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Journal articles on the topic 'Rogier wan der Weyden'

Author: Grafiati

Published: 4 June 2021

Last updated: 13 February 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Benjamin, Andrew. "On the Image of Painting." Research in Phenomenology 41, no. 2 (2011): 181–205. http://dx.doi.org/10.1163/156916411x580940.

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AbstractPainting can only be thought in relation to the image. And yet, with (and within) painting what continues to endure is the image of painting. While this is staged explicitly in, for example, paintings of St. Luke by artists of the Northern Renaissance—e.g., Rogier van der Weyden, Jan Gossaert, and Simon Marmion—the same concerns are also at work within both the practices as well as the contemporaneous writings that define central aspects of the Italian Renaissance. The aim of this paper is to begin an investigation into the process by which painting stages the activity of painting. Thi

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12

Fuentes Ortiz, Ángel. "La Capilla de Gonzalo de Illescas en el Monasterio de Guadalupe: un proyecto de Egas Cueman recuperado." Archivo Español de Arte 90, no. 358 (2017): 107. http://dx.doi.org/10.3989/aearte.2017.07.

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Con este estudio pretendemos recuperar un proyecto olvidado de Egas Cueman: La capilla funeraria de Gonzalo de Illescas en el Monasterio de Guadalupe. Como veremos, más allá del conocido sepulcro del prelado, ésta supuso un destello de vanguardia en el arte de mediados del siglo XV que no ha sido, en nuestra opinión, justamente valorado. Así, se tratará de rescatar el controvertido plan inicial del obispo de Córdoba, comprobando que dicha empresa fue mucho más ambiciosa de lo que se había supuesto hasta ahora. Con la nueva atribución del proyecto completo al escultor de Bruselas reforzaremos l

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13

Kulenkampff, Angela. "Der Dreikönigsaltar (Columba-Altar) des Rogier van der Weyden. Zur Frage seines ursprünglichen Standortes und des Stifters." Annalen des Historischen Vereins für den Niederrhein 192-193, jg (1990): 9–46. http://dx.doi.org/10.7788/annalen-1990-jg02.

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14

Metzger, Catherine A., and Michael Palmer. "The Washington Portrait of a Lady by Rogier van der Weyden reconsidered in light of recent investigations." Studies in Conservation 43, sup1 (1998): 94–97. http://dx.doi.org/10.1179/sic.1998.43.supplement-1.94.

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15

N. Moll, Kevin. "Streaming Music into Renaissance Studies: The Case of L’homme armé." Explorations in Renaissance Culture 43, no. 2 (2017): 109–39. http://dx.doi.org/10.1163/23526963-04302001.

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College-level courses devoted to Renaissance culture typically put a premium on incorporating primary sources and artifacts of a literary, art-historical, and historical nature. Yet the monuments of contemporaneous music continue to be marginalized as instructional resources, even though they are fully as worthy both from an aesthetic and from a historical standpoint. This study attempts to address that problem by invoking the tradition of early polyphonic masses on L’homme armé – a secular tune used as a unifying melody (cantus firmus) throughout settings of the five-movement liturgical cycle

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16

Luttenberg, Thomas. ""Je he ce que mord". Die Bedeutung von Motto und Emblem auf einem Rogier van der Weyden zugeschriebenen Portrat." Zeitschrift für Kunstgeschichte 63, no. 4 (2000): 558. http://dx.doi.org/10.2307/1594963.

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17

Twomey, Lesley K. "Juana of Castile’s Book of Hours: An Archduchess at Prayer." Religions 11, no. 4 (2020): 201. http://dx.doi.org/10.3390/rel11040201.

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This article examines one of Juana of Castile’s books of hours (London, BL Add. MS 18852) comparing it with those written for members of Juana’s family and seeking to discern how it was used, in order to reassess her peers’ evaluation of her spiritual affinities. It considers how Juana customized her book of hours with a miniature of the Virgin and Child, comparing it with a gifted panel painted by Rogier van der Weyden that Juana treasured to show how she placed herself under the protection of the Virgin. Numbered precepts would be intended for her to instruct any future children and are repl

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18

Rodríguez Velasco, María. "Un precedente del microrrelato en la pintura del siglo XV: Discursos paralelos en los trípticos de los Primitivos Flamencos." Microtextualidades. Revista Internacional de microrrelato y minificción, no. 5 (May 2, 2019): 128–44. http://dx.doi.org/10.31921/microtextualidades.n5a9.

