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1
2 3 DESCRIPTION
Detail of Saint Luke; probable Van der Weyden self-portrait Jan van Eyck, Madonna of Chancellor Rolin (detail)
point and thus is unencumbered with the paraphernalia gins chastity.[8] Though Mary is positioned by a throne
of painting; an easel, seat or other items which might clut- and under a canopy, indicating her role as Queen of
ter the composition, or more importantly place a physical Heaven, she sits on the step, an indication of her humil-
barrier between the divine and earthly realms.[46] ity.[22][49]
The Virgin occupies an earthly space as opposed to a sa-
cred one, but remains aloof. This approach is emphasised
5 Iconography by secondary midground gures who are out in the open
air, while the main gures are positioned in an elevated
The painting is rich in both actual and implied room containing a throne, grand arches and wood carv-
iconography. Van der Weyden presents Mary as the ings. Van der Weydens setting is less articial than Van
Maria Lactans virgin type, a symbol of Mother Church Eycks; here Luke and Mary face each other as equals,
especially popular at times of plague or famine, the impli- rather than in Van Eycks painting where, as Blum de-
cation being that she cares for all and no one will go hun- scribes a divinity and a mortal face one another. Van
gry. This notion ties in with Lukes dual roles of physician der Weyden omits the winged angel holding a crown hov-
(and thus healer) and artist.[47] Van der Weyden had ear- ering above the Virgin; the gure was included in the un-
lier portrayed Mary breast-feeding in his Virgin and Child derdrawings, but eventually abandoned. The landscape
Enthroned, which depicts equally detailed carvings carry- is more secular than Van Eycks, which is dominated by
ing signicance, but is reduced in size and in its cast of church spires.[50]
characters, and omits the act of beholding.[48] In the late 13th century, many of the newly emerg-
ing painters guilds were nominating Luke as their pa-
tron saint.[17] The Van der Weyden panel is among the
rst known depictions of St Luke painting the Virgin in
Northern Renaissance art,[51] along with a similar work,
a lost triptych panel by Robert Campin.[22] Van der Wey-
den presents a humanised Virgin and Child, as suggested
by the realistic contemporary surroundings,[50] the lack
of halos, and the intimate spatial construction. Yet he in-
fuses the panel with extensive religious iconography.[22]
[Marys] youthfulness ... [which is] traceable throughout and all this in Bruges, under Jans very eyes.[55]
his work.[39] Held, as a lone voice and writing in 1955, argues for a
date between 1440 and 1443, seeing the work as more
advanced than other paintings by the artist from the
mid-1430s, and believes it contains considerable dier-
ences when compared to other early works, especially
the Annunciation Triptych of c. 1434. He further ob-
serves that although the painting became highly inuen-
tial, copies did not appear until the mid-century.[56]
Dendrochronological examination of the growth rings
in the panels wood suggests that the timber was felled
around 1410.[2] In the 15th century, wood was typically
stored for around 20 years before use in panel painting,
Hermitage giving an earliest date in the mid- to late 1430s. Analy-
Museum, St. Petersburg, c. 1440 (cropped) sis of the Munich version places it in the 1480s, around
20 years after Van der Weydens death.[57] The panel in
Bruges is in the best condition and of exceptional quality,
but dates from c. 14911510.[36]
Groeningemuseum, Bruges
Art historians gradually revised their dating from 1450 October 1914 photograph of the panel in its old frame. Museum
to the currently accepted 143540, earlier in the artists of Fine Arts, Boston
career.[2] This estimate is based on three factors; the dat-
ing of the Rolin Madonna, Van der Weydens opportu- Despite the eminence of the painting and its many copies,
nity of viewing that panel, and his ability to produce his little is known of its provenance before the 19th century.
own work after such a viewing. He is known to have vis- It seems likely that it is the painting Albrecht Drer men-
ited Brussels where Van Eyck kept his studio in 1432 tions in his diary recollection of his visit to the Low Coun-
and again 1435. Erwin Panofsky suggested c. 1434 as tries in 1520.[58] It is probably the same work recorded
the earliest possible date, and that the Rolin panel was in an 1574 inventory of Philip II, kept at the Escorial.[1]
completed in 1433 or 1434. Julius Held was sceptical of The painting is recorded in 1835 in the collection of Don
this early dating, noting that if true we are forced to as- Infante Sebastin Gabriel Borbn y Braganza, a grand-
sume that within one year of Jans work Rogier received a nephew of Charles III of Spain and himself an artist.
