Relevant bibliographies by topics / Rogier wan der Weyden

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  1. Journal articles
  2. Dissertations / Theses
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  4. Book chapters

Academic literature on the topic 'Rogier wan der Weyden'

Author: Grafiati
Published: 4 June 2021
Last updated: 13 February 2022

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Journal articles on the topic "Rogier wan der Weyden"

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van Asperen de Boer, J. R. J., J. Dijkstra, and R. van Schoute. "Rogier van der Weyden Group." Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek 41, no. 1 (1990): 17–37. http://dx.doi.org/10.1163/22145966-90000165.

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van Asperen de Boer, J. R. J., J. Dijkstra, and R. van Schoute. "Rogier van der Weyden Group." Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek 41, no. 1 (1990): 137–315. http://dx.doi.org/10.1163/22145966-90000176.

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Grappasonni, Marie. "Rogier van der Weyden et l’Espagne : autour d’une exposition récente." Revue belge de philologie et d'histoire 93, no. 3 (2015): 889–96. http://dx.doi.org/10.3406/rbph.2015.8813.

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Lazzeri, Davide, Paolo Pozzilli, Yi Xin Zhang, and Paolo Persichetti. "Goiter in Paintings by Rogier van der Weyden (1399–1464)." Thyroid 25, no. 5 (2015): 559–62. http://dx.doi.org/10.1089/thy.2014.0494.

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Renders, Helmut, and Larissa Dantas Camargo Melo. "IMAGEM ELOQUENTE: A LINGUAGEM VISUAL RELIGIOSA DO ALTAR DOS SETE SACRAMENTOS (1445/1450) DE ROGIER VAN DER WEYDEN." Revista Caminhos - Revista de Ciências da Religião 18, no. 3 (2020): 714. http://dx.doi.org/10.18224/cam.v18i3.7394.

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Esse artigo explora a linguagem visual da pintura “Altar dos sete sacramentos” (1445/1450) de Rogier van der Weyden e sua articulação da teologia sacramental na transição da época medieval tardia à Renascença. Em sua organização acompanha o artigo as características composicionais do tríptico como seus principais motivos e sua interpretação inspira-se em aspectos dos métodos interpretativos de Heinrich Wölfflin e Erwin Panofsky.
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Thomas, Francis-Noël. "Rogier van der Weyden and James Ensor: Line and Its Deformation." New England Review 35, no. 1 (2014): 98–108. http://dx.doi.org/10.1353/ner.2014.0083.

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Nuttall, Paula. "Rogier van der Weyden (Madrid, Museo Nacional del Prado, 24 March - 28 June 2015). Catalogue Rogier van der Weyden y los reinos peninsulares/Rogier van der Weyden and the Kingdoms of the Iberian Peninsula ed. Lorne Campbell. Madrid: Museo Nacional del Pra." Renaissance Studies 31, no. 1 (2015): 125–31. http://dx.doi.org/10.1111/rest.12182.

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Villela-Petit, Inès. "Copier d'après les grands maîtres : la fortune de Rogier van der Weyden." Bulletin Monumental 165, no. 3 (2007): 302–3. http://dx.doi.org/10.3406/bulmo.2007.1482.

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van Asperen de Boer, J. R. J., J. Dijkstra, and R. van Schoute. "UNDERDRAWING IN PAINTINGS OF THE ROGIER VAN DER WEYDEN AND MASTER OF FLÉMALLE GROUPS." Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek 41, no. 1 (1990): 6–10. http://dx.doi.org/10.1163/22145966-90000162.

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Riva, Michele Augusto, Cecilia Ferretti, and Fabio Pagni. "Durán Madonna (c. 1435–1438) by Rogier van der Weyden: a case of congenital goiter." Internal and Emergency Medicine 11, no. 8 (2016): 1149–50. http://dx.doi.org/10.1007/s11739-016-1512-9.

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Dissertations / Theses on the topic "Rogier wan der Weyden"

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Pesce, Amanda-Josephine Michelle. "Rogier van der Weyden: A Netherlandish Artist and the Ferrarese Court." Master's thesis, Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/416615.

