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Rogier Van der Weyden emerged from scholarly and critical neglect only with the revival of interest in the so-called ‘Flemish Primitives’ during the second half of the nineteenth century. The immensely forceful, frequently disturbing images which Van der Weyden produced owed as much to his supreme control of paint as they did to his observation of detail, which was never permitted to dominate the general rhythm and pattern of the picture itself. These qualities fused to create a style with a direct impact but one which was the result of only the most subtle and painstaking calculations of color and balance. Dr Campbell explores Van der Weyden’s position both as official painter to the city of Brussels and within the international system of princely patronage which was evolving during his lifetime.

C.J. Purtle, Rogier's St. Luke at the Crossroads, D. Apostopoulos-Cappadona, Picturing Devotion: Rogier's St. Luke Drawing the Virgin, A.G. Kann, Rogier's St. Luke: Portrait of the Artist or Portrait of the Historian?, R. Spronk & R. MacBeth, Rogier's St. Luke Drawing the Virgin in the Laboratory: Findings from Technical Examinations and Some Art Historical Implications, A. Acres, Luke, Rolin and Seeing Relationships, E.M. White, Rogier van der Weyden, Hugo van der Goes and the Making of the Netherlandish St. Luke Tradition, C. Eisler, Comments, M.A. Faries, The Infrared Studies of Rogier van der Weyden's St. Luke Drawing the Virgin: Stages of Investigation and Perception, J.H. Marrow, Artistic Identity in Early Netherlandish Painting: The Place of Rogier van der Weyden's St. Luke Drawing the Virgin and Child, T. Borchert, Rogier's St. Luke: A Case of Corporate Identity?, R. Newman, The Painting Materials Used by Rogier van der Weyden in St. Luke Drawing the Virgin. Appendix I: Correspondence concerning the work from the files of the Museum of Fine Arts, Boston. Appendix II: Reprint of 'A Record of Restoration', Helmut Ruhemann. Bibliography.

C.J. Purtle, Rogier's St. Luke at the Crossroads, D. Apostopoulos-Cappadona, Picturing Devotion: Rogier's St. Luke Drawing the Virgin, A.G. Kann, Rogier's St. Luke: Portrait of the Artist or Portrait of the Historian?, R. Spronk & R. MacBeth, Rogier's St. Luke Drawing the Virgin in the Laboratory: Findings from Technical Examinations and Some Art Historical Implications, A. Acres, Luke, Rolin and Seeing Relationships, E.M. White, Rogier van der Weyden, Hugo van der Goes and the Making of the Netherlandish St. Luke Tradition, C. Eisler, Comments, M.A. Faries, The Infrared Studies of Rogier van der Weyden's St. Luke Drawing the Virgin: Stages of Investigation and Perception, J.H. Marrow, Artistic Identity in Early Netherlandish Painting: The Place of Rogier van der Weyden's St. Luke Drawing the Virgin and Child, T. Borchert, Rogier's St. Luke: A Case of Corporate Identity?, R. Newman, The Painting Materials Used by Rogier van der Weyden in St. Luke Drawing the Virgin. Appendix I: Correspondence concerning the work from the files of the Museum of Fine Arts, Boston. Appendix II: Reprint of 'A Record of Restoration', Helmut Ruhemann. Bibliography.

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Rogier Van der Weyden emerged from scholarly and critical neglect only with the revival of interest in the so-called ‘Flemish Primitives’ during the second half of the nineteenth century. The immensely forceful, frequently disturbing images which Van der Weyden produced owed as much to his supreme control of paint as they did to his observation of detail, which was never permitted to dominate the general rhythm and pattern of the picture itself. These qualities fused to create a style with a direct impact but one which was the result of only the most subtle and painstaking calculations of color and balance. Dr Campbell explores Van der Weyden’s position both as official painter to the city of Brussels and within the international system of princely patronage which was evolving during his lifetime.

Rogier van der Weyden (1400–1464) was an early Flemish painter. His surviving works consist mainly of religious triptychs, altarpieces, and commissioned single and diptych portraits. Although his life was generally uneventful, he was highly successful and internationally famous in his lifetime. In this volume, numerous large-sized illustrations showcase the artist’s oeuvre, and authoritative texts illustrate the decisive stages in the artist’s life and in the development of his work, explaining their significance in the context of his time and for the following generations of artists.

Rogier van der Weyden 1400-1464: Master of Passion' highlights the body of work of, alongside Jan van Eyck, one of the most important Flemish painters of the fifteenth century.

