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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
The Last Judgment
1446-52 Oil on wood Mus?e de l'H?tel Dieu, Beaune The detail represents the elect.Artist:WEYDEN, Rogier van der Title: The Last Judgment (detail) Painted in 1401-1450 , Flemish - - painting : religious
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WEYDEN, Rogier van der
The Last Judgment
1446-52 Oil on wood Mus?e de l'H?tel Dieu, Beaune The picture shows the upper panel to the left.Artist:WEYDEN, Rogier van der Title: The Last Judgment (detail) Painted in 1401-1450 , Flemish - - painting : religious
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WEYDEN, Rogier van der
The Last Judgment
1446-52 Oil on wood Mus?e de l'H?tel Dieu, Beaune The central panel is dominated by the son of God, seated on a semi-circular rainbow, with the Virgin Mary at one end of the arc and St John the Baptist at the other. Christ's feet rest on a sphere, symbol of the universe. With his right hand, he blesses those who are saved and with his left curses those who are damned. These two gestures are emphasized by appropriate emblems, respectively, a lily and a blazing sword. Beneath Christ stands St Michael, prince of the heavenly hosts. He is pictured as young, because he is immortal and as handsome, because he is the embodiment of divine justice. He holds in his hands a scale in which he weighs souls. The souls are represented by two little naked figures, whose names are "Virtutes" and "Peccata". The former kneels, overcome with delight, while the latter seems horrified and screams with terror.Artist:WEYDEN, Rogier van der Title: The Last Judgment (detail) Painted in 1401-1450 , Flemish - - painting : religious
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WEYDEN, Rogier van der
The Last Judgment
1446-52 Oil on wood Mus?e de l'H?tel Dieu, Beaune The central panel is dominated by the son of God, seated on a semi-circular rainbow.Artist:WEYDEN, Rogier van der Title: The Last Judgment (detail) Painted in 1401-1450 , Flemish - - painting : religious
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WEYDEN, Rogier van der
The Last Judgment
1446-52 Oil on wood Mus?e de l'H?tel Dieu, Beaune St Michael holds in his hands a scale in which he weighs souls. The souls are represented by two little naked figures, whose names are "Virtutes" (this picture) and "Peccata". The former kneels, overcome with delight, while the latter seems horrified and screams with terror.Artist:WEYDEN, Rogier van der Title: The Last Judgment (detail) Painted in 1401-1450 , Flemish - - painting : religious
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WEYDEN, Rogier van der
The Last Judgment
1446-52 Oil on wood Mus?e de l'H?tel Dieu, Beaune The picture shows a detail of the central panel. Four angels sound trumpets at the feet of Christ; they announce the Last Judgment and waken the dead. They surround the Archangel Michael, who, resplendent in his white robe scarlet cloak, impassively weighs the resurrected. The scale on his left sinks under the weight of the sins of one of the damned screaming in terror while in the other, one of the chosen seems to be expressing his thanks to the Archangel. One cannot fail to admire the delicate brushwork and colouring of the brooch holding the Archangel's cloak.Artist:WEYDEN, Rogier van der Title: The Last Judgment (detail) Painted in 1401-1450 , Flemish - - painting : religious
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WEYDEN, Rogier van der
The Last Judgment
1446-52 Oil on wood Mus?e de l'H?tel Dieu, Beaune The picture shows the upper panel to the right.Artist:WEYDEN, Rogier van der Title: The Last Judgment (detail) Painted in 1401-1450 , Flemish - - painting : religious
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WEYDEN, Rogier van der
The Last Judgment
1446-52 Oil on wood Mus?e de l'H?tel Dieu, Beaune The central panel is dominated by the son of God, seated on a semi-circular rainbow, with the Virgin Mary at one end of the arc and St John the Baptist at the other.Artist:WEYDEN, Rogier van der Title: The Last Judgment (detail) Painted in 1401-1450 , Flemish - - painting : religious
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WEYDEN, Rogier van der
The Last Judgment
1446-52 Oil on wood Mus?e de l'H?tel Dieu, Beaune The picture shows a detail of the third panel from the right: group of the damned.Artist:WEYDEN, Rogier van der Title: The Last Judgment (detail) Painted in 1401-1450 , Flemish - - painting : religious
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WEYDEN, Rogier van der
The Last Judgment
1446-52 Oil on wood Mus?e de l'H?tel Dieu, Beaune Above is a cloud of gold, on which are seated the apostles, judges in the celestial tribunal, as well as a pope, a bishop, a king, a monk and three women. Below them is the earth, from which the resurrected souls emerge, to go either to damnation or to eternal bliss. In line with traditional thinking, the dead have all risen at the age of 33, Christ's age when he died. The damned souls among them, crying out in despair, move of their own accord toward the fiery mouth of Hell. The limbs of the angular nude figures, still very Gothic in concept, create a complex interlocking pattern.Artist:WEYDEN, Rogier van der Title: The Last Judgment (detail) Painted in 1401-1450 , Flemish - - painting : religious