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Art History<br>M.A.<br>Northern European and Italian Renaissance art have tended to be treated art historically as two opposing styles. Rooted in statements by artists such as Michelangelo and Leon Battista Alberti, it has become a common misconception that Italians did not hold Northern European art in high regard during the late fifteenth and early sixteenth centuries. This thesis seeks to complicate and critique this conventional understanding by looking at the similarities and transalpine exchanges between the artistic styles and practices of Rogier van der Weyden (c. 1400-1464) of Brussel
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Tyson, Janet Stiles Way Jennifer Ellen. "Two annunciations examples of interpellation or offers of reception? A comparative analysis of pictures by Roger Van Der Weyden and René Magritte /." [Denton, Tex.] : University of North Texas, 2007. http://digital.library.unt.edu/permalink/meta-dc-3912.

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Sinclair, Nicola K. "En Route to the Ave: Rogier van der Weyden's Miraflores Altarpiece and the Nascent Rosary." Master's thesis, Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/190436.

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Art History<br>M.A.<br>Rogier van der Weyden's Miraflores Altarpiece (c. 1440) was installed in the Carthusian Monastery of Miraflores, Castile, during a period when early rosary meditation cycles were gaining popularity, particularly amongst Carthusians. This previously unexplored historical context offers a rationale for the innovative iconographic content and structure of the work, as well as for the ways in which it had meaning for its viewers. Like early rosary meditations, the Miraflores Altarpiece combines diverse meditational cycles including life of Christ and the Virgin narratives wi
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Tyson, Janet Stiles. "Two Annunciations: Examples of interpellation or offers of reception? a comparative analysis of pictures by Roger van der Weyden and René Magritte." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3912/.

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This thesis uses reception theory, as formulated by the late Wolfgang Iser, as well as ideas about interpellation or hailing, to compare and analyze two paintings: The Annunciation (c. 1435) by Roger van der Weyden and Personal Values (1952) by René Magritte. It demonstrates that interpellation and reception are part of the same process, and that reception theory is especially suited to this comparison and analysis-because it allows consideration of ways in which the comparable pictorial structures of both paintings facilitate their intentions. It argues that those intentions are to engage vie
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Smith, Tamytha Cameron. "Personal Passions and Carthusian Influences Evident in Rogier Van Der Weyden's Crucified Christ between the Virgin and Saint John and Diptych of the Crucifixion." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5245/.

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This thesis examines Rogier Van Der Weyden's two unique fifteenth century Crucifixions, The Crucified Christ Between the Virgin and Saint John and The Diptych of the Crucifixion, in light of Carthusian beliefs, practices and relevant devotional texts. The specific text used to support this examination is the Vita Christi by Ludolph of Saxony, which in part deals specifically with the Hours of the Passion. Ludolph's text is given visual form in Rogier's paintings and supports the assertion that Rogier and Ludolph were connected by a shared belief and worldview. Key aspects of Rogier's life, sup
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Danihelková, Tereza. "Zobrazení Pekla v díle vybraných nizozemských malířů 15. a 16. století." Master's thesis, 2019. http://www.nusl.cz/ntk/nusl-408898.

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This diploma thesis is focused on presenting selected artwork with the theme of Hell, which were made in 15. and 16. century. The focus will be on placing this artworks into whole artworks of selected painters. Also to compare it between each other and try to prove how was the tradition of this theme affected by political situation, customer and how was it affected by literature.
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Books on the topic "Rogier wan der Weyden"

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Kemperdick, Stephan. Rogier Van Der Weyden. Konemann Verlagsgesellschaft, 1999.

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Châtelet, Albert. Rogier van der Weyden. Electa, 1999.

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Vos, Dirk de. Rogier van der Weyden: The complete works. Mercatorfonds, 1999.

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Weyden, Rogier van der, 1399 or 1400-1464, ed. Rogier van der Weyden, 1399/1400-1464. Könemann, 1999.

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Weyden, Rogier van der, 1399 or 1400-1464, ed. Rogier van der Weyden: Leben und Werk. Beck, 2006.

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Vos, Dirk de. Rogier van der Weyden: The complete works. Harry N. Abrams, 1999.

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Delenda, Odile. Rogier van der Weyden (Roger de Le Pasture). Cerf, 1987.

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Dhanens, Elisabeth. Rogier van der Weyden: Revisie van de documenten. AWLSK, 1995.

