1,055 research outputs found
Rogier van der Weyden voor 1435: de Doornikse wortels van een meester van het pathos
No full textCatalogus uitgegeven naar aanleiding van de tentoonstelling "Rogier van der Weyden 1400-1464. De Passie van de Meester, M-Leuven, 20 september-6 december 2009
Historical substance and acquired meaning of Rogier van der Weyden’s "Deposition of Christ" at the court of Philipp II
No full textPutzger A. Historical substance and acquired meaning of Rogier van der Weyden’s "Deposition of Christ" at the court of Philipp II . In: van Heesch D, Janssen R, van der Stock J, eds. Netherlandish art and luxury goods in Renaissance Spain. Studies in honor of Professor Jan Karel Steppe (1918-2009) . London/Turnhout: Harvey Miller ; 2018: 133-146
Rogier Van der Weyden Before 1435: the Tournai Roots of a Master of Pathos
No full textCatalogue of the exhibition "Rogier van der Weyden 1400-1464 - Master of Passions", M-Leuven, 20 September-6 December 2009
« Als ich can » : liber amicorum in Memory of Professor Dr. Maurits Smeyers : part 1
No full textLiber Amicorum in Memory of Professor Dr. Maurits Smeyers
« Als ich can » : liber amicorum in Memory of Professor Dr. Maurits Smeyers : part 2
No full textLiber Amicorum in Memory of Professor Dr. Maurits Smeyer
Pieter Cristus en de post-Eyckiaanse schilders : archivalisch en materiaal-technisch onderzoek
No full textIn this doctoral dissertation, the fifteenth-century painter Pieter Cristus (formerly known as Petrus Christus) and other post-Eyckian painters active in Bruges undergo innovative research, both archival and technical. The first chapter investigates the socio-economic circumstances of the painters and their workshop assistands, supplementing previous research with new insights. This prosopographic analysis clarifies Pieter Cristus's position among the generation of painters, further illustrated by the following chapter, which revealed the location of Pieter Cristus' residence and studio. A systematic analysis of fifteenth-century Bruges annuity books is employed to examine the social network of post-Eyckian painters based on theirs workshop locations. The innovative methodology followed therein may serve as a model for similar studies in social networks. The third chapter discusses the family and social background of Pieter Cristus in his birthplace of Baarle, based on numerous unexplored and unpublished archival documents, amalgamated into a coherent, contextual interpretation. This research sheds new light on social elites in rural villages in the duchy of Brabant, more specifically in the Campine area. The discovered social background and the studio location in Bruges have fundamentally broadened and improved our understanding of Pieter Cristus's social context. In the final chapter, a fifteenth-century portrait attributed to Pieter Cristus or a contemporary copyist undergoes multidisciplinary examination. Non-invasive imaging techniques, C14 dating, pigment analyses, xylological, iconographic, fashion-historical, and art-historical analyses are combined in a comprehensive interpretation. It emerges that the panel witnesses a Flemish-Tuscan transfer of the Eyckian visual language: a Lucchese businessman in Bruges commissioned a portrait by Pieter Cristus, and when he later decided to continue his career in Lucca, he took the portrait with him and had it copied by a local painter. These four contributions (each of them published in peer-reviewed journals) thus complement and renew the known understanding of the social context of painters and patrons in Bruges, where, shortly after the influential career of Jan van Eyck, his art further evolved and spread
Van der Weyden in Context, Papers presented at the Seventheenth Symposium for the Study of Underdrawing and Technology in Painting held in Leuven, 22-24 October 2009
No full textOn 20 September 2009 the new M Museum van Leuven (Belgium) was inaugurated with the opening of the exhibition Rogier van der Weyden 1400|1464 – Master of Passions (20 September to 6 December 2009). The starting point of the exhibition was the work of Rogier van der Weyden himself, to display and define his individual style and contribution. To demonstrate the significance of his overwhelming influence across artistic media, his own works were brought together with those of his contemporaries and followers, embracing painters, designers, sculptors, tapestry weavers and embroiderers.
Rogier van der Weyden was born about 1400 in Tournai. He settled in Brussels where he held the position of town painter. There, in the centre of Brabant, he became the most influential artist of his time. Members of the Burgundian Court and the Bishop of Tournai, as well as townspeople of Brabant and the Great Crosbow Guild of Leuven, all commissioned work from him. His fame, and his works, spread to Germany, France, Spain and Italy. Contemporaries especially praised the pathos and emotion that characterize his work, where the impact of facial expressions, gestures and postures is reinforced and controlled through a matchless sense of geometry and design. He died in 1464 but his work continued to influence succeeding generations of artists into the seventeenth century. Rogier van der Weyden is a crucial figure in the development of the visual arts across Europe.
