
Miniature from the first page of the Chroniques de Hainaut
1448
Opaque colours, gold, and pen
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WEYDEN, Rogier van der
Triptych of the Redemption
1455-59
Oil on panel,
195 x 326 cm
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WEYDEN, Rogier van der
Christus on the Cross with Mary and St John
c. 1460
Oil on oak panel,
325 x 192 cm
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WEYDEN, Rogier van der
Diptych of Jeanne of France
1452-70
Oil on oak panel,
39 x 27 cm
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WEYDEN, Rogier van der
St Jerome and the Lion
c. 1450
Oil on oak panel,
31 x 25 cm
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| WEYDEN, Rogier van der
|
Netherlandish Northern Renaissance Painter, ca.1400-1464
major early Flemish master, known also as Roger de la Pasture. He is believed to have studied with Robert Campin. His early works also show the influence of Jan van Eyck. Van Eyck, however, had been a master at objective rendering of detail, whereas Roger in his work portrayed emotions with an assurance that has not been surpassed. His ability to depict piety is reflected in the early masterpiece Descent from the Cross (c.1435; Prado); he depicted with significant restraint the profound grief of the mourners grouped around the tragic figure of Jesus. His composition strongly affected later representations of the theme. Roger became City Painter in Brussels in 1436. He then produced a series of undated altarpieces including the Last Judgment (hospital, Beaune), the Braque Triptych (Louvre), Crucifixion with Donors (Vienna), and Adoration of the Magi (Berlin), which vary in execution from a stress on sumptuous details to a more sculptural rendering of the figures. Roger is believed to have made a pilgrimage to Italy in the holy year 1450. Whether this supposed excursion had any effect on his style is much debated. It has been shown that his Entombment (Uffizi) bears an affinity to the Tuscan treatment of the subject, particularly by Fra Angelico, and that Roger's Virgin and Child with Saints (Frankfurt) has a strong resemblance to the Italian religious art of the day. His style is, however, highly individual. His religious paintings and his portraits are characterized by a straightforward monumentality. The portraits, such as that of a young lady (National Gall. of Art, Washington, D.C.) and of Francesco d'Este (Metropolitan Mus.) exhibit a simple clarity of contour and psychological penetration. Other notable works are his St. Luke Painting the Virgin, of which a version or replica is in the Museum of Fine Arts, Boston, the Crucifixion
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