Roger van der Weyden
Encyclopedia
Rogier van der Weyden or Rogier de le Pasture (1399 or 1400 – 18 June 1464) was an Early Flemish painter
. His surviving works consist mainly of religious triptych
s, altarpieces and commissioned single and diptych
portraits. Although his life was generally uneventful, he was highly successful and internationally famous in his lifetime. His paintings were exported – or taken – to Italy and Spain, and he received commissions from, amongst others, Philip the Good, Netherlandish nobility and foreign princes. By the latter half of the fifteenth-century, he had eclipsed Jan van Eyck
in popularity. However his fame lasted only until the 17th century, and largely due to changing taste, he was almost totally forgotten by the mid 18th century. His reputation was slowly rebuilt during the following 200 years; today he is known, with Robert Campin
and van Eyck, as the third (by birth date) of the three great Early Flemish artists ('Vlaamse Primitieven'), and widely as the most influential Northern painter of the 15th century.
Due to the loss of archives in 1695 and again in 1940, there are few certain facts of van der Weyden's life. Rogelet de le Pasture (Roger of the Pasture) was born in Tournai
(in present-day Belgium) in 1399 or 1400. His parents were Henri de le Pasture and Agnes de Watrélos. He married around 1426, to Elisabeth Goffaert, and was made town painter of Brussels in 1436, and changed his name from the French to the Dutch format, becoming 'van der Weyden'. What is known of him beyond this has been woven together from secondary sources, and some of it is contestable. However the paintings now attributed to him are generally accepted, despite a tendency in the 19th century to attribute his work to others.
Van der Weyden left no self portraits. Many of his most important works were destroyed during the late 17th century. He is first mentioned in historical records in 1427 when, relatively later in life, he studied painting under Campin during 1427–32, and soon outshone his master and, later, even influenced him. After his apprenticeship he was made master
of the Tournai
Guild of St Luke. He moved to Brussels in 1435, where he quickly established his reputation for his technical skill and emotional use of line and colour. He completed his Deposition in 1435, which as he had deliberately intended, made him one of the most sought after and influential artists in northern Europe and is still considered his masterpiece.
Van der Weyden worked from life models, and his observations were acute, yet he often idealised certain elements of his models' facial features, and they are typically statuesque, especially in his triptychs. All of his forms are rendered with rich, warm colourisation and a sympathetic expression, while he is known for his expressive pathos and naturalism. His portraits tend to be half length and half profile, and he is as sympathetic here as in his religious triptychs. Van der Weyden utilised an unusually broad range of colours and varied tones; in his finest work the same tone is not repeated in any other area of the canvas; even the whites are varied.
shoemaker Jan Goffaert and his wife Cathelyne van Stockem. Rogier and Elisabeth had four children: Cornelius, who became a Carthusian
monk, was born in 1427; a daughter Margaretha in 1432. Before 21 October 1435 the family settled in Brussels
where the two younger children were born: Pieter in 1437 and Jan the next year. From the second of March 1436 onwards he held the title of 'painter to the town of Brussels' (stadsschilder), a very prestigious post because Brussels was at that time the most important residence of the splendid court of the Dukes of Burgundy. On his move to the Dutch-speaking town of Brussels, Rogier began using the Dutch version of his name: 'Rogier van der Weyden'.
Little is known about Rogier's training as a painter. The archival sources from Tournai
were completely destroyed during World War II, but had been partly transcribed in the 19th and early 20th century. The sources on his early life are confusing and have led to different interpretations by scholars. It is known that the city council of Tournai offered wine in honour of a certain 'Maistre Rogier de le Pasture' on 17 March 1427. However, on the 5th of March of the following year the records of the painters' guild show a 'Rogelet de le Pasture' entered the workshop of Robert Campin
together with Jacques Daret
. Records show that de le Pasture was already established as a painter. Only five years later, on the first of August 1432, de le Pasture obtained the title of a 'Master' (Maistre) painter. His later entry into apprenticeship might be explained by the fact that during the 1420s the city of Tournai was in crisis and as a result the guilds were not functioning normally. The late apprenticeship may have been a legal formality. Also Jacques Daret was then in his twenties and had been living and working in Campin's household for at least a decade.