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WEYDEN, Rogier van der
The Last Judgment
1446-52 Oil on wood Mus?e de l'H?tel Dieu, Beaune The detail shows a group of the damned. In Van der Weyden's time it was believed that lunatics were possessed by demons. Here, the figures of the damned are tortured and deformed by hatred and their faces distorted by madness. Gripped by a collective hysteria, they are unable to weep, but instead scream and fight, as their folly draws them on towards eternal punishment.Artist:WEYDEN, Rogier van der Title: The Last Judgment (detail) Painted in 1401-1450 , Flemish - - painting : religious
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WEYDEN, Rogier van der
The Last Judgment
1446-52 Oil on wood Mus?e de l'H?tel Dieu, Beaune At the far left-hand side of the polyptych, paradise is represented as a gothic porch ablaze with light, the door that leads to the divine dwelling place. On the other side, hell is strangely lacking in devils. Instead, it is merely represented by a pile of dark rocks spewing flames and volcanic vapours.Artist:WEYDEN, Rogier van der Title: The Last Judgment (detail) Painted in 1401-1450 , Flemish - - painting : religious
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WEYDEN, Rogier van der
Bladelin Triptych
1480 Oil on oak panel Staatliche Museen, Berlin The exteriors of the wings of the Bladelin Triptych were probably not painted at first; an unknown painter added the Annunciation later, using as a model an engraving by Master FVB, probably active in Bruges 1480-1500, who had been strongly influenced by Rogier van der Weyden.Artist:WEYDEN, Rogier van der Title: Bladelin Triptych (exterior) Painted in 1401-1450 , Flemish - - painting : religious
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WEYDEN, Rogier van der
Braque Family Triptych
1450 Oil on oak panel, 41 x 68 cm (central panel), 41 x 34 cm (wings each) Mus?e du Louvre, Paris The armorial bearings on the back indicate that this portable triptych was the property of Jehan Braque and his wife Catherine de Brabant, of Tournai, who were married in about 1450-51. Jehan Braque died soon afterwards, in 1452; his young widow, who did not marry again till 1461, must have commissioned this triptych in his memory. The Braque Triptych ranks among Rogier van der Weyden's most celebrated works. It is a small-scale work of the kind that were set upon portable altars in the oratories of wealthy individuals. When closed, it shows the classical vanity theme, a skull and a cross. Open, it displays images of Christ in the centre, and to either side - the Virgin, St John the Evangelist, St John the Baptist and Mary Magdalene. They are represented against a landscape that is rendered down to the finest detail, with its rivers and mountains, grass and leaves so precisely drawn they could almost be counted and tiny figures visible in the distance in the streets of imaginary towns - a favourite motif of the Flemish masters. Pictures showing busts of Christ and the Virgin had existed earlier north of the Alps, but a sequence of several saints shown half length seems to derive from a type of altarpiece found in Italy from the 13th century onward. The innovation is to place them in front of a wide, coherent landscape relating to the figures themselves not realistically, but in context. It stands for the entire world ruled by Christ and to which He descended incarnate as man, as described at the beginning of the Gospel of St John: "And the Word was made flesh and dwelt among us." If the dark exterior was a reminder of the inevitability of death, the wide, radiant interior with its saintly figures allowed the devout viewer to hope for salvation. Artistically, the triptych is very close to the Beaune Altarpiece. The head of the Virgin Mary, and in particular the head of Christ, are so like their counterparts in the picture of the Last Judgment that they must have been executed from the same cartoon (full-size design for a painting). It is not certain whether the work is entirely by Rogier's hand; the underdrawing reveals thin lines not at all typical of him, and perhaps done with a pen instead of Rogier's usual brush. There are also some differences in the artistic execution: the Virgin's face, for instance, looks waxen, and inflexible around the eyes by comparison with the wonderful, tenderly painted, and lifelike Mary Magdalene, which is among Rogier's finest works.Artist:WEYDEN, Rogier van der Title: Braque Family Triptych Painted in 1401-1450 , Flemish - - painting : religious
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WEYDEN, Rogier van der
Braque Family Triptych
1450 Oil on oak panel, 41 x 68 cm Mus?e du Louvre, Paris The dark exterior was a reminder of the inevitability of death. The left frame bears a saying in French uttered by the skull: "See, you who are so proud and avaricious, my body was once beautiful but now is food for worms.." This skull is intended as a "likeness" of the dead Jean Braque, whose coat-of-arms is shown above it, reminding viewers of their mortality. The inscription on the cross on the right is from the apocryphal Book of Ecclesiasticus (Chapter 41, 1-2) and laments the bitterness of death.Artist:WEYDEN, Rogier van der Title: Braque Family Triptych (closed) Painted in 1401-1450 , Flemish - - painting : religious
