Portrait of a Lady Poster Print by Rogier Van Der Weyden (20 x 28) is a licensed reproduction that was printed on Premium Heavy Stock Paper which captures all of the vivid colors and details of the original. The overall Paper Size is 20 x 28 inches and the image size is 20 x 28 inches. $6.62. The painting has been in the National Gallery of Art in Washington, D.C. since donated in 1937, and is no. She is defined more by contours than by three-dimensional forms, except in her full, sensual mouth. The woman, who is probably in her late teens or early twenties, is shown half-length and in three-quarters profile, set against a two-dimensional interior background of deep blue-green. Portrait of a Lady Rogier van der Weyden c. 1460. Philip the Good stands beneath the canopy. In this work, the woman's humility and reserved demeanour are conveyed through her fragile physique, lowered eyes and tightly grasped fingers. Rogier van der Weyden was one of the most influential painters of the fifteenth century. Compare the less abstract quality of this portrait painted earlier in Rogier’s career. Although van der Weyden did not adhere to the conventions of idealisation, he generally sought to flatter his sitters. He settled in Brussels and was quickly appointed the city’s official painter, giving him the opportunity to … The elegant, stylized lines of the sitter’s face and hands are among the qualities that established Rogier’s supremacy as a court portraitist in the Netherlands. Museum of Fine Arts, Boston. Studio of Rogier van der Weyden, Portrait of Philippe III le Bon (1396-1467), duke of Bourgogne. Courtesy National Gallery of Art, Washington, D.C., Andrew W. Mellon Collection, 1937.1.44 Nevertheless, the fame of Rogier van der Weyden quickly waned, and no painting by him had been signed or dated. View in Augmented Reality. Notice how the fall of the veil over the sitter’s shoulders responds to the V of her neckline, and how her body divides the deep blue-green of the background into framing triangles. Rogier’s most celebrated works are large altarpieces, but he also painted smaller devotional pictures and secular subjects, including civic murals (now lost) for the city of Brussels. Rogier van der Weyden and Workshop, Portrait of Jean Gros, 1460/64. His portrait was part of a diptych with the Virgin and Child. Their spare formalism and mannered aspect were well matched to an aristocratic ideal of control, which was itself no less an expression of power than the lavish displays of luxury textiles, gold, and gems for which the dukes of Burgundy were known. The National Gallery of Art serves the nation by welcoming all people to explore and experience art, creativity, and our shared humanity. Her dress is buckled by a bright red sash pulled in below her breasts. Many of Rogier’s portraits were parts of devotional diptychs, a form he helped popularize. Rogier van der Weyden, Portrait of Charles the Bold, 1460. Last one. Musées royaux des Beaux-Arts de Belgique, Bruxelles. Charles the Bold was Duke of Burgundy between 1467 and 1477. Oct 16, 2020 - Portrait Of A Lady By Rogier Van Der Weyden Wall Art, Canvas Prints, Framed Prints, Wall Peels Chroniques de Hainaut. Rogier’s graceful and expressive figures are set in stark settings and shallow planes; austerity lends them a haunting quality. Name: Portrait of a Lady Date: 1460 Artist/Architect: Rogier Van Der Weyden Period/Style: Northern Renaissance Original Location: Flanders Material/Technique:oil on panel Function: commissioned portrait of an unknown young woman whose dress and bearing imply noble rank. Philip the Good was Duke of Burgundy from 1419 to 1467. He lived in Brussels for the rest of his life but during the Jubilee year of 1450 he traveled to Italy and enjoyed an international reputation. With her poised air of dignity and the fact that she could afford to commission a portrait as their only clues, scholars speculate that she is a member of the nobility. Sharp, interlocking shapes produce a severe balance of form in this portrait. Closed, Sculpture Garden Rogier combined the detailed and meticulous style of his teacher Campin and of Van Eyck, whose work he knew, with an emotional resonance that responded to contemporary religious trends such as the devotio moderna (which stressed meditation and inner life) and the writings of Thomas à Kempis, which emphasized a direct and personal connection with Mary, the saints, and the sufferings of Christ. The gold filigree decorating her belt, the folds creasing her transparent veil, her delicate lashes, all seem very real. 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