It is possible that Rogier obtained an academic title (Master) before he became a painter and that he was awarded the wine of honour on the occasion of his graduation. The sophisticated and 'learned' iconographical and compositional qualities of the paintings attributed to him are sometimes used as an argument in favour of this supposition. The social and intellectual status of Rogier in his later life surpassed that of a mere craftsman at that time. In general the close stylistical link between the documented works of Jacques Daret
, and the paintings attributed to Robert Campin and van der Weyden, are the main arguments to consider Rogier van der Weyden as a pupil of Campin.
The Miraflores Altarpiece was probably commissioned by King Juan II of Castile, since Juan II donated it to the monastery of Miraflores in 1445. In the holy year 1450 Rogier quite possibly made a pilgrimage to Rome which brought him in contact with Italian artists and patrons. The House of Este and the Medici
family commissioned paintings from him. The Duchess of Milan, Bianca Maria Visconti, sent her court painter Zanetto Bugatto to Brussels to become an apprentice in Rogier's workshop. Rogier's international reputation had increased progressively. In the 1450s and 1460s scholars such as Cusanus, Filarete
and Facius referred to him in superlatives: 'the greatest', 'the most noble' of painters. Van der Weyden died on 18 June 1464, and was buried in the Chapel of St Catherine in the Cathedral of St Gudulphe.
No single work can be attributed with certainty to van der Weyden on 15th century documentary evidence alone. However, Lorne Campbell has stated that three well-authenticated paintings are known, but, at various times, each has been doubted or underestimated. The best documented is The Descent from the Cross
in the Museo del Prado
, Madrid. Campbell points out that this painting's history can be reconstructed in some detail from the 16th century and later records. The 'Triptych of the Virgin' or 'Miraflores altarpiece', now in Berlin, was given in 1445 to the Charterhouse of Miraflores near Burgos
by John II of Castile
; it was described in the deed of gift as the work of great and famous Flandresco Rogel. The 'Crucifixion', now in the Escorial Palace
, was given by Rogier himself to the Charterhouse
of Scheut outside Brussels. In his catalogue raisonné
of Van der Weyden's work, the Belgian art historian Dirk de Vos agrees with Campbell about the authenticity of these three paintings.
in the National Gallery
London has been described by Campbell as "one of the great masterpieces of fifteenth-century art and among Rogier's most important early works". Since the 1970s, this painting has been linked to two small heads in the collection of the Calouste Gulbenkian Museum (Lisbon), of Saint Catherine and of St Joseph. It is now widely believed that these three fragments came from the same large altarpiece depicting the 'Virgin and Child with Saints', partly recorded in a later drawing now in Stockholm
. At some unknown date before 1811, this altarpiece was carved up into these three fragments.
Rogier's most famous paintings, which survived until the 17th century, were four large panels representing the Justice of Trajan
and Justice of Herkenbald. These were commissioned by the City of Brussels for the Gulden Camere (Golden Chamber) of the Brussels Town Hall
. The first and third panels were signed, and the first dated 1439. All four were finished before 1450. They were destroyed in the French Bombardment of Brussels
in 1695, but are known from many old descriptions, from a free partial copy in tapestry (Bern, Historisches Museum) and from other free and partial copies in drawing and painting. The paintings probably measured ca. 4.5 m each, which was an enormous scale for a painting on panel at that time. They served as 'examples of justice' for the aldermen of the city who had to speak justice in this room. The paintings were praised or described by a series of commentators until their destruction, including Dürer (1520), Vasari (1568), Molanus
(c.1570–1580), and Baldinucci
(1688).
was his greatest follower, although it is not proven that he studied under Rogier. Van der Weyden had also a large influence on the German painter and engraver Martin Schongauer
whose prints were distributed all over Europe from the last decades of the 15th century. Indirectly Schongauer's prints helped to disseminate van der Weyden's style.
Early Netherlandish painting
Early Netherlandish painting refers to the work of artists active in the Low Countries during the 15th- and early 16th-century Northern renaissance, especially in the flourishing Burgundian cities of Bruges and Ghent...
