WEYDEN, Rogier van der, Paintings Featured in Detail (2)

WEYDEN, Rogier van der

Featured Paintings in Detail

(2)

Altarpieces

Crucifixion | Bladelin (Middelburg) | Beaune Braque | Seven Sacraments

WEYDEN, Rogier van derSeven Sacraments Altarpiece1445-50Oil on oak panel, 200 x 97 cm (central panel), 119 x 63 cm (side panel, each)Koninklijk Museum voor Schone Kunsten, Antwerp

WEYDEN, Rogier van derSeven Sacraments (central panel)1445-50Oil on oak panel, 200 x 97 cmKoninklijk Museum voor Schone Kunsten, Antwerp

The central panel is dominated by a crucifixion in the foreground, with the sacrament of the Eucharist in the background.Below the Cross are figures on the same scale as Christ: the Holy Virgin, Saint John, the Virgin, and the three Maries. These figures are huge in scale and the tau-cross is enormously tall, almost filling the nave.

WEYDEN, Rogier van derSeven Sacraments (central panel) (detail)1445-50Oil on oak panel, 200 x 97 cmKoninklijk Museum voor Schone Kunsten, Antwerp

WEYDEN, Rogier van derSeven Sacraments (left wing)1445-50Oil on oak panel, 119 x 63 cmKoninklijk Museum voor Schone Kunsten, Antwerp

The left wing of the triptych represents the Baptism, the Confirmation and the Confession.

WEYDEN, Rogier van derSeven Sacraments (left wing) (detail)1445-50Oil on oak panel, 119 x 63 cmKoninklijk Museum voor Schone Kunsten, Antwerp

WEYDEN, Rogier van derSeven Sacraments (right wing)1445-50Oil on oak panel, 119 x 63 cmKoninklijk Museum voor Schone Kunsten, Antwerp

The right wing of the triptych represents the Holy Order, the Matrimony and the Extreme Unction.

WEYDEN, Rogier van derSeven Sacraments (right wing) (detail)1445-50Oil on oak panel, 119 x 63 cmKoninklijk Museum voor Schone Kunsten, Antwerp

WEYDEN, Rogier van derCrucifixion Triptychc. 1445Oil on oak panel, 101 x 70 cm (central panel), 101 x 35 cm (each wing)Kunsthistorisches Museum, Vienna

WEYDEN, Rogier van derCrucifixion Triptych (central panel) (detail)c. 1445Oil on oak panel, 101 x 70 cmKunsthistorisches Museum, Vienna


The painting is the central panel of the Crucifixion Altarpiece. The altarpiece was a single panel with two narrow side pictures which were later cut.

WEYDEN, Rogier van derCrucifixion Triptych (left wing) (detail)c. 1445Oil on oak panel, 101 x 35Kunsthistorisches 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.

WEYDEN, Rogier van derCrucifixion Triptych (left wing) (detail)c. 1445Oil on oak panel, 101 x 35Kunsthistorisches Museum, Vienna

WEYDEN, Rogier van derCrucifixion Triptych (right wing)(detail)c. 1445Oil on oak panel, 101 x 35Kunsthistorisches Museum, Vienna

Unlike the Veronica on the panel by the Master of Flémalle (Städelsches Kunstinstitut, Frankfurt), the saint here appears as a young woman in the bloom of youth. The type and execution of the face are very like another Mary Magdalene image of about the same date (National Gallery, London).

WEYDEN, Rogier van derCrucifixion Triptych (right wing) (detail)c. 1445Oil on oak panel, 101 x 35Kunsthistorisches Museum, Vienna

The right wing represents St Veronica.

WEYDEN, Rogier van derBladelin Triptych1445-50Oil on oak panel, 91 x 89 cm (centre panel), 91 x 40 cm (each wing)Staatliche Museen, Berlin

WEYDEN, Rogier van derBladelin Triptych (central panel)1445-50Oil on oak panel, 91 x 89 cmStaatliche Museen, Berlin

WEYDEN, Rogier van derBladelin Triptych (left wing) (detail)1445-50Oil on oak panel, 91 x 40 cmStaatliche Museen, Berlin

WEYDEN, Rogier van derBladelin Triptych (central panel) (detail)1445-50Oil on oak panel, 91 x 89 cmStaatliche Museen, Berlin

WEYDEN, Rogier van derBladelin Triptych (right wing)1445-50Oil on oak panel, 91 x 40 cmStaatliche Museen, Berlin

WEYDEN, Rogier van derBraque Family Triptychc. 1450Oil on oak panel, 41 x 68 cm (central panel), 41 x 34 cm (wings each)Musée du Louvre, Paris

WEYDEN, Rogier van derBraque Family Triptych (central panel)c. 1450Wood, 41 x 68 cmMusée du Louvre, Paris

The central panel shows Christ between the Virgin Mary and St John the Evangelist. The Christ is a superb figure. He is depicted as an unbending judge, from whom there radiates a dazzling, almost transparent light. He holds the globe of the earth in his left hand and raises two fingers of his right in blessing.