commission which gave him an opportunity to adopt Jans Gabriels inventory notes described the panel in detail,
compositional pattern while subjecting it at the same time attributed it to Lucas van Leyden, and suggested an ear-
to a very thorough and highly personal transformation, lier restoration.[10] It was donated to the Museum of Fine
7
Detail
of gures walking in the far background
Hugo van der Goes, Saint Luke Drawing the Virgin, c. 147080.
National Museum of Ancient Art, Lisbon
Detail
of the town in the distance
A tapestry version woven in Brussels c. 1500 is now in
the Louvre.[70] It was probably designed using a reversed
drawing of the painting.[71]
9 References
8.1 Left panel 9.1 Notes
[1] "Saint Luke Drawing the Virgin". Museum of Fine Arts,
Boston. Retrieved 27 December 2014
[12] de Vries, Annette. "Picturing the Intermediary. Artis- [45] Apostolos-Cappadona (1997), 910
tic Consciousness in Representations of Saint Luke Paint-
ing the Virgin in Netherlandish Art: The Case of Van der [46] Nash (2008), 158
Weydens Saint Luke". Historians of Netherlandish Art, [47] Apostolos-Cappadona (1997), 10
2006. Retrieved 27 December 2014
[48] Apostolos-Cappadona (1997), 11
[13] Newman (1997), 135
[49] Harbison (1995), 7
[14] Newman (1997), 136
[50] Blum (1977), 105
[15] Newman (1997), 142
[51] Hornik; Parsons (2003), 167
[16] Newman (1997), 1423
[52] MacBeth; Spronk (1997), 108
[17] Borchert (1997), 64
[53] Spronk (1996), 26
[18] Blum (1997), 107
[54] Ishikawa (1990), 51
[19] Hall (2014), 58
[55] Held (1955), 225
[20] Marrow (1999), 54
[56] Held (1955), 226
[21] Smith (2004), 21
[57] Ishikawa (1990), 58
[22] Ishikawa (1990), 54
[58] Campbell; Van der Stock (2009), 254
[23] Acres (2000), 98101
[59] MacBeth; Spronk (1997), 1034
[24] Campbell (1980), 145
[60] MacBeth; Spronk (1997), 1056
[25] Nash (2008), 157
[61] MacBeth; Spronk (1997), 1078
[26] Acres (2000), 25
[62] Hand et al. (2006), 265
[27] Kleiner (2008), 407
[63] Bauman (1986), 49
[28] Purtle (2007), 8
[64] White (1997), 39
[29] Borchert (1997), 78
[65] Sterling; Ainsworth (1998), 73
[30] Van Calster (2003), 481 [66] Ainsworth (1998), 82
[31] Van Calster (2003), 477 [67] Bauman (1986), 58
[32] Van Calster (2003), 476 [68] White (1997), 40
[33] Van Calster (2003), 478 [69] White (1997), 423
[34] Borchert (2001), 213 [70] Smith (2004), 19
[35] Ishikawa (1990), 57 [71] Delmarcel (1999), 52
[36] van Oosterwijk, Anne. "After Rogier Van der Weyden:
Saint Luke drawing the Madonna". Museums of Fine Arts
of Antwerp, Bruges, Ghent. Retrieved 18 January 2015
9.2 Sources
[37] Ishikawa (1990), 53 Acres, Alfred. Rogier van der Weydens Painted
Texts. Artibus et Historiae, Volume 21, No. 41,
[38] Rothstein (2005), 4 2000
[39] "Head of the Virgin". Louvre. Retrieved 5 December Ainsworth, Maryan. In: From Van Eyck to Bruegel:
2014 Early Netherlandish Painting in the Metropolitan Mu-
[40] Campbell (2004), 8 seum of Art. New York: Metropolitan Museum,
1998. ISBN 978-0-87099-870-6
[41] White (1997), 434
Apostolos-Cappadona, Diane. Picturing devotion
[42] Koerner (1997), 128 : Rogiers St. Luke drawing the Virgin. In: Pur-
[43] Brush (1994), 19
tle, Carol, Saint Luke Drawing the Virgin: Selected
