[1] The woman's head is delicately lit, leaving no strong tonal contrasts on her skin. It is possible that it was intended as a pendant to a picture of the woman's husband, however no other portrait has been suggested as a likely companion. Rogier van der Weyden, Portrait of a Young Lady, c. 1440. The piety of her expression is achieved through motifs common to van der Weyden's work. Antoine, Grand Bastard of Burgundy, was an illegitimate son of Philip the Good (one of many). In these hinged two-panel works, the sitter, typically on the right, was depicted in prayerful attitude toward a religious image, usually the Virgin and Child, on the opposite panel. Philippe de Croÿ served both Philip the Good and Charles the Bold, although his family’s relations with the dukes were at times strained. Portrait of a Lady (or Portrait of a Woman) is a small oil-on-oak panel painting executed around 1460 by the Netherlandish painter Rogier van der Weyden. The young lady has plucked her hairline to increase the expanse, and thus elegance, of her forehead, and a lock of hair falls at the back in a ponytail. Portrait of a woman (Rogier van der Weyden), Exposition des primitifs flamands et d'art ancien, Virtue and Beauty: Leonardo's Ginevra De' Benci and Renaissance Portraits of Women, Christ on the Cross with Mary and St John, Portrait of Antoine, 'Grand Bâtard' of Burgundy, Diptych of Philip de Croÿ with The Virgin and Child, Jean Wauquelin presenting his 'Chroniques de Hainaut' to Philip the Good, Fragments of a Cope with the Seven Sacraments, https://en.wikipedia.org/w/index.php?title=Portrait_of_a_Lady_(van_der_Weyden)&oldid=971154875, Collections of the National Gallery of Art, Short description is different from Wikidata, Creative Commons Attribution-ShareAlike License, Campbell, Lorne and Van der Stock, Jan. In 1432 he was accepted by the guild as an independent master, and by 1435 had moved to Brussels, his wife’s home, where he was appointed official city painter the following year. [27], Although van der Weyden did not title the work, and the sitter's name is not recorded in any of the early inventories,[28] the style of her dress has been used to place the picture very late in van der Weyden's career. [15] By the time of the work's completion van der Weyden had eclipsed even van Eyck in popularity, and this painting is typical of the austere spirituality, over the latter's sensuality, for which van der Weyden is renowned. (ed. [1][8] Her clothes are of the then-fashionable Burgundian style, which emphasises the tall and thin aesthetic of the Gothic ideal. Rogier van der Weyden: 1399/1400-1464 (Masters of Netherlandish Art). His portrait was part of a diptych with the Virgin and Child. See Friedlænder, 16, The similarity between van der Weyden and Campion's female portraits is so strong that they were sometimes misattributed. Washington, DC, United States This painting is an outstanding example of the abstract elegance characteristic of Rogier's late portraits. This indicates that although van der Weyden did not adhere to the tradition of idealised representation, he sought to please his sitters in a manner that reflected contemporary ideals of beauty. In this work the veil has the opposite effect; the woman's face is framed by the headdress to draw attention to her beauty. Little is known about the life of Rogier van der Weyden. Francesco d’Este was the illegitimate son of Lionello d’Este, Duke of Ferrara. These portraits, with one exception, depict members of the Burgundian court. [2] Van der Weyden reduces his focus to four basic features: the woman's headdress, dress, face and hands. "[10] The high quality of the painting is highlighted when compared to the National Gallery's very similar workshop painting. Her beauty and confident expression make this painting perhaps the highlight of this artist's entire career. By the 19th century, however, art historians began the arduous task of piecing together the shreds of his biography and oeuvre, wading through confusing double-biographies, rediscovering manuscripts and records and attributing paintings.Today, Rogier van der Weyden is regarded as one of the pre-eminent painters of the Early Netherlandish style, lauded for his introduction of masterfully subtle emotions. Musee des Beaux-Arts, Dijon, France. Charles was also known as Charles the Rash. In particular, the extent and level of detail that Christus and van der Weyden undertook to make their subjects appear attractive suggest this was often a primary motive. Some were made as independent portraits, others as parts of diptychs, and some are copies made after Rogier’s now-lost originals. Petrus Christus' Portrait of a Young Girl, after 1460, Berlin State Museums. 4th St and Constitution Ave NW 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. [36], Oil-on-oak panel painting executed around 1460 by Rogier van der Weyden, Van der Weyden often worked on commission from members of the Burgundian court.
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