Rogier van der Weyden: A collection of 90 paintings (HD) [Northern Renaissance]
Rogier van der Weyden: A collection of 90 paintings (HD) [Northern Renaissance]
Rogier van der Weyden: A collection of 90 paintings (HD)
#Rogier_van_der_Weyden
Rogier de le Pasture
- Born: c.1399; Tournai, Belgium
- Died: 18 June 1464; Brussels, Belgium
- Active Years: 1427 - 1464
- Nationality: Flemish
- Art Movement: Northern Renaissance
- Painting School: Flemish School
- Field: painting
- Influenced by: Jan van Eyck
- Influenced on: Antonello da Messina, Hans Memling, Albrecht Durer, Martin Schongauer
- Teachers: Robert Campin
- Art institution: Guild of Saint Luke
- Friends and Co-workers: Jacques Daret
Wikipedia: en.wikipedia.org/wiki/Rogier_van_der_Weyden
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Rogier van der Weyden or Roger de la Pasture (1399 or 1400 – 18 June 1464) was an Early Netherlandish painter whose surviving works consist mainly of religious triptychs, altarpieces and commissioned single and diptych portraits. He was highly successful and internationally famous in his lifetime; his paintings were exported – or taken – to Italy and Spain, and he received commissions from, amongst others, Philip the Good, Netherlandish nobility, and foreign princes. By the latter half of the 15th century, he had eclipsed Jan van Eyck in popularity. However his fame lasted only until the 17th century, and largely due to changing taste, he was almost totally forgotten by the mid-18th century. His reputation was slowly rebuilt during the following 200 years; today he is known, with Robert Campin and van Eyck, as the third (by birth date) of the three great Early Flemish artists (Vlaamse Primitieven or Flemish Primitives), and widely as the most influential Northern painter of the 15th century.
Karel van Mander wrote that the great artistic contribution of Rogier van der Weyden lies in his ideas, his composition and rendering of the soul's expression through pain, happiness or anger, and the tempering of this emotional testimony to the subject matter of his work.
There are few certain facts of van der Weyden's life. What else is known of him has come from civic records and secondary sources, and some of it is contestable. However the paintings now attributed to him are generally accepted, despite a tendency in the 19th century to attribute his work to others.
Van der Weyden worked from life models, and his observations were acute, yet he often idealised certain elements of his models' facial features, and they are typically statuesque, especially in his triptychs. All of his forms are rendered with rich, warm colourisation and a sympathetic expression, while he is known for his expressive pathos and naturalism. His portraits tend to be half length and half profile, and he is as sympathetic here as in his religious triptychs. Van der Weyden used an unusually broad range of colours and varied tones; in his finest work the same tone is not repeated in any other area of the canvas; even the whites are varied.
Hans Memling was his greatest follower, although it is not proven that he studied under Rogier. Van der Weyden had also a large influence on the German painter and engraver Martin Schongauer whose prints were distributed all over Europe from the last decades of the 15th century. Indirectly Schongauer's prints helped to disseminate van der Weyden's style. Delenda writes that, with the exception of Petrus Christus who was a disciple of Jan van Eyck, traces of Rogier van der Weyden's art can be found in all fifteenth century artists, to varying degrees
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Hugo van der Goes : A collection of 38 Paintings (HD) [Northern Renaissance]
Hugo van der Goes : A collection of 38 Paintings (HD) [Northern Renaissance]
#Hugo_van_der_Goes
- Born: c.1440; Ghent, Belgium
-Died: c.1482; Oudergem, Belgium
- Nationality: Flemish
- Art Movement: Northern Renaissance
- Painting School: Bruges School, Flemish School
- Genre: religious painting
- Field: painting
- Influenced by: Petrus Christus, Dirk Bouts
- Influenced on: Vincent van Gogh, Martin Schongauer, Gerard David, Domenico Ghirlandaio, Leonardo da Vinci
Wikipedia: en.wikipedia.org/wiki/Hugo_van_der_Goes
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Hugo van der Goes (probably Ghent c. 1430/1440 – Auderghem 1482) was one of the most significant and original Flemish painters of the late 15th century. Van der Goes was an important painter of altarpieces as well as portraits. He introduced important innovations in painting through his monumental style, use of a specific colour range and individualistic manner of portraiture. The presence of his masterpiece, the Portinari Triptych in Florence, from 1483 onwards played a role in the development of realism and the use of colour in Italian Renaissance art.
Hugo van der Goes was likely born in Ghent or in the vicinity of Ghent around the year 1440. Nothing is known with certainty about the artist's life prior to 1467, the year in which he became a master in the painters' guild of Ghent. The sponsors for his membership of the guild were Joos van Wassenhove, master painter in Ghent from 1464, and Daneel Ruthaert. It is likely that he had trained elsewhere before he became a master in Ghent. Some historians have suggested that Dieric Bouts was possibly the master of van der Goes but there is no independent evidence for this.
In 1468 the artist was commissioned by the city of Ghent to execute some works in connection with the grant of the Great Indulgence of the city. More commissions from the city in the following years required van der Goes to create decorations for events such as papal blazons. In 1468 he was in the town of Bruges making decorations to celebrate the marriage between Charles the Bold and Margaret of York. Hugo van der Goes is recorded again on 18 October 1468 when he and other members of Ghent's painter's guild hosted painters from nearby Tournai at the guild's assembly in Ghent to celebrate St. Luke's day together. St. Luke was the patron saint of painters.
In 1469 Hugo van der Goes and Joos van Wassenhove vouched for Alexander Bening for his entry as a master in the painter's guild of Ghent. Alexander Bening married Catherina van der Goes, a cousin of Hugo van der Goes, in 1480. The artist and his workshop worked on commissions of the city of Ghent to provide heraldic decorations for Charles the Bold's Joyous Entry in Ghent in 1469 and later in 1472.
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Draping Michelangelo: Francesco Mochi, Gianlorenzo Bernini, and the Birth of Baroque Sculpture
Veneration of Mary in the Catholic Church | Wikipedia audio article
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Veneration of Mary in the Catholic Church
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The only true wisdom is in knowing you know nothing.
- Socrates
SUMMARY
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In the Catholic Church, the veneration of Mary, mother of Jesus, encompasses various Marian devotions which include prayer, pious acts, visual arts, poetry, and music devoted to the Blessed Virgin Mary. Popes have encouraged it, while also taking steps to reform some manifestations of it. The Holy See has insisted on the importance of distinguishing true from false devotion, and authentic doctrine from its deformations by excess or defect. There are significantly more titles, feasts, and venerative Marian practices among Roman Catholics than in other Western Christian traditions. The term hyperdulia indicates the special veneration due to Mary, greater than the ordinary dulia for other saints, but utterly unlike the latria due only to God. The term Mariolatry is a Protestant pejorative label for perceived excessive Catholic devotion to Mary.
Belief in the incarnation of God the Son through Mary is the basis for calling her the Mother of God, which was declared a dogma at the Council of Ephesus in 431. At the Second Vatican Council and in Pope John Paul II's encyclical Redemptoris mater, she is spoken of also as Mother of the Church.Growth of Roman Catholic veneration of Mary and Mariology has often come not from official declarations, but from Marian writings of the saints, popular devotion, and at times reported Marian apparitions. The Holy See approves only a select few as worthy of belief; most recently the 2008 recognition of apparitions as far back as 1665.Further pious veneration of the Blessed Virgin Mary encouraged by Popes are exhibited in the canonical coronations granted to popular Marian images venerated in a particular locality all over the world, while Marian movements and societies with millions of members have arisen from belief in events such as Akita, Fátima, and Lourdes, and other reasons.