WEYDEN, Rogier van derBraque Family Triptych (central panel) (detail)c. 1450Wood, 41 x 68 cmMusée du Louvre, Paris

WEYDEN, Rogier van derBraque Family Triptych (right wing) (detail)c. 1450Oil on oak panel, 41 x 34 cmMusée du Louvre, Paris

The picture shows the left wing of the Braque Family Triptych representing St John the Baptist.

WEYDEN, Rogier van derBraque Family Triptych (right wing)(detail)c. 1450Oil on oak panel, 41 x 34 cmMusée du Louvre, Paris

The picture shows the right wing of the Braque Family Triptych representing St Mary Magdalene. She sits with her hand resting on the lid of an alabaster vase, about to spread perfume on Jesus's feet. Her face, veiled with a band of gauze, her blond hair hanging down her back in long waves, even the corselet that only partly conceals her bosom - everything about her suggest not a repentant sinner, but a young woman rightly proud of her beauty.She is tenderly holding the vessel of ointment with which, as the text above reminds us, she anointed the feet of Jesus after moistening them with her tears and drying them with her hair.

WEYDEN, Rogier van der, Featured Paintings in Detail (2)

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Braque Family Triptych, c. 1450by Rogier van der WEYDEN

The relatively small Braque triptych was intended for private use and was still in the possession of the patron who commissioned it in 1497, when she left it to her grandson in her will. Its exterior shows the coats of arms of Jean Braque and his wife Catherine de Brabant, who had married around 1450. Jean Braque died in June 1452, and since the exterior of the triptych refers to death and

mortality, it could have been commissioned shortly after that date by his widow.

Seven Sacraments Altarpiece, 1445-50by Rogier van der WEYDEN

The Seven Sacraments Altarpiece was commissioned by Jean Chevrot, Bishop of Tournai (1436-1460) and one of the most important advisers of Duke Philip the Good. This powerful man is himself portrayed in the figure of the bishop performing the sacrament of confirmation to the left of the picture, and here looks very similar to his portrait in a miniature of 1448.

Judging by the male fashions it shows, the Seven Sacraments Altarpiece may have been painted at about the same time.

Rogier's task was to show both the seven sacraments and also the Crucifixion, the fundamental act of redemption. He solved the problem by moving the separate actions into a basilica with three naves. The side aisles provide room for the sacraments, shown simultaneously; only the most important sacrament, the Eucharist, is taking place in the central

section at the rood screen altar, which means that it is directly related to the sacrificial death of Christ..

Crucifixion Altarpiece, c. 1445by Rogier van der WEYDEN

The Crucifixion Triptych, like the Seven Sacraments Altarpiece, is impressive in its composition. The two are linked not only by the use of a painted golden frame structure in the picture (not found, or not yet found, in any other surviving works by Rogier), but also in the style of the underdrawing. Both works may have been created at roughly the same time, and the dating of the triptych to

around 1445, on dendrochronological evidence, would support that theory. Certainly the designs of both pictures derive from Rogier himself, but his assistants seem to have been involved in the execution, and perhaps did some of the preparatory

underdrawing as well. The figures of the triptych are executed to a very high standard.

Bladelin Triptych (Middelburg Altarpiece), 1445-50by Rogier van der WEYDEN

In the middle of the 17th century this triptych, known as the Middelburg Altarpiece, was in the Flemish city of Middelburg, founded by the rich Bruges burgher Pieter Bladelin and his wife around 1444. The donor of the work, also known as the Bladelin Altarpiece, is therefore usually

thought to have been the founder of the city himself. On the other hand, Middelburg passed into other hands after the death of the Bladelins, who had no children, and there is no evidence that the altarpiece did not arrive there at a later date. Furthermore, it shows only one donor, although

Bladelin's wife was cofounder with him of the new city. The donor depicted, wearing the same fashions as the Duke of Burgundy and obviously a member of the upper classes, must therefore be considered unidentified.

WEYDEN, Rogier van der, Paintings Featured in Detail (2)

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