Rogier van der Weyden 1400-1464: Master of Passion' highlights the body of work of, alongside Jan van Eyck, one of the most important Flemish painters of the fifteenth century.

With 200 illustrations, 12 in colour.

A bright, square, and overall a nice copy

Robert Campin, also known as the Master of Flémalle (c. 1375-1444), and his pupil Rogier van der Weyden (c. 1399-1464) were two of Europe's greatest Northern Renaissance painters, though art history has been slow to catch up with them. Along with Jan and Hubert van Eyck, Campin and van der Weyden are now considered synonymous with the development of Old Netherlandish painting, having given oil painting some of its earliest virtuoso works. Campin's work marks the shift from manuscript painting to Realist painting, both in its subject matter and in the artist's use of oils to mold signature shapes such as brocades or the teardrops on the cheek of a grieving Madonna. "The Mérode Altarpiece" (c. 1425) at The Cloisters in New York is perhaps Campin's best-known painting--but both his and van der Weyden's reputations have fluctuated, as the work of each has been attributed to the other. (When van der Weyden died in 1464 he was the most famous painter in Europe, but today not one painting is decisively attributed to him.) This volume collects more than 50 masterpieces from the most important museums in the world and presents them side by side to encourage direct comparison. No monograph on either artist, or indeed on any early Netherlandish artist, offers such exacting reproduction and examination of this hotly debated body of works.

The publication of the first in a five-volume scholarly catalogue of the 15th-century southern Netherlandish paintings in the Royal Museums of Fine Arts of Belgium in Brussels is a long awaited event. The museums' rich collection of Flemish Primitives boasts paintings by Rogier van der Weyden, Gerard David, Petrus Christus, Dirk Bouts, Hans Memling and Hieronymus Bosch. It also includes several important works by artists with provisional names from the schools of Tournai, Bruges and Brussels, such as the Master of Flemalle, the Master of the St Lucy Legend and the Master of the Life of Joseph. This multi-volume English-language catalogue will include approximately 100 paintings. Each work is the subject of a thourough analysis covering technical, historical, iconographical and stylistic aspects. The catalogue contains colour reproductions of each painting as well as other visual documentation from laboratory investigations (infrared reflectograms, ultra-violet fluorescence photographs; X-radiographs, macro photographs), photographs of related works and diagrams of the original frames. The wealth of documentation presented in this volumes makes it an indispensable reference for both scholars and amateurs interested in 15th-century painting.

Robert Campin, also known as the Master of Flémalle (c. 1375-1444), and his pupil Rogier van der Weyden (c. 1399-1464) were two of Europe's greatest Northern Renaissance painters, though art history has been slow to catch up with them. Along with Jan and Hubert van Eyck, Campin and van der Weyden are now considered synonymous with the development of Old Netherlandish painting, having given oil painting some of its earliest virtuoso works. Campin's work marks the shift from manuscript painting to Realist painting, both in its subject matter and in the artist's use of oils to mold signature shapes such as brocades or the teardrops on the cheek of a grieving Madonna. "The Mérode Altarpiece" (c. 1425) at The Cloisters in New York is perhaps Campin's best-known painting--but both his and van der Weyden's reputations have fluctuated, as the work of each has been attributed to the other. (When van der Weyden died in 1464 he was the most famous painter in Europe, but today not one painting is decisively attributed to him.) This volume collects more than 50 masterpieces from the most important museums in the world and presents them side by side to encourage direct comparison. No monograph on either artist, or indeed on any early Netherlandish artist, offers such exacting reproduction and examination of this hotly debated body of works.

Otto Pacht examines the great Netherlandish painters of the 15th and early 16th century by putting emphasis on formal analysis and on direct contact with the works of art themselves, and by discussing every facet of the works including style, mood, iconography, symbolism and construction of space. Otto Pacht's studies of the Early Netherlandish painters are the fruit of a lifetime's research. Following his book on the brothers Van Eyck and their circle, this volume deals with the next generation of artists, the great figures of the 15th and early 16th century: Rogier van der Weyden, Petrus Christus, Aelbert van Ouwater, Dieric Bouts, Justus van Gent, Hugo van der Goes, Geertgen tot Sint Jans, Hans Memling and Gerard David. In the tradition of the Vienna School, Pacht's approach puts emphasis on formal analysis and on direct contact with the works of art themselves. Taking certain key works by each artist as examples, he discusses every facet of the work including style, mood, iconography, symbolism and construction of space. The chapters are linked by the theme of imitation and continuation: the author compares the same subject as treated by various artists and shows how artists adopted developed ideas and motifs first employed by their predecessors. Although his touchstone was the evidence of his eyes, Pacht was always responsive to the theories of other scholars, and this volume is a gateway to an influential period in the history of art. The proximity of the illustrations to the text enhances his account of the great figures of the period, and there is a folding plate, in colour, of Rogier van de Weyden's Last Judgement alterpiece for the chapel of the hospital, the Hotel-Dieu, in Beaume.