. His surviving works consist mainly of religious triptych
Triptych
A triptych , from tri-= "three" + ptysso= "to fold") is a work of art which is divided into three sections, or three carved panels which are hinged together and can be folded shut or displayed open. It is therefore a type of polyptych, the term for all multi-panel works...
s, altarpieces and commissioned single and diptych
Diptych
A diptych di "two" + ptychē "fold") is any object with two flat plates attached at a hinge. Devices of this form were quite popular in the ancient world, wax tablets being coated with wax on inner faces, for recording notes and for measuring time and direction.In Late Antiquity, ivory diptychs with...
portraits. Although his life was generally uneventful, he was highly successful and internationally famous in his lifetime. His paintings were exported – or taken – to Italy and Spain, and he received commissions from, amongst others, Philip the Good, Netherlandish nobility and foreign princes. By the latter half of the fifteenth-century, he had eclipsed Jan van Eyck
Jan van Eyck
Jan van Eyck was a Flemish painter active in Bruges and considered one of the best Northern European painters of the 15th century....
in popularity. However his fame lasted only until the 17th century, and largely due to changing taste, he was almost totally forgotten by the mid 18th century. His reputation was slowly rebuilt during the following 200 years; today he is known, with Robert Campin
Robert Campin
Robert Campin , now usually identified as the artist known as the Master of Flémalle, is usually considered the first great master of Early Netherlandish painting...
and van Eyck, as the third (by birth date) of the three great Early Flemish artists ('Vlaamse Primitieven'), and widely as the most influential Northern painter of the 15th century.
Due to the loss of archives in 1695 and again in 1940, there are few certain facts of van der Weyden's life. Rogelet de le Pasture (Roger of the Pasture) was born in Tournai
Tournai
Tournai is a Walloon city and municipality of Belgium located 85 kilometres southwest of Brussels, on the river Scheldt, in the province of Hainaut....
(in present-day Belgium) in 1399 or 1400. His parents were Henri de le Pasture and Agnes de Watrélos. He married around 1426, to Elisabeth Goffaert, and was made town painter of Brussels in 1436, and changed his name from the French to the Dutch format, becoming 'van der Weyden'. What is known of him beyond this has been woven together from secondary sources, and some of it is contestable. However the paintings now attributed to him are generally accepted, despite a tendency in the 19th century to attribute his work to others.
Van der Weyden left no self portraits. Many of his most important works were destroyed during the late 17th century. He is first mentioned in historical records in 1427 when, relatively later in life, he studied painting under Campin during 1427–32, and soon outshone his master and, later, even influenced him. After his apprenticeship he was made master
Master craftsman
A master craftsman or master tradesman was a member of a guild. In the European guild system, only masters were allowed to be members of the guild....
of the Tournai
Tournai
Tournai is a Walloon city and municipality of Belgium located 85 kilometres southwest of Brussels, on the river Scheldt, in the province of Hainaut....
Guild of St Luke. He moved to Brussels in 1435, where he quickly established his reputation for his technical skill and emotional use of line and colour. He completed his Deposition in 1435, which as he had deliberately intended, made him one of the most sought after and influential artists in northern Europe and is still considered his masterpiece.
Van der Weyden worked from life models, and his observations were acute, yet he often idealised certain elements of his models' facial features, and they are typically statuesque, especially in his triptychs. All of his forms are rendered with rich, warm colourisation and a sympathetic expression, while he is known for his expressive pathos and naturalism. His portraits tend to be half length and half profile, and he is as sympathetic here as in his religious triptychs. Van der Weyden utilised an unusually broad range of colours and varied tones; in his finest work the same tone is not repeated in any other area of the canvas; even the whites are varied.