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La revolución pictórica que impulsan los primitivos flamencos en el siglo XV implica una renovación de sus repertorios y esquemas compositivos, sumando a la perfección técnica del óleo una gran riqueza de significados en sus obras. El diseño de los trípticos, al modo de los pórticos monumentales de las iglesias y catedrales del medioevo, podría equiparase a los microrrelatos literarios, en la medida que los pintores componen narraciones pictóricas a partir de la suma de pequeñas escenas trabajadas en grisalla. Estos episodios, expuestos secuencialmente, responden fundamentalmente a una f

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19

Mazzinghi, Anna, Chiara Ruberto, Lisa Castelli, et al. "MA-XRF for the Characterisation of the Painting Materials and Technique of the Entombment of Christ by Rogier van der Weyden." Applied Sciences 11, no. 13 (2021): 6151. http://dx.doi.org/10.3390/app11136151.

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At present, macro X-ray fluorescence (MA-XRF) is one of the most essential analytical methods exploited by heritage science. By providing spatial distribution elemental maps, not only does it allow for material characterisation but also to understand, or at least to have a likely idea of, the production techniques of an analysed object. INFN-CHNet, the Cultural Heritage Network of the Italian National Institute of Nuclear Physics, designed and developed a MA-XRF scanner aiming to be a lightweight, easy to transport piece of equipment for use in in situ measurements. In this study, the INFN-CHN

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20

Martens, Didier. "Una huella de Rogier Van der Weyden en la obra de Bernart de Aras, “pintor vecino de la ciudat de Huesca”." Archivo Español de Arte 81, no. 321 (2008): 1–16. http://dx.doi.org/10.3989/aearte.2008.v81.i321.94.

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21

Keune, Katrien, and Jaap J. Boon. "Imaging Secondary Ion Mass Spectrometry of a Paint Cross Section Taken from an Early Netherlandish Painting by Rogier van der Weyden." Analytical Chemistry 76, no. 5 (2004): 1374–85. http://dx.doi.org/10.1021/ac035201a.

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22

Martens, Didier, and Alexandre Dimov. "Un imitateur moderne des Primitifs flamands établi en Espagne: le Faussaire de Valls Marín." BSAA arte, no. 84 (November 29, 2018): 353–78. http://dx.doi.org/10.24197/bsaaa.84.2018.353-378.

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Le Faussaire de Valls Marín peut être considéré comme l’un des imitateurs de la peinture des anciens Pays-Bas ayant connu le plus grand succès, une sorte de Joseph Van der Veken ibérique. Il semble avoir travaillé durant la première moitié du XXe siècle, principalement pour le marché d’art espagnol. Il réussit à vendre des peintures de sa main comme des œuvres flamandes authentiques à des collectionneurs renommés, tels l’éditeur José Lázaro Galdiano, le médecin Carmelo Valls Marín et l’historien d’art José Camón Aznar. Ses sources principales furent probablement des photographies de tableaux d

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23

Martens, Didier. "Un disciple tardif de Rogier de la Pasture: Maître Johannes (alias Johannes Hoesacker?)." Oud Holland - Quarterly for Dutch Art History 114, no. 2-4 (2001): 79–106. http://dx.doi.org/10.1163/187501701x00406.

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AbstractThe triptych which has hung above the main altar of Our Lady of the Immaculate Conception at Maria-ter-Heide (Brasschaat, near Antwerp) since the nineteenth century unfolds a highly unusual iconographical programme. The representation on the central panel is a 'Holy Kinship' with Saint Anne; the left and right shutters show a 'Tree of Jesse', and the 'Kinship of Effra and Ismeria' respectively. This unusual combination of themes, and the coat of arms of the abbey at Tongerlo on the staff of the kneeling donor on the left shutter, enable us to identify the triptych from an old descripti

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24

Elena A., Zabrodina. "The Interweaving between Verbal and Visual Text in the Works of the Brothers van Eyck and Rogier van der Weyden: Identifying the Viewer’s Position." Actual Problems of Theory and History of Art 7 (2017): 555–63. http://dx.doi.org/10.18688/aa177-5-56.

