Monday, September 19, 2016

Flemish Paintings, 15th century

Rogier van der Weyden
Diptych of the Crucifixion with the Virgin and St John the Evangelist
ca. 1463-64
oil on panel
Philadelphia Museum of Art

Rogier van der Weyden's Crucifixion Diptych (above) has had a troubled but active history at the hands of museum professionals  "The two panels, which clearly belong together, must also have been displayed side by side, as is evident in the way part of Mary's cloak continues onto the right wing ... It is erroneous to see the paintings as the exterior sides of two altarpiece wings or the scene with Christ as the central panel of a triptych. The red cloth behind the figures in each wing is pushed toward the division between the two panels. At the time of the 1941 restoration, which was based on an incorrect analysis of the painting, the uniform dark-blue, almost black sky was wrongly identified as an eighteenth-century overpainting of a gold background and replaced with gold (it was reapplied in 1992-1993 as a facsimile of the original, on top of the gold addition). The realistic details of the architecture, including the moss and the dripping moisture, were not considered original either and were duly removed, producing an archaic and abstracted painting with a gold background, with no naturalistic precision in the area surrounding the figures, and an unbalanced, disturbed relationship between the colors. All this has since been redressed."

 from The Flemish Primitves by Dirk de Vos (Princeton University Press, 2002)

Juan de Flandes
Portrait of an Infanta (possibly Catherine of Aragon)
ca. 1496
oil on panel
Museo Thyssen Bornemisza, Madrid

Juan de Flandes
Lamentation
ca. 1500
oil on panel
Museo Thyssen-Bornemisza, Madrid

Rogier van der Weyden
Group of men
ca. 1460
oil on panel
Musées Royaux des Beaux-Arts, Brussels

follower of Rogier van der Weyden
Abegg Triptych
ca. 1445
oil on panel
Abegg Stiftung, Riggisberg

Juan de Flandes
Revenge of Herodias
1496
oil on panel
Museum Mayer van den Bergh, Antwerp

workshop of Rogier van der Weyden
A Man Reading (possibly St Ivo)
ca. 1450
oil on panel
National Gallery, London
 
"The fifteenth century is an age which saw the origin of the painting as an independent universe, of depiction as ersatz nature. ... The increasing autonomy of the painted image eventually manifested itself materially as well. A movable 'piece of wall furniture' was created, specially designed to contain a painted representation. It is the fifteenth-century painting now so familiar to us: a panel rendered mirror-smooth with filler and slotted into a frame like glass in a window, a kind of flat shadow-box which exerted the same visual magic no matter which wall it was affixed to or which space it occupied."

 from The Flemish Primitves by Dirk de Vos (Princeton University Press, 2002)

Jan van Eyck
Annunciation Diptych
ca. 1433-35
oil on panel
Museo Thyssen Bornemisza, Madrid

Petrus Christus
Virgin of the Dry Tree
ca. 1465
oil on panel
Museo Thyssen Bornemisza, Madrid

Rogier van der Weyden
Portrait of a woman in winged headdress
ca. 1445
oil on panel
Staatliche Museen, Berlin

Rogier van der Weyden
Virgin and Child Enthroned
ca. 1433
oil on panel
Museo Thyssen-Bornemisza, Madrid

Rogier van der Weyden
Portrait of a woman
ca. 1455
oil on panel
National Gallery of Art, Washington DC

Rogier van der Weyden
Portrait of Francesco d'Este
ca. 1460
oil on panel
Metropolitan Museum of Art, New York

Rogier van der Weyden
Madonna and Child
after 1454
oil on panel
Museum of Fine Arts, Houston