Early life and apprenticeship
The Pasture family had settled before in the city of Tournai where Rogier's father worked as a 'maître-coutelier' (knife manufacturer). In 1426 Rogier married Elisabeth, the daughter of a BrusselsBrussels
Brussels , officially the Brussels Region or Brussels-Capital Region , is the capital of Belgium and the de facto capital of the European Union...
shoemaker Jan Goffaert and his wife Cathelyne van Stockem. Rogier and Elisabeth had four children: Cornelius, who became a Carthusian
Carthusian
The Carthusian Order, also called the Order of St. Bruno, is a Roman Catholic religious order of enclosed monastics. The order was founded by Saint Bruno of Cologne in 1084 and includes both monks and nuns...
monk, was born in 1427; a daughter Margaretha in 1432. Before 21 October 1435 the family settled in Brussels
Brussels
Brussels , officially the Brussels Region or Brussels-Capital Region , is the capital of Belgium and the de facto capital of the European Union...
where the two younger children were born: Pieter in 1437 and Jan the next year. From the second of March 1436 onwards he held the title of 'painter to the town of Brussels' (stadsschilder), a very prestigious post because Brussels was at that time the most important residence of the splendid court of the Dukes of Burgundy. On his move to the Dutch-speaking town of Brussels, Rogier began using the Dutch version of his name: 'Rogier van der Weyden'.
Little is known about Rogier's training as a painter. The archival sources from Tournai
Tournai
Tournai is a Walloon city and municipality of Belgium located 85 kilometres southwest of Brussels, on the river Scheldt, in the province of Hainaut....
were completely destroyed during World War II, but had been partly transcribed in the 19th and early 20th century. The sources on his early life are confusing and have led to different interpretations by scholars. It is known that the city council of Tournai offered wine in honour of a certain 'Maistre Rogier de le Pasture' on 17 March 1427. However, on the 5th of March of the following year the records of the painters' guild show a 'Rogelet de le Pasture' entered the workshop of Robert Campin
Robert Campin
Robert Campin , now usually identified as the artist known as the Master of Flémalle, is usually considered the first great master of Early Netherlandish painting...
together with Jacques Daret
Jacques Daret
Jacques Daret was an Early Netherlandish painter born in Tournai , where he would spend much of his life. Daret spent 15 years as a pupil in the studio of Robert Campin, alongside Rogier or Rogelet de le Pasture , and afterwards...
. Records show that de le Pasture was already established as a painter. Only five years later, on the first of August 1432, de le Pasture obtained the title of a 'Master' (Maistre) painter. His later entry into apprenticeship might be explained by the fact that during the 1420s the city of Tournai was in crisis and as a result the guilds were not functioning normally. The late apprenticeship may have been a legal formality. Also Jacques Daret was then in his twenties and had been living and working in Campin's household for at least a decade.
Jacques Daret
Jacques Daret was an Early Netherlandish painter born in Tournai , where he would spend much of his life. Daret spent 15 years as a pupil in the studio of Robert Campin, alongside Rogier or Rogelet de le Pasture , and afterwards...
, and the paintings attributed to Robert Campin and van der Weyden, are the main arguments to consider Rogier van der Weyden as a pupil of Campin.
Acclaim in Brussels
The final mention of Rogier de la Pasture in the financial records of Tournai, on 21 October 1435, lists him as demeurrant à Brouxielles ('living in Brussels'). At the same time, the first mention of Rogier de Weyden places him as the official painter of Brussels. It is this fact that puts de la Pasture and van der Weyden as one and the same painter. The post of city painter was created especially for Van der Weyden and was meant to lapse on his death. It was linked to a huge commission to paint four justice scenes for the 'Golden Chamber' of Brussels City Hall. Different properties and investments are documented and witness his material prosperity. The portraits he painted of the Burgundian Dukes, their relatives and courtiers, demonstrate a close relationship with the elite of the Netherlands.The Miraflores Altarpiece was probably commissioned by King Juan II of Castile, since Juan II donated it to the monastery of Miraflores in 1445. In the holy year 1450 Rogier quite possibly made a pilgrimage to Rome which brought him in contact with Italian artists and patrons. The House of Este and the Medici
Medici
The House of Medici or Famiglia de' Medici was a political dynasty, banking family and later royal house that first began to gather prominence under Cosimo de' Medici in the Republic of Florence during the late 14th century. The family originated in the Mugello region of the Tuscan countryside,...
