Synopsis
Rogier Van der Weyden emerged from scholarly and critical neglect only with the revival of interest in the so-called Flemish Primitives during the second half of the nineteenth century. The immensely forceful, frequently disturbing images which Van der Weyden produced owed as much to his supreme control of paint as they did to his observation of detail, which was never permitted to dominate the general rhythm and pattern of the picture itself. These qualities fused to create a style with a direct impact but one which was the result of only the most subtle and painstaking calculations of color and balance. Dr Campbell explores Van der Weyden s position both as official painter to the city of Brussels and within the international system of princely patronage which was evolving during his lifetime.
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About the Author
Dr Lorne Campbell was born in Stirling in 1946 and educated at Edinburgh University and the Courtauld Institute of Art, University of London, from which he received his Ph.D. in 1973. He was a Lecturer at Manchester University from 1970 to 1971, Speelman Fellow in Dutch and Flemish Art at Wolfson College,Cambridge University, from 1971 to 1974 and from 1974 has been a Lecturer at the Courtauld Institute.He is the author,with Colin Thompson, of Hugo van der Goes and the Trinity Panels in Edinburgh, and he has contributed articles to The Burlington Magazine, The Journal of the Warburg and Courtauld Institutes, The Connoisseur and the Bulletin des Musées Royaux des Beaux Arts de Belgique.Dr Campbell is current Curator at the National Gallery London.
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