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WEYDEN, Rogier van der
Bladelin Triptych
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 visions seen by these ruler are taken from a text popular at the time, but never previously illustrated in this - - the chapter on the Nativity in the Legenda Aurea (Golden Legend, a collection of tales of the saints written around 1270 by the Dominican monk Jacobus de Voragine (1228/29-1298). However, there were certain problems involved in illustrating it in realistic detail. It was particularly difficult to present Octavian's vision of the Madonna on an altar hovering in the sky, not borne up by angels or similar figures. Rogier solved this problem by seating the Virgin on an obviously heavy altar, so closely framed by the opening that she looks almost like a picture within the picture, providing an optical focus. The donor clearly wanted the text of the legend illustrated literally, and he must at first have asked for actual quotations too, although they were eventually omitted, to the benefit of the work as a whole: infrared photography shows that all the scenes originally contained scrolls to hold wording. The left-hand picture, for instance, was to quote the words miraculously heard by Octavian, according to the legend, on seeing the vision: Haec est ara coeli ("This is the altar of Heaven"). However, during the execution of the triptych it obviously became clear that the pictures would make their point even without any explanatory text, and the wording was overpainted. Such a decision cannot have been taken without the consent of the patron who commissioned the altarpiece, and perhaps it may have been made during a conversation between Rogier and his client when the latter visited the artist's studio.Artist:WEYDEN, Rogier van der Title: Bladelin Triptych (left wing) Painted in 1401-1450 , Flemish - - painting : religious
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WEYDEN, Rogier van der
Braque Family Triptych
1450 Wood, 41 x 34 cm Mus?e du Louvre, Paris The picture shows the left wing of the Braque Family Triptych representing St John the Baptist. The lower frame of pictures (original frame) act as a kind of ledge in front of the figures, where John the Baptist can rest his boo. The words being spoken by the figures proceed from their mouths in curved scroll shapes, rather like the speech bubbles of modern strip cartoons. However, the text above the Magdalene, but not spoken by her, is written in a straight line.Artist:WEYDEN, Rogier van der Title: Braque Family Triptych (left wing) Painted in 1401-1450 , Flemish - - painting : religious
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WEYDEN, Rogier van der
Braque Family Triptych
1450 Oil on oak panel Mus?e du Louvre, Paris This detail of the left panel shows the baptism of Jesus in the Jordan. John the Baptist's most significant act is shown in the broad Netherlandish landscape behind him. As he baptizes the Son of God, an angel holds Christ's garment. Several onlookers in contemporary urban clothing may be the people mentioned in the Gospels as wising to be baptized, though they have not yet undressed.Artist:WEYDEN, Rogier van der Title: Braque Family Triptych (detail) Painted in 1401-1450 , Flemish - - painting : religious
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WEYDEN, Rogier van der
St Columba Altarpiece
1455 Oil on oak panel, 138 x 70 cm Alte Pinakothek, Munich The picture shows the Annunciation, the left panel of the altarpiece executed for the St Columba church in Cologne. The angel has entered Mary's chamber through a closed door and is speaking the words "Hail, thou that art highly favoured, the Lord is with thee" in Latin, coming out of his mouth in gold lettering. With its tiled floor, stained-glass window, and the magnificent bed covered with extremely expensive gold brocade, the room is far from a humble dwelling, and seems more suited to a palace.Artist:WEYDEN, Rogier van der Title: St Columba Altarpiece (left panel) Painted in 1401-1450 , Flemish - - painting : religious
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WEYDEN, Rogier van der
Crucifixion Triptych
1445 Oil on oak panel, 101 x 35 Kunsthistorisches Museum, Vienna The left wing represents Mary Magdalene. The very emotional motif of the Virgin Mary embracing the cross is seldom shown; this dramatic reaction is usually reserved for Mary Magdalene. The Magdalene, however, has assumed a different role here: she stands to the left, entirely withdrawn into herself, more a separate figure than a participant in the event depicted. Curiously, she appears as a matron of fairly advanced years, while Veronica, also isolated in the other wing of the altarpiece, looks more like a Magdalene.Artist:WEYDEN, Rogier van der Title: Crucifixion Triptych (left wing) Painted in 1401-1450 , Flemish - - painting : religious
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| WEYDEN, Rogier van der
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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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