DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.68073#0194
168
OLD WORLD MASTERS
either shoulder. The right hand is placed over the left, presumably
resting on a parapet, and a simple gold ring is on a finger of each hand.
Dr. Max Friedlander writes in Meisterwerke der Niederlandischen
Malerei des XV u. XVI J ahrhunderts auf der Ausstellung zu Brugge
(1902):
“This simple, proud, and very well preserved portrait, which has
up to the present time not received a great deal of attention, in my
estimation appears to be characteristic of Roger van der Weyden, in
the severe and somewhat Moorish outline of the face, in the economic
modelling of the shadows, and in the drawing of the lean hands. Simi-
lar women’s portraits are in the National Gallery, London, and in
Adolphe de Rothschild’s Collection (from the Nieuwenhuij’s Sale).
Roger van der Weyden, or Rogier de la Pasture, the son of Henri
de la Pasture, was born in 1400 in Tournai, where the family had been
settled since 1260. His father was a sculptor and gave Roger his
first training. Next he was apprenticed to the Maitre de Flemalle
(Robert Campin) and later went to Brussels to live. Pie re he quickly
gained a great reputation, for in 1436 he was appointed painter to
the city of Brussels. While busy on his great Last Judgment, com-
missioned by Nicholas Rolin for the Hospital at Beaune (a polyptych,
which has been classed with the Van Eyck Adoration of the Lamb},
Roger went on a long trip to Italy. Visiting Rome, he greatly ad-
mired the frescoes begun by Gentile da Fabriano in St. John Lateran.
He also went to Florence, Ferrara, and, it is supposed, Venice. Roger
painted a good deal in Italy and even had orders. Among other things
he painted a Madonna and Child for Cosimo de’ Medici.
Roger returned home, it is thought, by way of Cologne. While on
this trip, Roger was commissioned by Leonello d’Este to paint a pic-
ture.
Roger van der Weyden left as much in Italy as he brought home.
His influence is seen in many of the contemporary Italians. In like
manner, the influence of the Italians appears in the pictures that
Roger van der Weyden painted on his return. German artists, too,
fell under the spell of Roger van der Weyden, particularly Martin
Schongauer, the greatest German painter of the Fifteenth Century.
OLD WORLD MASTERS
either shoulder. The right hand is placed over the left, presumably
resting on a parapet, and a simple gold ring is on a finger of each hand.
Dr. Max Friedlander writes in Meisterwerke der Niederlandischen
Malerei des XV u. XVI J ahrhunderts auf der Ausstellung zu Brugge
(1902):
“This simple, proud, and very well preserved portrait, which has
up to the present time not received a great deal of attention, in my
estimation appears to be characteristic of Roger van der Weyden, in
the severe and somewhat Moorish outline of the face, in the economic
modelling of the shadows, and in the drawing of the lean hands. Simi-
lar women’s portraits are in the National Gallery, London, and in
Adolphe de Rothschild’s Collection (from the Nieuwenhuij’s Sale).
Roger van der Weyden, or Rogier de la Pasture, the son of Henri
de la Pasture, was born in 1400 in Tournai, where the family had been
settled since 1260. His father was a sculptor and gave Roger his
first training. Next he was apprenticed to the Maitre de Flemalle
(Robert Campin) and later went to Brussels to live. Pie re he quickly
gained a great reputation, for in 1436 he was appointed painter to
the city of Brussels. While busy on his great Last Judgment, com-
missioned by Nicholas Rolin for the Hospital at Beaune (a polyptych,
which has been classed with the Van Eyck Adoration of the Lamb},
Roger went on a long trip to Italy. Visiting Rome, he greatly ad-
mired the frescoes begun by Gentile da Fabriano in St. John Lateran.
He also went to Florence, Ferrara, and, it is supposed, Venice. Roger
painted a good deal in Italy and even had orders. Among other things
he painted a Madonna and Child for Cosimo de’ Medici.
Roger returned home, it is thought, by way of Cologne. While on
this trip, Roger was commissioned by Leonello d’Este to paint a pic-
ture.
Roger van der Weyden left as much in Italy as he brought home.
His influence is seen in many of the contemporary Italians. In like
manner, the influence of the Italians appears in the pictures that
Roger van der Weyden painted on his return. German artists, too,
fell under the spell of Roger van der Weyden, particularly Martin
Schongauer, the greatest German painter of the Fifteenth Century.