Catalog for December 10, 1993-March 6, 1994 exhibition at the Art Gallery of Ontario. Artists include Rogier van der Weyden, Leonardo, Fra Angelico, Benozzo Gozzoli, and others. 48p. 19 images.

The publication of the first in a five-volume scholarly catalogue of the 15th-century southern Netherlandish paintings in the Royal Museums of Fine Arts of Belgium in Brussels is a long awaited event. The museums' rich collection of Flemish Primitives boasts paintings by Rogier van der Weyden, Gerard David, Petrus Christus, Dirk Bouts, Hans Memling and Hieronymus Bosch. It also includes several important works by artists with provisional names from the schools of Tournai, Bruges and Brussels, such as the Master of Flemalle, the Master of the St Lucy Legend and the Master of the Life of Joseph. This multi-volume English-language catalogue will include approximately 100 paintings. Each work is the subject of a thourough analysis covering technical, historical, iconographical and stylistic aspects. The catalogue contains colour reproductions of each painting as well as other visual documentation from laboratory investigations (infrared reflectograms, ultra-violet fluorescence photographs; X-radiographs, macro photographs), photographs of related works and diagrams of the original frames. The wealth of documentation presented in this volumes makes it an indispensable reference for both scholars and amateurs interested in 15th-century painting.

The National Gallery's collection of fifteenth-century Netherlandish pictures is one of the largest and most important in the world. It includes works by Jan van Eyck, Robert Campin, Rogier van der Weyden, Petrus Christus, Dirk Bouts, Simon Marmion, Justus of Ghent, Hans Memling, Geertgen tot Sint Jans and Gerard David.In this catalogue, the detailed entry for each work represents the culmination of Dr Campbell's extensive research on the authorship, histories and iconographies of the paintings, on the patrons who commissioned them, and above all on the painters' techniques and working practices - where he has worked in close collaboration with the National Gallery's Conservation and Scientific Departments.The introductory essay describes how the painters lived and worked, how they organised their studios, how they gathered and employed reference material, how they used their pigments and media and how they marketed their pictures. There is also a history of the collection at the National Gallery.Fifty-two works are catalogued; all are reproduced in colour and are accompanied by superb details, comparative illustrations and technical photographs.

Sight and Spirituality in Early Netherlandish Painting examines the importance of vision as a narrative and thematic concern in works by artists such as Jan van Eyck, Petrus Christus, and Roger van der Weyden. Bret Rothstein argues that their paintings invited the viewer to demonstrate a variety of mental skills. Depicting religious visual experience, these works alluded to the imperceptibility of the divine and implicated the viewer's own experience as part of a larger spiritual and intellectual process. Rothstein demonstrates how and why the act of seeing became a highly valued skill, one to be refined and displayed, as well as a source of competition among both artists and patrons.

Sight and Spirituality in Early Netherlandish Painting examines the importance of vision as a narrative and thematic concern in works by artists such as Jan van Eyck, Petrus Christus, and Roger van der Weyden. Bret Rothstein argues that their paintings invited the viewer to demonstrate a variety of mental skills. Depicting religious visual experience, these works alluded to the imperceptibility of the divine and implicated the viewer's own experience as part of a larger spiritual and intellectual process. Rothstein demonstrates how and why the act of seeing became a highly valued skill, one to be refined and displayed, as well as a source of competition among both artists and patrons.

Foreshadowing the Reformation argues that paintings are the history of ideas in visual form. It follows, therefore, that if we are to fully understand and appreciate the late Medieval and Renaissance paintings of great Northern European artists such as Jan van Eyck and Rogier van der Weyden, we need to investigate the religious and spiritual beliefs and practices of the time. It has been quite fashionable in Medieval and Renaissance Art History over recent decades largely to ignore the contemporary religious context and to concentrate instead on the part played by economics in the creation of works of art. Much has been made, for example, of the costs of materials, the role of markets, international trade and the commissioning process―all of which are undoubtedly important. This book looks to redress this balance through its description and analysis of religious and spiritual ideas, and by offering new, exciting and radical insights about some of the paintings, altarpieces and sculptures that were created. This book argues that there was a symbiotic relationship between those artistic and spiritual worlds and that by bringing the insights from those worlds together we can get a much richer appreciation of medieval life.