[Redbook9:262-263][19910505:1200h]{The
Northern Renaissance [continued
(8)]
– Rogier van der Weyden}[5th
May 1991]
19910505.1200
[continued]
‘Apart
from Jan [van Eyck], the artist most often praised in 15th-century
[ce] sources is Rogier van der Weyden (c[irca]1399-1464[ce]). After
studying under the Master of Flémalle, he settled in Brussels, where
he was made Town Painter in 1435[ce]. His artistic aims are readily
apparent in his best-known work, the Descent from the Cross*
(c[irca]1438[ce]) in the Prado, Madrid. Whereas Jan van Eyck made
manifest the objective and immutable qualities of the new realism,
Rogier van der Weyden explored its emotive and dynamic possibilities.
In this aim he was aided by a brilliant sense of abstract design. The
contorted poses of the mourners in his Descent [from the Cross],
compressed within a claustrophobic space around the still twin forms
of the dead Christ and the unconscious Virgin, convey unbearable
anguish. Rogier’s figure-types are generally melancholic and
brooding, with long necks, aquiline noses, and sorrowful eyes. That
this is true even of his portraits indicates just how essential to
his art was the austere sense of tragedy which so impressed his
contemporaries. More than any other artist of his generation, Rogier
plumbed the psychological and emotional depths of the human spirit.’
**
*(illus[tration]
ibid 668)
[not
reproduced in ms or ts]
**
– ibid [Encyclopaedia
of Visual Art 4:]
663
[Immediately
following in source text & in ms the extract in the last previous
ts entry]
[continued]
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