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Lorne, Campbell, Stock Jan van der, and M (Museum : Louvain, Belgium), eds. Rogier van der Weyden: 1400-1464 : master of passions. Waanders, 2009.

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Pächt, Otto. Altniederländische Malerei: Von Rogier van der Weyden bis Gerard David. Prestel, 1994.

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Book chapters on the topic "Rogier wan der Weyden"

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Borchert, Till-Holger. "Hans Memling and Rogier van der Weyden." In Invention. Brepols Publishers, 2008. http://dx.doi.org/10.1484/m.mef-eb.3.824.

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Franco, Roberto. "The Place of Inspiration of the Flemish Triptych by Rogier van der Weyden. A Contribution of the landscape busting to one of the vexata quaestio of the Sicilian History." In Proceedings e report. Firenze University Press, 2018. http://dx.doi.org/10.36253/978-88-6453-707-8.17.

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One of the greatest masterpieces of Flemish art of global importance has been analyzed, through geological and geomorphological evidence, in order to identify the ‘hidden landscapes’ depicted within it. The conclusions of this study suggest that the views may be Sicilian. This fact is particularly important as it is believed that the masterpiece was imported into Sicily, but the history of its origin is not yet well known, indeed, it is still under discussion. Reasonably, therefore, in the light of the results achieved, the possibility that it has been realized on the island itself can be seen.
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Szmelter, Iwona, and Tomasz Ważny. "Multi-Disciplinary Complex Research to Reconsider Basic Questions on Attribution and Dating of the Last Judgment Triptych from National Museum in Gdańsk by Rogier van der Weyden and Hans Memling." In Cultural Heritage Science. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-11054-3_11.

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Dalivalle, Margaret, Martin Kemp, and Robert B. Simon. "‘Christ in the Manner of God the Father’." In Leonardo's Salvator Mundi and the Collecting of Leonardo in the Stuart Courts. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198813835.003.0004.

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Chapter 3 looks at the iconography of the image now called the Salvator Mundi, though this is not a name used at the time for images of Christ blessing and holding the globe of the world. Texts from the gospels of St Matthew and St John portray Christ as the benign comforter of the world’s inhabitants. The bands across Christ’s chest evoke the ‘yoke’ that the biblical Christ invites us to take up. The orb appears in Renaissance paintings in many guises, including metal spheres and terrestrial globes. The genre grew in popularity in the fifteenth century, not least in emulation of images by Jan van Eyck and Rogier van der Weyden. The stock frontal presentation of Christ related to a supposed eyewitness account and miraculous images made without human intervention. The direct stare is explained by Cusanus (Nicholas of Cusa) as expressing the ubiquitous nature of God’s gaze. There are also less common variants of the Salvator Mundi as a young Christ.
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"Rogier van der Weyden and Jan van Ruusbroec: Reading, Rending, and Re-Fashioning the ‘Twice-Dyed’ Veil of Blood in the Escorial Crucifixion." In Imago Exegetica. BRILL, 2014. http://dx.doi.org/10.1163/9789004262010_014.

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Calonne, David Stephen. "Franz Kafka." In R. Crumb. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496831859.003.0006.

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This chapter explores Crumb’s work on the book Introducing Kafka, for which he provided the illustrations. The chapter begins with the ways Crumb has incorporated themes from Jewish culture into not only his Kafka drawings, but in his work as a whole. Crumb often depicts himself as a schlemiel—Yiddish for a vulnerable loser. Like Kafka, Crumb had a troubled relationship to his own father. This is one reason why Crumb felt such an affinity for Kafka’s writings. Crumb also concentrates in several drawings on Kafka’s intense relationship to writing, a theme which he also depicts in his Bukowski drawings. Crumb also created powerful drawings to illustrate Kafka’s The Trial and we may see in these works the ways Crumb includes Christian imagery in his conceptions. Another example occurs in Crumb’s illustrations for A Hunger Artist where we may observe a clear allusion to Rogier van der Weyden’s The Descent of the Cross in the way Crumb portrays the fragile body of the Hunger Artist. As we saw in Chapter 4 with Sartre, here again Crumb incorporates themes from Kafka in his own autobiographical drawings, depicting himself as a suffering Christ or as a Hunger Artist who must beg for his sustenance from an uncaring public.
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