around 1399 -1464 · Tournai, Brussels and Burgundian painting

Precise tears, sculptural draperies and intensely human compositions make Rogier van der Weyden a major master of Flemish primitives.

Rogier de le Pasture, known by the Dutch name Rogier van der Weyden, was born in Tournai around 1399 and died in Brussels in 1464. He was officially an apprentice to Robert Campin from 1427 to 1432, although his training probably began earlier. Installed in Brussels in 1435, he became a city painter and directed an important workshop. His sponsors belong to the court of Burgundy, cities, churches and international elites. The Descent from the Cross, created for a brotherhood of crossbowmen in Louvain, concentrated his genius: His sponsors belonged to the court of Burgundy, cities, churches and international elites. The Descent from the Cross, created for a brotherhood of crossbowmen in Louvain, concentrated his genius: His sponsors belonged to the court of Burgundy, cities, churches and international elites. The Descent from the Cross, created for a brotherhood of crossbowmen in Louvain, concentrated his genius: His sponsors belonged to the court of Burgundy, cities, churches and international elites. The Descent from the Cross, created for a brotherhood of crossbowmen in Louvain, concentrated his genius: His sponsors belonged to the court of Burgundy, cities, churches and international elites. The Descent from the Cross, created for a brother precision that transforms pain into collective experience. Saint Luke drawing the Virgin combines devotion and reflection on the painter's profession. The Braque family Triptych adapts monumentality to private prayer, while the Altarpiece of Saint John the Baptist distributes the story in feigned architecture. Rogier also excels in portraiture, reducing decor and accessories in order to concentrate attention on hands, gaze and moral status. A trip to Italy around 1450 contributes to its already immense influence. Rogier also excels in portraiture, reducing decor and accessories in order to concentrate attention on hands, gaze and moral status. A trip to Italy around 1450 contributes to its already immense influence. His models are copied and adapted in the Netherlands, the Iberian Peninsula, Germany and Italy. His art unites material observation, rigorous structure and pathos: the Flemish detail does not serve accumulation, but emotional intensity. The selection "Rogier van der Weyden" notably compares The Descent from the Cross and Saint Luke drawing the Virgin. His reading favors movement.

Rogier constructs emotion with architect-like precision: every gesture, every crease and every tear leads to human drama.