"De Boodschap - L'Annonciation"
Rogier van der Weyden (aanvankelijk Frans: Roger de le Pasture) (Doornik, 1399/1400 — Brussel, 18 juni 1464) was een kunstschilder die gerekend wordt tot de school der Vlaamse Primitieven.
Hij zou opgeleid zijn in het atelier van Robert Campin, samen met onder meer Jacques Daret. Naast Jan van Eyck wordt Van der Weyden als de belangrijkste Vlaamse schilder van de 15e eeuw beschouwd. In zijn eigen tijd was Van der Weyden in heel Europa bekend, en hij kan wellicht als de invloedrijkste schilder van zijn eeuw worden beschouwd. Hij versmolt de stijl van zijn tijdgenoot Jan van Eyck[1] en van zijn leermeester Robert Campin en voegde het nieuwe element 'emotie' toe aan de Vlaamse schilderkunst. In de zeventiende eeuw begon Rogiers roem langzaam te tanen en werd hij dikwijls met Brugge geassocieerd. Sinds zijn 'herontdekking' in de 19e eeuw bleef Rogier van der Weyden bij het publiek in de schaduw staan van schilders als Jan van Eyck en Hans Memling.
Rogier de le Pasture, dit en flamand Rogier van der Weyden, est un peintre appartenant au mouvement des primitifs flamands, né en 1399 ou 1400a à Tournai et mort le 18 juin 1464 à Bruxelles.
Originaire de Tournai, il y est formé au sein de l'atelier du peintre Robert Campin. Il s'installe à Bruxelles en 1435 et devient peintre officiel de la ville. Il répond par ailleurs à de nombreuses commandes des ducs de Bourgogne et de leur entourage. Il effectue un voyage en Italie vers 1450 où il acquiert une certaine renommée. Il termine sa vie à la tête d'un atelier prospère auteur de nombreuses œuvres. Les historiens de l'art lui attribuent une quarantaine d'œuvres encore conservées. Il a, par ailleurs, probablement eu une activité d'enlumineur.
Rogier van der Weyden (Dutch: [roːˈɣiːr vɑn dɛr ˈʋɛi̯də(n)]) or Roger de la Pasture (1399 or 1400 – 18 June 1464) was an Early Netherlandish painter whose surviving works consist mainly of religious triptychs, altarpieces and commissioned single and diptych portraits. He was highly successful and internationally famous in his lifetime; his paintings were exported – or taken – to Italy and Spain,[1] and he received commissions from, amongst others, Philip the Good, Netherlandish nobility, and foreign princes.[2] By the latter half of the 15th century, he had eclipsed Jan van Eyck in popularity. However his fame lasted only until the 17th century, and largely due to changing taste, he was almost totally forgotten by the mid-18th century. His reputation was slowly rebuilt during the following 200 years; today he is known, with Robert Campin and van Eyck, as the third (by birth date) of the three great Early Flemish artists (Vlaamse Primitieven or "Flemish Primitives"), and widely as the most influential Northern painter of the 15th century.[3]
Very few details of van der Weyden's life are known.[4][5] The few facts we know come from fragmentary civic records. Yet the attribution of paintings now associated to him is widely accepted, partly on the basis of circumstantial evidence, but primarily on the stylistic evidence of a number of by paintings by an innovative master.
Van der Weyden worked from life models, and his observations were closely observed. Yet he often idealised certain elements of his models' facial features, who were typically statuesque, especially in his triptychs. All of his forms are rendered with rich, warm colourisation and a sympathetic expression, while he is known for his expressive pathos and naturalism. His portraits tend to be half length and half profile, and he is as sympathetic here as in his religious triptychs. Van der Weyden used an unusually broad range of colours and varied tones; in his finest work the same tone is not repeated in any other area of the canvas, so even the whites are varied.