Essays in Context. Boston: Museum of Fine Arts,
[44] Apostolos-Cappadona (1997), 8 1997. ISBN 978-2-503-50572-5
10 9 REFERENCES
Bauman, Guy. Early Flemish Portraits 1425 Held, Julius. Review of: Early Netherlandish
1525. New York: The Metropolitan Museum of Art Painting, Its Origin and Character by Erwin Panof-
Bulletin, Volume 43, No. 4, Spring, 1986 sky. The Art Bulletin, Volume 37, No. 3, 1955
doi:10.2307/3047611. JSTOR 3047611
Blum, Shirley Neilsen. Symbolic Invention in
the Art of Rogier van der Weyden. Jour- Hornik, Heidi; Parsons, Mikeal Carl. Illuminating
nal of Art History, Volume 46, Issue 14, 1977 Luke: The Infancy Narrative in Italian Renaissance
doi:10.1080/00233607708603891 Painting. London: Continuum, 2003. ISBN 978-1-
Borchert, Till-Holger. The Case for Corporate 56338-405-9
Identication. In: Purtle, Carol, Saint Luke Draw- Harbison, Craig. The Art of the Northern Renais-
ing the Virgin: Selected Essays in Context. Boston: sance. London: Laurence King Publishing, 1995.
Museum of Fine Arts, 1997. ISBN 978-2-503- ISBN 978-1-78067-027-0
50572-5
Ishikawa, Chiyo. Rogier van der Weydens 'Saint
Borchert, Till-Holger. Saint Luke Drawing the Vir-
Luke Drawing the Virgin' Reexamined. Jour-
gin. In: Borchert, Till-Holger, Chapuis Julien, Van
nal of the Museum of Fine Arts, Volume 2, 1990
Eyck to Drer. London: Thames & Hudson, 2011.
doi:10.2307/20519725. JSTOR 20519725
ISBN 978-0-500-23883-7
Brush, Craig. From the Perspective of Self: Mon- MacBeth, Rhona; Spronk, Ron. A Material His-
taignes Self-portrait. New York: Fordham Univer- tory of Rogiers St. Luke Drawing the Virgin: Con-
sity Press, 1994. ISBN 978-0-8232-1550-8 servation Treatments and Findings from Technical
Examinations. In: Purtle, Carol, Saint Luke Draw-
Campbell, Lorne. Van der Weyden. London: ing the Virgin: Selected Essays in Context. Boston:
Chaucer Press, 2004. ISBN 978-1-904449-24-9 Museum of Fine Arts, 1997. ISBN 978-2-503-
Campbell, Lorne. Van der Weyden. New York: 50572-5
Harper and Row, 1980. ISBN 978-0-06-430650-8 Nash, Susie. Northern Renaissance Art. Oxford:
Campbell, Lorne; van der Stock, Jan. Rogier Van Oxford University Press, 2008. ISBN 978-0-19-
Der Weyden: 14001464 : Master of Passions. 284269-5
Zwolle: Waanders, 2009. ISBN 978-90-8526-105-
Newman, Richard. Painting Materials Used by Ro-
6
gier Van ver Weyden in Saint Luke Drawing the Vir-
Delmarcel, Guy. Flemish Tapestry from the 15th to gin". In: Purtle, Carol, Saint Luke Drawing the Vir-
the 18th Century. Tielt: Lannoo, 1999. ISBN 978- gin: Selected Essays in Context. Boston: Museum of
90-209-3886-9 Fine Arts, 1997. ISBN 978-2-503-50572-5
De Vos, Dirk. Rogier Van Der Weyden: The Com- Powell, Amy. A Point 'Ceaselessly Pushed
plete Works. New York: Harry N. Abrams, 2000. Back': The Origin of Early Netherlandish Paint-
ISBN 978-0-8109-6390-0 ing. The Art Bulletin, Volume 88, No. 4, 2006
Eisler, Colin Tobias. New England Museums. Brus- doi:10.1080/00043079.2006.10786315. JSTOR
sels: Centre National de Recherches Primitifs, 1961 25067283
Kleiner, Fred. Gardners Art Through the Ages. Purtle, Carol (ed). Saint Luke Drawing the Virgin:
Boston: Wadsworth, 2008. ISBN 978-1-285- Selected Essays in Context. Boston: Museum of Fine
75499-4 Arts, 1997. ISBN 978-2-503-50572-5
Koerner, Joseph Leo. The Moment of Self- Ridderbos, Bernhard; Van Buren, Anne; Van Veen,
Portraiture in German Renaissance Art. Chicago: Henk. Early Netherlandish Paintings: Rediscovery,
University of Chicago Press, 1997. ISBN 978-0- Reception and Research. Amsterdam: Amsterdam
226-44999-9 University Press, 2005. ISBN 978-0-89236-816-7
Hall, James. The Self-Portrait: A Cultural History. Rothstein, Bret. Sight and Spirituality in Early
London: Thames and Hudson, 2014. ISBN 978-0- Netherlandish Painting. Cambridge: Cambridge
500-29211-2 University Press, 2005. ISBN 978-0-521-83278-6
Hand, John Oliver; Metzger, Catherine; Spronk, Smith, Jerey Chipps. The Northern Renaissance
Ron. Prayers and Portraits: Unfolding the Nether- (Art and Ideas). London: Phaidon Press, 2004.
landish Diptych. National Gallery of Art (U.S.), ISBN 978-0-7148-3867-0
Koninklijk Museum voor Schone Kunsten (Bel-
gium). New Haven: Yale University Press, 2006. Spronk, Ron. More than Meets the Eye: An
ISBN 978-0-300-12155-1 Introduction to Technical Examination of Early
11
10 External links
Saint Luke Drawing the Virgin, Museum of Fine
Arts, Boston
12 11 TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES
11.2 Images
File:Commons-logo.svg Source: https://upload.wikimedia.org/wikipedia/en/4/4a/Commons-logo.svg License: PD Contributors: ? Origi-
nal artist: ?
File:Hugo_van_der_Goes_-_So_Lucas_retratando_a_Virgem.jpg Source: https://upload.wikimedia.org/wikipedia/commons/a/a0/
Hugo_van_der_Goes_-_S%C3%A3o_Lucas_retratando_a_Virgem.jpg License: Public domain Contributors: [1] Original artist: Hugo van
der Goes
File:Jan_van_Eyck_074a.jpg Source: https://upload.wikimedia.org/wikipedia/commons/2/22/Jan_van_Eyck_074a.jpg License: Public
domain Contributors: The Yorck Project: 10.000 Meisterwerke der Malerei. DVD-ROM, 2002. ISBN 3936122202. Distributed by DI-
RECTMEDIA Publishing GmbH. Original artist: Jan van Eyck
File:Jan_van_Eyck_The_Virgin_of_Chancellor_Rolin.jpg Source: https://upload.wikimedia.org/wikipedia/commons/c/c5/Jan_van_
Eyck_The_Virgin_of_Chancellor_Rolin.jpg License: Public domain Contributors:
www.allartpainting.com Original artist: Jan van Eyck
File:Master_of_the_Legend_of_St._Ursula_Virgin_and_Child.jpg Source: https://upload.wikimedia.org/wikipedia/commons/e/ee/
Master_of_the_Legend_of_St._Ursula_Virgin_and_Child.jpg License: Public domain Contributors: http://www.metmuseum.org/toah/
works-of-art/17.190.16 Original artist: Master of the Legend of Saint Ursula (Bruges)
File:Rogier_van_der_Weyden_-_Virgin_and_Child_Enthroned_-_Museo_Thyssen-Bornemisza_435.jpg Source:
https://upload.wikimedia.org/wikipedia/commons/b/b7/Rogier_van_der_Weyden_-_Virgin_and_Child_Enthroned_-_Museo_
Thyssen-Bornemisza_435.jpg License: Public domain Contributors: Museo Thyssen-Bornemisza, Madrid Original artist: Rogier
van der Weyden
File:Rogier_van_der_Weyden_014.jpg Source: https://upload.wikimedia.org/wikipedia/commons/4/4d/Rogier_van_der_Weyden_
014.jpg License: Public domain Contributors: The Yorck Project: 10.000 Meisterwerke der Malerei. DVD-ROM, 2002. ISBN 3936122202.
