Roger van der Weyden (1400 Tournai - Brussels 1464?):
- I want to introduce a personal note in this commentary, although not my usual position. When I visit the Museo del Prado in Madrid, this picture is “always” going to see and admire, whatever the reason for my visita.-
-made Except, Van der Weyden is considered by much of critics and historians as the most important and influential of the “Flemish Primitives” called, even above Jan Van Eyck. What is indisputable is that both are top of that school of painting. The difference has been noted that would focus on the art of Van Eyck is more objective and detached, while van der Weyden gives his paintings emotional expressiveness and great drama.
- In his first was signed as Roger de la Pasture, and does not change his flamenco sense until he moved to Brussels in 1435. Prior to study as an apprentice in the workshop of the most important painter in his hometown Robert Campin, called “Master of flemalle “. In Brussels was named Artist of the Villa, and his influence and fame was enormous, not only in Flanders but throughout Europe. In 1450 he traveled to Rome, but the Italian painting influenced very little in his art, he always remained faithful to the thoroughness and naturalism of Northern European painting
Towards 1432 the Great Guild of Ballesteros de Louvain, which had its own chapel, we request that would be his masterpiece and one of the world painting “The Descent”. In the upper corners alluded to principals, when the delicate gothic tracery who occupy them are shaped leaf springs. By 1548 the Regent of the Netherlands, Maria of Hungary to the brotherhood acquired in exchange for a copy of Michel Coxcie and an organ valued at 1500 florins. It seems possible that the Regent give it to him his nephew Philip II, and since then is in Spain.
I’m not going to dwell too much on the analysis of the table, only such indication that the figures are almost life-size, the bodies of San Juan and La Magdalena do almost parentheses to close the dialog, the bodies of the dead Christ and his mother form two parallel diagonal articulate and join the frieze that make up the figures in the background, the colors, the detail in the representation of fabrics and their qualities and drawings, the drama of attitudes.
Sorry to have written more than announced, but this picture entusiasma.- me and I leave with him, to marvel and serene your spirit
I hope you like it.