Rogier van der Weyden

Van der Weyden belongs amongst the greatest artists of the 15th Century. However, not a single painting can be attributed to him with absolute certainty. Futhermore, there is no agreement over the chronology of his works. Van der Weyden most likely had many assistants in his Brussels studio, which makes attribution all the more difficult. Stylistically, he was tightly connected with his master instructor, the Master of Flémalle (Robert Campin), yet still his work has innovating qualities that had an enormous influence on other painters. He gave his works an emotional intensity, which makes it nearly impossible for the viewer to be left unmoved. He further developed a new reportoire of compositions that he often reused. Many other painters, also long after his death, took that repertoire over. His most influential works are The Descent from the Cross (Museo del Prado, Madrid), the Miraflores Altarpiece (Staatliche Museen, Berlin) and Christ on the Cross with the Virgin and Saint John (El Escorial, Madrid). Rogier van der Weyden becomes a student under Robert Campin. Jacques Daret is also a student there. The two carry out projects together in their master's studio. The relationship among Robert Campin, Rogier van der Weyden and Jacques Daret is probably more of a collaborative nature, than that of a master and his pupils. The earliest works, recognisable as that by Van der Weyden's hand, are placed in this period. Rogier's father, Henry de le Pasture, dies. On 18 March 1426, the house is sold to Ernoul Caudiauwe, the husband of van der Weyden's sister, Jeanne. They remain together, living with the widow in the parental house. A document dated 17 November 1426 mentions "Maistre de le Pasture". Rogier van der Weyden must have thus already earned the title in Doornik. Van der Weyden receives a gift from the city administration of Tournai, probably for the birth of his first child. A document mentions the official register of Van der Weyden as student with Robert Campin. Jan van Eyck visits Tournai for a second time. The reason for his visit is not known. Philip the Good marries Isabella of Portugal and and is named the heir of the dukedom from Brabant and Limburg that he added to Burgundy. On 5 October, Philip the Good is inaugurated as the 28th duke of Brabant. On 8 October, the new duke enters the palace at Coudenberg. Brussels becomes the administrative capital of the Burgundian realm and the seat of the court from that time onwards. Van der Weyden remains active in Tournai and among other things, works on the embellishment works of the Saint Margareta Church. Van der Weyden paints The Descent from the Cross (Museo del Prado, Madrid) on assignment from the Leuven marksmen guild for the Our Blessed Lady of Ginderbuiten Church. Van der Weyden paints Saint Luke drawing the Virgin (Museum of Fine Arts, Boston) as altarpiece for a painter's corporation, probably from Brussels. A 15th-century copy of the paintings is found in the Groeninge Museum in Bruges. Among the commissioners of Rogier van der Weyden is Philip the Good and prominent members of the courts such as Nicolas Rolin and Jean Chevrot. Van der Weyden paints one of the official portraits of Philip the Good. Two copies of this painting are found in the Royal Museum of Fine Arts in Antwerp and in the Groeninge Museum. Van der Weyden's third and fourth child, Pieter and Jan, are born. Van der Weyden purchases a house on the corner of the Magdalenastraat and the Cantersteen in Brussels. Painters group their studios in the area. Van der Weyden paints the large Polyptych of the Last Judgment (Musée de l'Hôtel Dieu, Beaune) on assignment from chancellor Nicolas Rolin. The work is intended to be in his hospital established in 1443 in Beaune. Presumably Rolin wanted the polyptych to surpass the Ghent Altarpiece of the Van Eycks in size and grandeur. Van der Weyden illuminates Les Chroniques de Hainaut , a manuscript translated from Latin into French by the writer