Deposition; ; Descent from the Cross;

One of the most influential paintings produced during the Northern Renaissance, Deposition demonstrates the early style of Rogier van der Weyden, a leading artist during the mid-fifteenth century. Rogier (as scholars identify him) was commissioned by the crossbowmen’s guild in Louvain to create a triptych (three-paneled painting) altarpiece for the Church of Notre Dame hors-les-Murs and Deposition was originally the central panel. The painting depicts Jesus Christ’s body being taken down from the cross while his mother, friends and followers lament his death, a subject that gained great popula... Mehr ...

Verfasser: Weyden, Rogier van der, ca. 1400-1464
Dokumenttyp: Dia
Erscheinungsdatum: 1434
Verlag/Hrsg.: Brigham Young University
Schlagwörter: Flanders / Europe / Paintings / Art / van der Weyden / Rogier / Deposition / Netherlandish art / Northern Renaissance / Virgin Mary / Thomas a Kempis
Sprache: unknown
Permalink: https://search.fid-benelux.de/Record/base-29059513
Datenquelle: BASE; Originalkatalog
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Link(s) : http://contentdm.lib.byu.edu/cdm/ref/collection/Civilization/id/912

One of the most influential paintings produced during the Northern Renaissance, Deposition demonstrates the early style of Rogier van der Weyden, a leading artist during the mid-fifteenth century. Rogier (as scholars identify him) was commissioned by the crossbowmen’s guild in Louvain to create a triptych (three-paneled painting) altarpiece for the Church of Notre Dame hors-les-Murs and Deposition was originally the central panel. The painting depicts Jesus Christ’s body being taken down from the cross while his mother, friends and followers lament his death, a subject that gained great popularity during the fifteenth century. Although influenced by Jan van Eyck in his use of luminous colors and minute details, the dynamic composition and skillful portrayal of intense psychological and emotional suffering are hallmarks of Rogier’s unique style. While each of the ten monumental mourners displays their grief individually, the figures of John the Evangelist and Mary Magdalene act as exquisite parentheses that enclose and unify the entire group. The group’s cohesion is further strengthened by their collective grief and focus on the highlighted, “S” curved figure of Christ. Only essential elements of the story are included and the shallow stage and golden background effectively compact the figures and action so that the viewer’s attention is focused directly on the emotional drama. The pose of the swooning Virgin, which was Rogier’s own invention, corresponds to a popular belief that Mary experienced the same agony in her heart as Christ endured in his body, thus making her a co-Redeemer for mankind’s salvation. The artist’s superb rendering of impassioned sorrow and compassion was meant to evoke an acute response in the spectator. According to contemporary sentiment, worshipers were encouraged to personally identify with the sufferings of Christ and Mary; this notion is best expressed in the mystical treatise by Thomas à Kempis (1380?-1471), entitled Imatateo Christi (The Imitation of Christ). Paintings such as this ...