His portrait was part of a diptych with the Virgin and Child. 7th St and Constitution Ave NW Miscellaneous: Van der Weyden, along with Robert Campin and Jan van Eyck, was among the first northern European … [note 6] Most are three-quarter face and half-length. [21][22], Despite this new freedom, van der Weyden's portraits of women are strikingly similar in concept and structure, both to each other[3] and to female portraits by Campin. Rogier van der Weyden, Portrait of Charles the Bold, 1460. Charles was also known as Charles the Rash. Her eyes and nose are elongated and her lower lip made fuller by the use of tone and pronounced finish. Waanders BV, Uitgeverij, 2009 • de Vos, Dirk. University Of Chicago Press, 2005. Some vertical lines around these features are emphasised, while her pupils are enlarged and her eyebrows slightly raised. The sleeve of her dress extends beyond her wrists. Triangular forms abstract and flatten her image, giving it a formal elegance that underscores her aristocratic reserve. Christus, van Eyck and van der Weyden were known to have been employed for this reason. 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. See Wilson, 47–48, Portraits in the Anhalt collection were generally poorly catalogued in early inventories, "Dress and Reality in Rogier Van der Weyden" by Margaret Scott, in Campbell and Van der Stock, 140, Panofsky, p. 292: "In the superficially similar but considerably later. Portrait of a Lady (or Portrait of a Woman) is a small oil-on-oak panel painting executed around 1460 by the Netherlandish painter Rogier van der Weyden. Rogier van der Weyden A young lady in an extravagant green dress sits on the floor, reading. [5] It was not until Hans Memling (c. 1435–1494), a pupil of van der Weyden, that a Netherlandish artist set a portrait against an exterior or landscape. Portrait of a Lady (or Portrait of a Woman) is a small oil-on-oak panel painting executed around 1460 by the Netherlandish painter Rogier van der Weyden. Metropolitan Museum of Art. The early facts of Rogier van der Weyden’s life are unknown, but he entered the atelier of Robert Campin at the age of 27, where he would adopt his master’s detailed naturalism. She is shown at a slight angle, but her pose is centred by the interlocked broad lines of arms, décolletage and veil. Glazes of oil pigment were then added, which allowed for subtle and transparent tonal gradations. Rogier van der Weyden, Portrait of a Young Lady, c. 1440. It was loaned the following year to the Royal Academy of Arts, London, for an exhibition covering six centuries of Flemish and Belgian art. Sharp, interlocking shapes produce a severe balance of form in this portrait. Rogier van der Weyden, Portrait of a Lady (X-Ray). On the grounds of similarity of facial features, writer Wilhelm Stein suggested in the early 20th century that she might be Marie de Valengin,[17] the illegitimate daughter of Philip the Good of Burgundy. Philip the Good stands beneath the canopy. A view of the Burgundian court [note 7][24] It is known that in his Portrait of Philip de Croÿ (c. 1460), van der Weyden complimented the young Flemish nobleman by concealing his large nose and undershot jaw. Wadsworth Publishing, 2009. Kleiner, Fred. New York: Schocken Books, 1963. There is some loss of paint on the veil, headdress and sleeve, and abrasion on the ear.[30]. Although its earliest locations are uncertain, scholars believe that Portrait of a Lady passed through the hands of a number of Netherlandish princes during the 19th century before it was purchased by Duveen Brothers, Inc. of London, New York, and Paris in 1925.In 1926, the Andrew W. Mellon Educational and Charitable Trust of Pittsburgh purchased the painting, and donated it as a gift in 1937 to the National Gallery of Art, Washington. [11], Van der Weyden worked in the same tradition of portraiture as contemporaries Jan van Eyck[note 4] and Robert Campin. With him, on his left, are the 15-year-old son who would succeed him as duke, Charles the Bold, and probably his older, illegitimate son, Antoine, the Grand Bastard of Burgundy. Royal Library of Belgium. [2] Van der Weyden reduces his focus to four basic features: the woman's headdress, dress, face and hands. See Campbell, 19, Portraits were at the time a common means of initiating marriage alliances. He began his artistic career uncharacteristically late for the period, entering the workshop of Tournai’s foremost painter, Robert Campin, when he was already 27 years old. He enjoys a place in art history books alongside more well-known painters like Jan