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VAN DER WEYDEN, ROGER (c. 1400-1464) , Flemish painter, also known as Roger de la Pasture, Rogier de Bruxelles, &c., was born at Tournay, where in 1427 he entered the studio of Robert Campin. He established himself in Brussels about 1435. He was in Italy in 1449-1450, but his visit shows no result on his style, which owes nothing to Italian models; and he returned to Brussels, where he died on the 18th of June 1464. His vigorous, subtle and expressive painting and popular religious conceptions had considerable influence on the art of Flanders and Germany. Memlinc was his greatest pupil; and his place in the early Flemish school is second only to that of the Van Eycks. He was not a pupil of Jan van Eyck, as was at one time supposed. His principal paintings were: a " Descent from the Cross " (1440), now in Madrid, and another (1443) in the church See Also: - CHURCH
- CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
- CHURCH, FREDERICK EDWIN (1826-1900)
- CHURCH, GEORGE EARL (1835–1910)
- CHURCH, RICHARD WILLIAM (1815–189o)
- CHURCH, SIR RICHARD (1784–1873)
of St Pierre at Louvain ; a triptych (1438-144o), now in the Berlin Museum; " Madonna with Saints " (1450), at the Stadel Institute, Frankfort; a "Last Judgment " (1451), in the hospital of Beaune, France; the portraits of Philip the Good (Antwerp Museum) and Charles the Bold (Brussels Museum), painted about 14561458; the " Altar-piece of St John " and the triptych from Middelburg (Berlin Museum); an " Entombment of Christ " (National Gallery); a " Woman Crying " (Brussels Museum); " Descent from the Cross " (Louvre); " Adoration of the Magi " (Old Pinakothek at Munich ); " Descent from the Cross " (the Hague); " Seven Sacraments " (Antwerp Museum); " Descent from the Cross " (Brussels Museum). Some of these latter, and others, are only doubtfully attributed to the master. The " Crucifixion " in the Brussels Museum, assigned either to him or to Memlinc , and containing portraits of the Sforzas, probably represents Roger van der Weyden in some of the principal figures at least, though Memlinc may have completed the picture.
There was a younger Roger van der Weyden (c. 14501529), to whom a brilliant " Mary Magdalen " in the National Gallery is attributed.
There are Lives of the elder Van der Weyden by A. Wauters (1856) and Alex. Pinchart (1876).
End of Article: VAN DER WEYDEN, ROGER (c. 1400-1464)
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