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25

Zabrodina, Elena Al'bertovna. "“Sacred Theology” of Nicholas of Cusa in the portraits and altar paintings of the artists of the Early Netherlandish painting." Человек и культура, no. 4 (April 2020): 21–32. http://dx.doi.org/10.25136/2409-8744.2020.4.33349.

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The subject of this research is the processes that unfolded in the spiritual sphere of the Netherlandish society of the XV century, which can be assessed by the treatises of the prominent philosopher and figure of the Catholic Church Nicholas of Cusa (1401-1464), as well as by the images, scenes, artistic techniques used by Netherlandish artists of that time such brothers van Eyck, Rogier van Weyden, Hans Memling, Petrus Christus, Hieronymus Bosch, Robert Kampin, and others. Main attention is given to the comparison of the views of Nicholas of Cusa, as well as the manner and ideological progra

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26

Nuechterlein, Jeanne. "Rogier van der Weyden 1400-1464: Master of Passions, (Leuven, M, 20 September-6 December 2009) - Catalogue edited by Lorne Campbell and Jan Van der Stock." Renaissance Studies 25, no. 2 (2011): 321–24. http://dx.doi.org/10.1111/j.1477-4658.2010.00680.x.

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27

Jennings, Nicola. "Rogier van der Weyden y España. Lorne Campbell and José Juan Pérez Preciado, eds. Publications of the Museo del Prado 5. Madrid: Museo Nacional del Prado, 2016. 200 pp. €60." Renaissance Quarterly 71, no. 4 (2018): 1465–66. http://dx.doi.org/10.1086/702063.

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28

Szmelter, Iwona. "The impact of new data for identification and authorship: the case of The Last Judgement, triptych from the National Museum in Gdańsk, a Northern Renaissance work, by Rogier van der Weyden and Hans Memling." Technè, no. 43 (August 1, 2016): 84–89. http://dx.doi.org/10.4000/techne.756.

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29

Van Elslande, Rudy. "Roger van der Weyden leerling van Hubert Van Eyck te Gent?" Ghendtsche Tydinghen 42, no. 3 (2013). http://dx.doi.org/10.21825/gt.v42i3.8659.

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Een document heeft aanleiding gegeven tot de vermelding van een mogelijk verblijf van Rogier van der Weyden te Gent. Nochtans treffen we de naam Rogier de schilder veel vroeger aan onder de Gentse schilders, nl. reeds tussen 1386 tot 1416.

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30

"Rogier van der Weyden: the complete works." Choice Reviews Online 37, no. 08 (2000): 37–4290. http://dx.doi.org/10.5860/choice.37-4290.

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31

Sellal, François, and Laurent Tatu. "The Babinski sign in Renaissance paintings—a reappraisal of the toe phenomenon in representations of the Christ Child: observational analysis." BMJ, December 10, 2020, m4556. http://dx.doi.org/10.1136/bmj.m4556.

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Abstract Objective To investigate systematically the presence of the Babinski sign in paintings of the Christ Child by the greatest painters of the Renaissance. Design Observational analysis. Setting Large collection of paintings depicting the Christ Child from Flemish, Rhenish, and Italian schools between 1400 and 1550 CE, searched using published catalogues and Google. Study sample 302 Renaissance paintings (by 19 painters) depicting the Christ Child. Main outcome measure Babinski sign, defined as a hallux extension with an amplitude greater than 30°. The presence of foot sole stimulation wa

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32

Hanley, Stephen. "Der Meister von Flémalle und Rogier van der Weyden (Berlin, Gemäldegalerie, 20 March-21 June 2009; previously shown at the Städel Museum, Frankfurt, 21 November 2008-1 March 2009) - Catalogue by Stephan Kemperdick and Jochen Sander." Renaissance Studies, February 2010. http://dx.doi.org/10.1111/j.1477-4658.2009.00626.x.

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