Her dress is buckled by a bright red sash pulled in below her breasts. Rogier van der Weyden, Portrait of Philippe de Croy, lord of Sempy. National Gallery of Art, Washington, D.C. Saint George and the Dragon, ca. The scarlet belt serves as a foil to set off her delicately clasped hands. Download a digital image of this work, Rogier van der Weyden, Portrait of a Lady, c. 1460, oil on panel, Andrew W. Mellon Collection, 1937.1.44. The National Gallery of Art serves the nation by welcoming all people to explore and experience art, creativity, and our shared humanity. Some were made as independent portraits, others as parts of diptychs, and some are copies made after Rogier’s now-lost originals. ( Log Out / It’s not their mere presence, but also a certain vulnerability that they convey – poor sleep, worries or a consequence of her paleness. 1973 Campbell, Lorne. Stay up to date about our exhibitions, news, programs, and special offers. Although van der Weyden did not adhere to the conventions of idealisation, he generally sought to flatter his sitters. 7th St and Constitution Ave NW Van der Weyden reduces his focus to four basic features: the woman's headdress, dress, face and hands. I wonder what she’s thinking about. His fame spread rapidly throughout Europe, and he even received commissions for portraits from the Medici family in Italy. Portrait of a Lady 1460 Rogier van der Weyden ( Roger de la Pasture ) 1399 – 1464) was an Early Netherlandish painter whose surviving works consist mainly of religious triptychs, Dutch, Netherlands. In Portrait of a Lady, van der Weyden has portrayed what appears to be this woman's consternated demureness - her pose is a society-approved one, but her eyes and pursed lips seem to divulge her discomfort with this fifteenth century feminine role she has been cast in. Musées Royaux des Beaux-Arts, Brussels. The irony that Dutch artist Rogier van der Weyden depicted her body following the Gothic ideal of elongated, narrow forms does not elude me. The Burgundian court by the Metropolitan Museum of Art, NGA Images Rogier combined the detailed and meticulous style of his teacher Campin and of Van Eyck, whose work he knew, with an emotional resonance that responded to contemporary religious trends such as the devotio moderna (which stressed meditation and inner life) and the writings of Thomas à Kempis, which emphasized a direct and personal connection with Mary, the saints, and the sufferings of Christ. Chroniques de Hainaut. The court was the mid-15th century’s most magnificent and established tastes for virtuosity and refinement across Europe. She is defined more by contours than by three-dimensional forms, except in her full, sensual mouth. I know, she’s not probably the type who you’d expect to stir passions in others, but I can sense a frailty and authenticity in her that simply pull me in. Whilst the model herself has never been identified, she is immediately memorable. Although the identity of the sitter is unknown, her air of self-conscious dignity suggests that she is a member of the nobility. I find myself completely mesmerized by this mysterious woman in Portrait of a Lady. He adapted his own aesthetic, and his portraits of women often bear a striking resemblance to each other. framed: …. This may be the earliest surviving portrait by Rogier van der Weyden, and is probably also his liveliest, due to the woman’s open look, directed straight at the viewer, and the intelligent, almost challenging expression in her face.Her hands and the details of her clothing have been painted with intense precision. Little is known about the life of Rogier van der Weyden. Free, timed passes are required for West Building entry. View in Augmented Reality. The dress, with its dark bands of fur, almost merges with the background. Change ). There is a wedding band on her ring finger, with another golden ring, embossed with a small cross, on her left pinky. 11:00 a.m.–4:00 p.m. daily, East Building © 2020 National Gallery of Art Notices Terms of Use Privacy Policy, Rogier van der Weyden, Portrait of a Lady, c. 1460, Musées royaux des Beaux-Arts de Belgique, Bruxelles. The background has darkened with age; it is likely that the angles created by the sitter's hennin and dress were once much sharper. Her eyes are looking down with a contemplative gaze. Her clothes are of the then-fashionable Burgundian style, which emphasises the tall and thin aesthetic of the Gothic ideal. Workshop of Rogier van der Weyden, Portrait of Isabella of Portugal, c. 1450; later additions c. 1500. Change ), You are commenting using your Facebook account. Rogier van der Weyden and Workshop, Portrait of Jean Gros, 1460/64. Her hands and the details of her clothing have been painted with intense precision. ( Log Out / The gold filigree decorating her belt, the folds creasing her transparent veil, her delicate lashes, all seem very real. The duke wears the gold collar of the Order of the Golden Fleece, which he established. Triangular forms abstract and flatten her image, giving it a formal elegance that underscores her aristocratic reserve. Closed. This portrait of a young lady by Rogier van der Weyden is dated at around 1460 and must be considered one of the finest contributions by any artist in this genre. Overall (panel): 37 x 27 cm (14 9/16 x 10 5/8 in.) This painting, however, may have been an independent portrait because the woman’s hands are not steepled in prayer. Rogier van der Weyden, Saint Luke Drawing the Virgin, c. 1435-40. The spreading headdress frames and focuses attention upon her face. Rogier’s graceful and expressive figures are set in stark settings and shallow planes; austerity lends them a haunting quality. A contemporary described him as proud, eloquent, ambitious, and clever. To me, this one is all about her face. The buff-coloured hennin headdress is draped with a large transparent veil, which spills over her shoulders, reaching her upper arms. Rogier juxtaposed the strong sensation of the sitter's acute mental activity to his rigid control of the composition and the formality of her costume and pose, presenting the viewer with an image of passionate austerity.
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