Marie Madeleine lisant, Rogier van der Weyden, 1435
Rogier van der Weyden, portraitRogier van der WeydenFlandre, 1399–1464

Marie Madeleine lisant

The Magdalen Reading

1435 · Painting · 62.2 × 54.4 cm

Peut-on la contempler ?

Inconnu

National Gallery

Londres, Royaume-Uni

Le propriétaire est connu ; on ignore si l’œuvre est exposée aujourd’hui.

Dans cet état depuis
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Le musée

À propos du tableau

Marie Madeleine lisant est l'un des trois fragments connus d'un important retable peint au milieu du XVe siècle par le peintre flamand Rogier de le Pasture, connu sous le nom de Rogier van der Weyden. Réalisé entre 1435 et 1438, ce fragment est exposé à la National Gallery de Londres depuis 1860.

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Notice

Numéro d’inventaire
NG654

Au catalogue

Sources

  • Wikidata
  • Image : National Gallery — Rogier van der Weyden · Public domain · Wikimedia Commons

Pendant ce temps, chez Rogier van der Weyden

La vie entière
  1. 1427–1438

    Four children: Cornelius, Margaretha, Pieter and Jan

    Cornelius was born in 1427 (he later became a Carthusian monk), Margaretha in 1432, and Pieter and Jan in 1437 and 1438 in Brussels; Pieter became a painter and inherited his father’s workshop, Jan a goldsmith.

  2. 1432–1435 · Lieu de travail

    Tournai

  3. by 21 October 1435

    He moves to Brussels and takes a new name

    By 21 October 1435 he and his family were living in Brussels — one of Europe’s largest cities and the chief residence of the Dukes of Burgundy; Dutch was spoken there, and Roger de la Pasture became Rogier van der Weyden.

  4. 1435–1464 · Lieu de travail

    Brussels

  5. 1435–1464

    Portraitist of the Burgundian court

    In Brussels he painted portraits of Duke Philip the Good, his son Charles the Bold and his illegitimate son Anthony of Burgundy, Philip I de Croÿ (1460) and Laurent Froimont; there is ample evidence of his prosperity and of the special patronage of the Burgundian court at the height of its power.

  6. 2 March 1436

    Painter to the town of Brussels

    From 2 March 1436 he held the prestigious title of “painter to the town of Brussels” (stadsschilder): the post was created especially for him, was meant to lapse on his death and was tied to a huge commission — four justice scenes for the “Golden Chamber” of the town hall.

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