Distributed by DIRECTMEDIA Publishing GmbH. Original artist: Rogier van der Weyden
File:Rogier_van_der_Weyden_St_Luke_1914_Photograph_with_old_frame.jpg Source: https://upload.wikimedia.org/wikipedia/
commons/5/57/Rogier_van_der_Weyden_St_Luke_1914_Photograph_with_old_frame.jpg License: Public domain Contributors: Purtle,
Carol, Saint Luke Drawing the Virgin: Selected Essays in Context. Boston: Museum of Fine Arts, 1997. pg 104. ISBN 978-2-503-50572-5
Original artist: Unatt, Museum of Fine Arts, Boston
File:Rogier_van_der_Weyden_St_Luke_Detail_Mary_folds.jpg Source: https://upload.wikimedia.org/wikipedia/commons/8/8d/
Rogier_van_der_Weyden_St_Luke_Detail_Mary_folds.jpg License: Public domain Contributors: NV Meisterwerke Original artist: Rogier
van der Weyden
File:Rogier_van_der_Weyden_St_Luke_Some_Chick_MFA_Boston.jpg Source: https://upload.wikimedia.org/wikipedia/commons/
f/f6/Rogier_van_der_Weyden_St_Luke_Some_Chick_MFA_Boston.jpg License: Public domain Contributors: http://www.mfa.org/
collections/object/saint-luke-drawing-the-virgin-31035 Original artist: Rogier van der Weyden
File:Saint_Luke_Drawing_the_Virgin3.jpg Source: https://upload.wikimedia.org/wikipedia/commons/b/b4/Saint_Luke_Drawing_
the_Virgin3.jpg License: Public domain Contributors: http://www.mfa.org/collections/object/saint-luke-drawing-the-virgin-31035 Origi-
nal artist: Rogier van der Weyden
File:Saint_Luke_Drawing_the_Virgin_2.jpg Source: https://upload.wikimedia.org/wikipedia/commons/8/81/Saint_Luke_Drawing_
the_Virgin_2.jpg License: Public domain Contributors: http://www.mfa.org/collections/object/saint-luke-drawing-the-virgin-31035 Orig-
inal artist: Rogier van der Weyden
File:Saint_Luke_Drawing_the_Virgin_detail2.jpg Source: https://upload.wikimedia.org/wikipedia/commons/a/a7/Saint_
Luke_Drawing_the_Virgin_detail2.jpg License: Public domain Contributors: http://www.mfa.org/collections/object/
saint-luke-drawing-the-virgin-31035 Original artist: Rogier van der Weyden
File:Saint_Luke_Drawing_the_Virgin_detail5.jpg Source: https://upload.wikimedia.org/wikipedia/commons/3/3c/Saint_
Luke_Drawing_the_Virgin_detail5.jpg License: Public domain Contributors: http://www.mfa.org/collections/object/
saint-luke-drawing-the-virgin-31035 Original artist: Rogier van der Weyden
File:Saint_Luke_drawing_the_Virgin_RvdW_Detail.jpg Source: https://upload.wikimedia.org/wikipedia/commons/0/0a/Saint_
Luke_drawing_the_Virgin_RvdW_Detail.jpg License: Public domain Contributors: http://vlaamseprimitieven.vlaamsekunstcollectie.be/
en/research/webpublications/after-rogier-van-der-weyden-saint-luke-drawing-the-madonna Original artist: Follower of Rogier van der
Weyden
File:Tapestry_portrait_of_Rogier_vand_der_Weyden.jpg Source: https://upload.wikimedia.org/wikipedia/commons/d/d1/Tapestry_
portrait_of_Rogier_vand_der_Weyden.jpg License: Public domain Contributors: Campbell, Lorne & Van der Stock, Jan. Rogier
van der Weyden: 14001464. Master of Passions. Davidsfonds, Leuven, 2009. ISBN 978-90-8526-105-6 Original artist: Un-
known<a href='https://www.wikidata.org/wiki/Q4233718' title='wikidata:Q4233718'><img alt='wikidata:Q4233718' src='https://upload.
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11.3 Content license 13