Netherlandish Northern Renaissance Painter, ca.1400-1464 major early Flemish master, known also as Roger de la Pasture. He is believed to have studied with Robert Campin. His early works also show the influence of Jan van Eyck. Van Eyck, however, had been a master at objective rendering of detail, whereas Roger in his work portrayed emotions with an assurance that has not been surpassed. His ability to depict piety is reflected in the early masterpiece Descent from the Cross (c.1435; Prado); he depicted with significant restraint the profound grief of the mourners grouped around the tragic figure of Jesus. His composition strongly affected later representations of the theme. Roger became City Painter in Brussels in 1436. He then produced a series of undated altarpieces including the Last Judgment (hospital, Beaune), the Braque Triptych (Louvre), Crucifixion with Donors (Vienna), and Adoration of the Magi (Berlin), which vary in execution from a stress on sumptuous details to a more sculptural rendering of the figures. Roger is believed to have made a pilgrimage to Italy in the holy year 1450. Whether this supposed excursion had any effect on his style is much debated. It has been shown that his Entombment (Uffizi) bears an affinity to the Tuscan treatment of the subject, particularly by Fra Angelico, and that Roger's Virgin and Child with Saints (Frankfurt) has a strong resemblance to the Italian religious art of the day. His style is, however, highly individual. His religious paintings and his portraits are characterized by a straightforward monumentality. The portraits, such as that of a young lady (National Gall. of Art, Washington, D.C.) and of Francesco d'Este (Metropolitan Mus.) exhibit a simple clarity of contour and psychological penetration. Other notable works are his St. Luke Painting the Virgin, of which a version or replica is in the Museum of Fine Arts, Boston, the Crucifixion   Related Paintings of WEYDEN, Rogier van der :. | St Luke Drawing the Portrait of the Madonna | Seven Sacraments | Crucifixion Diptych | Pierre Bladelin Triptych | The Descent from the Cross |
Related Artists:
Aristide Maillol
1861-1944 Banyuls-sur-Mer,was a French Catalan sculptor and painter. Maillol was born in Banyuls-sur-Mer, Roussillon. He decided at an early age to become a painter, and moved to Paris in 1881 to study art. After several applications, his enrollment in the Ecole des Beaux-Arts was accepted in 1885, and he studied there under Jean-Leon Gerome and Alexandre Cabanel. His early paintings show the influence of his contemporaries Pierre Puvis de Chavannes and Paul Gauguin. Gauguin encouraged his growing interest in decorative art, an interest that led Maillol to take up tapestry design. In 1893 Maillol opened a tapestry workshop in Banyuls, producing works whose high technical and esthetic quality gained him recognition for renewing this art form in France. He began making small terra cotta sculptures in 1895, and within a few years his concentration on sculpture led to the abandonment of his work in tapestry. The subject of nearly all of Maillol's mature work is the naked female body, treated with a classical emphasis on stable forms. The figurative style of his large bronzes is perceived as an important precursor to the greater simplifications of Henry Moore and Alberto Giacometti, and his serene classicism set a standard for European (and American) figure sculpture until the end of World War II. His important public commissions include a 1912 commission for a monument to Cezanne, as well as numerous war memorials commissioned after World War I. He died in Banyuls at the age of eighty-three, in an automobile accident.
Axel Jungstedt
painted Portrait - Lady in Black Dress in 1882
Ecce Homo
are the Latin words used by Pontius Pilate in the Vulgate translation of the John 19:5, when he presents a scourged Jesus Christ, bound and crowned with thorns, to a hostile crowd shortly before his Crucifixion. The King James Version translates the phrase into English as Behold the Man. The scene is widely depicted in Christian art. The Ecce homo is a standard component of cycles illustrating the Passion and Life of Christ in art. It follows the Flagellation of Christ, the Crowning with thorns and the Mocking of Christ, the last two often being combined. The usual depiction shows Pilate and Christ, the mocking crowd and parts of the city of Jerusalem. But, from the 15th century, devotional pictures began to portray Jesus alone, in half or full figure with a purple robe, loincloth, crown of thorns and torture wounds, especially on his head. Similar subjects but with the wounds of the crucifixion visible (Nail wounds on the limbs, spear wounds on the sides), are termed a Man of Sorrow(s) (also Misericordia). If the "Instruments of the Passion" are present, it may be called an Arma Christi. If Christ is sitting down (usually supporting himself with his hand on his thigh), it may be referred to it as Christ at rest or Pensive Christ. It is not always possible to distinguish these subjects.