van Eyck, though his own accomplishments are unrivaled. Portrait of a Lady (or Portrait of a Woman) is a small oil-on-oak panel painting executed around 1460 by the Netherlandish painter Rogier van der Weyden. A contemporary described him as proud, eloquent, ambitious, and clever. [36], Oil-on-oak panel painting executed around 1460 by Rogier van der Weyden, Van der Weyden often worked on commission from members of the Burgundian court. Early Netherlandish Paintings: Rediscovery, Reception, and Research. [9], The woman's veil forms a diamond shape, balanced by the inverse flow of a light vest worn beneath her dress. Philippe de Croÿ served both Philip the Good and Charles the Bold, although his family’s relations with the dukes were at times strained. Workshop of Rogier van der Weyden, Portrait of Isabella of Portugal, c. 1450; later additions c. 1500. "Gardner's Art Through the Ages: The Western Perspective". Even her two rings glisten from the bottom of the painting.Use of light: The painting's light source comes from above the sitter and casts a soft luminosity over her without creating large shadows or seeming too glaring.Mood, tone and emotion: Van der Weyden was a master at evoking the most subtle feelings from his subjects - a skill that didn't even become widely prized in portraiture until the later years of the Renaissance.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.Miscellaneous: Van der Weyden, along with Robert Campin and Jan van Eyck, was among the first northern European painters to begin to portray middle and upper-class members in a more naturalistic setting, rather than an idealized form. [12] When describing this tendency in relation to the Washington portrait, art historian Norbert Schneider wrote, "While van Eyck shows nature 'in the raw', as it were, Rogier improves on physical reality, civilising and refining Nature and the human form with the help of a brush. Rogier van der Weyden and Workshop, Portrait of Jean Gros, 1460/64. [1] It is in relatively good condition, having been cleaned a number of times, most recently in 1980. [11] Because her hands are shown as resting on the painting's lower frame, art historians generally accept that this was an independent portrait, rather than a devotional work. See Schneider, 40. The c. 1460 dating is based on the high-fashion dress and the work's apparent chronological position in the evolution of van der Weyden's style. Compare the less abstract quality of this portrait painted earlier in Rogier’s career. Harvey Miller Publishers, 1997 • Ridderbos, Bernhard, et al. Musées royaux des Beaux-Arts de Belgique, Bruxelles. It has been described as "famous among all portraits of women of all schools".[4]. The gold filigree decorating her belt, the folds creasing her transparent veil, her delicate lashes, all seem very real. Early Netherlandish Painting from Rogier van der Weyden to Gerard David. Petrus Christus' Portrait of a Young Girl, after 1460, Berlin State Museums. In the 15th century, veils were normally worn for modesty, to hide the sensuality of the flesh. He holds an arrow that signifies his victory in an annual sporting contest for which he received the title of the “king’s archer.”. Art Institute of Chicago. Portrait of a woman (Rogier van der Weyden), Exposition des primitifs flamands et d'art ancien, Virtue and Beauty: Leonardo's Ginevra De' Benci and Renaissance Portraits of Women, Christ on the Cross with Mary and St John, Portrait of Antoine, 'Grand Bâtard' of Burgundy, Diptych of Philip de Croÿ with The Virgin and Child, Jean Wauquelin presenting his 'Chroniques de Hainaut' to Philip the Good, Fragments of a Cope with the Seven Sacraments, https://en.wikipedia.org/w/index.php?title=Portrait_of_a_Lady_(van_der_Weyden)&oldid=971154875, Collections of the National Gallery of Art, Short description is different from Wikidata, Creative Commons Attribution-ShareAlike License, Campbell, Lorne and Van der Stock, Jan. Memling was a follower of van der Weyden and utilised his distortion of natural representation to depict ideals of beauty. 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 technique also is less subtle and fine in the London work. Her fingers are folded in layers; their intricate portrayal is the most detailed element in the painting,[10] and echoes the pyramidal form of the upper portion of the painting. [12] Her slender fingers are minutely detailed; van der Weyden often indicated the social position of his models through his rendering of their face and hands.

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