His international significance was reflected in the international colloquium Rogier van der Weyden in Context, which took place during the exhibition on 22, 23 and 24 October 2009. It was organised by Illuminare – Centre for the Study of Medieval Art of the University of Leuven (Art History Department) and Artes.Leuven, in conjunction with the UCL (Catholic University of Louvain-la-Neuve, Laboratoire d’étude des oeuvres d’art par les méthodes scientifiques) and the KIK-IRPA (Royal Institute for Cultural Heritage, Belgium). It was the XVII Symposium for the Study of Underdrawing and Technology in Painting yet its scope was extended beyond the technical examination of paintings so that the work of one great genius, Rogier van der Weyden, could be considered in a variety of contexts.
In the proceedings published here, the authors approach Van der Weyden, his collaborators and his successors in richly diverse ways. The twenty-nine contributions are grouped thematically in six sections. In the first, where the focus is on Rogier as a painter and designer, the authors present historical, iconographic and technical discoveries about paintings on panel and parchment, drawings, tapestries and designs for sculpture. In the shorter second section are essays on new archival discoveries and reinterpretations of the historical evidence. The third and largest section is devoted to studies of individual paintings, examining the painting practice, materials and techniques of Rogier and his circle, including his great Crucifixion in the Escorial and his recently restored Seven Sacraments Triptych. In the fourth section, underdrawings by Rogier and his followers are discussed: the beautiful and much altered underdrawing of the Prado Descent from the Cross is revealed in new infrared reflectograms. The subject of the fifth section is sculpture influenced by Van der Weyden and his master, Robert Campin: the contributions include the technical investigations of the Tournai Annunciation statues polychromed by Campin and the Soignies Entombment group, both of which had attracted much attention in the Leuven exhibition. In the final section, on the legacy of Van der Weyden, engravers and Rogier’s grandson, the painter Goossen van der Weyden, are among the later artists considered.
The people of Rogier’s time tended to describe him in superlatives. Contemporary interest in, and appreciation of, Rogier van der Weyden has been intensified by the Leuven exhibition. Its legacy is evident in these papers, which significantly advance knowledge of the life, work and impact of ‘the greatest of painters’sponsorship: Illuminare – Centre for the Study of Medieval Art of the University of Leuven (Art History Department)
Artes.Leuven
UCL (Catholic University of Louvain-la-Neuve, Laboratoire d’étude des oeuvres d’art par les méthodes scientifiques) KIK-IRPA (Royal Institute for Cultural Heritage, Belgium)status: Publishe
"Cristophoro Orimina: an illuminator at the angevine court of Naples"
No full textIl contributo ricostruisce la formazione dell'artista alla luce di nuovi documenti, focalizza i suoi rapporti con la pittura napoletana degli anni di regno di Roberto, in particolare con Giotto, analizza la produzione destinata alla corte sottolineando il ruolo svolto dalla bottega
The ‘Edelheere Tryptyque’: the Earliest Copy of Rogier van der Weyden’s Descent from the Cross’. History, Examination and Conservation Treatment
No full textPapers presented at the 17th Symposium for the Study of Underdrawing and Technology in Painting, held in Leuven on 22-24 October 2009.
The earliest known copy (1443) of Van der Weyden's masterpiece was extensively studied in preparation for an exhibition at the Museum M in Leuven. It underwent conservation treatment at the Royal Institute for Cultural Heritage in Brussels, leaving Saint Peter's at Leuven for the first time since 1960. The study involved an art historical assessment and full technical examination of the triptych, whose authorship is still elusive. The paper discusses several art historical and technical issues, such as its unity of style and technique and its relationship to the prototype
Van der Stock (Jan), ed. La ville en Flandre. Culture et société (1477-1787)
No full textGuignet Philippe. Van der Stock (Jan), ed. La ville en Flandre. Culture et société (1477-1787). In: Revue belge de philologie et d'histoire, tome 71, fasc. 4, 1993. Histoire medievale, moderne et contemporaine — Middeleeuwse, moderne en hedendaagse geschiedenis. pp. 961-964
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