family commissioned paintings from him. The Duchess of Milan, Bianca Maria Visconti, sent her court painter Zanetto Bugatto to Brussels to become an apprentice in Rogier's workshop. Rogier's international reputation had increased progressively. In the 1450s and 1460s scholars such as Cusanus, Filarete
Filarete
Antonio di Pietro Averlino , also "Averulino", known as Filarete was an Italian Renaissance architect, sculptor and architectural theorist from Florence. He is perhaps best remembered for his design of the ideal city of Sforzinda, the first ideal city plan of the Renaissance.-Biography:Antonio di...
and Facius referred to him in superlatives: 'the greatest', 'the most noble' of painters. Van der Weyden died on 18 June 1464, and was buried in the Chapel of St Catherine in the Cathedral of St Gudulphe.
Attribution
Deposition (Rogier van der Weyden)
The Descent from the Cross is a panel painting by the Flemish artist Rogier van der Weyden created c. 1435, now in the Museo del Prado, Madrid. The work shows the Deposition of Christ. The crucified Christ is lowered from the cross, his lifeless body held by Joseph of Arimathea and Nicodemus.The c...
in the Museo del Prado
Museo del Prado
The Museo del Prado is the main Spanish national art museum, located in central Madrid. It features one of the world's finest collections of European art, from the 12th century to the early 19th century, based on the former Spanish Royal Collection, and unquestionably the best single collection of...
, Madrid. Campbell points out that this painting's history can be reconstructed in some detail from the 16th century and later records. The 'Triptych of the Virgin' or 'Miraflores altarpiece', now in Berlin, was given in 1445 to the Charterhouse of Miraflores near Burgos
Burgos
Burgos is a city of northern Spain, historic capital of Castile. It is situated at the edge of the central plateau, with about 178,966 inhabitants in the city proper and another 20,000 in its suburbs. It is the capital of the province of Burgos, in the autonomous community of Castile and León...
by John II of Castile
John II of Castile
John II was King of Castile from 1406 to 1454.He was the son of Henry III of Castile and his wife Catherine of Lancaster, daughter of John of Gaunt, 1st Duke of Lancaster by Constance of Castile, daughter of King Peter of Castile.-Regency:He succeeded his father on 25 December 1406, at the age of...
; it was described in the deed of gift as the work of great and famous Flandresco Rogel. The 'Crucifixion', now in the Escorial Palace
El Escorial
The Royal Seat of San Lorenzo de El Escorial is a historical residence of the king of Spain, in the town of San Lorenzo de El Escorial, about 45 kilometres northwest of the capital, Madrid, in Spain. It is one of the Spanish royal sites and functions as a monastery, royal palace, museum, and...
, was given by Rogier himself to the Charterhouse
Carthusian
The Carthusian Order, also called the Order of St. Bruno, is a Roman Catholic religious order of enclosed monastics. The order was founded by Saint Bruno of Cologne in 1084 and includes both monks and nuns...
of Scheut outside Brussels. In his catalogue raisonné
Catalogue raisonné
The typical catalogue raisonné is a monograph giving a comprehensive catalogue of artworks by an artist.The essential elements of a catalogue raisonné are that it purports to be an exhaustive list of works for a defined subject matter describing the works in a way so that they may be reliably...
of Van der Weyden's work, the Belgian art historian Dirk de Vos agrees with Campbell about the authenticity of these three paintings.
Works
The fragment of The Magdalen ReadingThe Magdalen Reading
The Magdalen Reading is one of three surviving fragments of a large mid-15th century oil-on-oak altarpiece by the early Netherlandish painter Rogier van der Weyden. Completed some time between 1435 and 1438, it has been in the National Gallery, London since 1860...
in the National Gallery
National gallery
The National Gallery is an art gallery on Trafalgar Square, London, United Kingdom.National Gallery may also refer to:*Armenia: National Gallery of Armenia, Yerevan*Australia:**National Gallery of Australia, Canberra...
London has been described by Campbell as "one of the great masterpieces of fifteenth-century art and among Rogier's most important early works". Since the 1970s, this painting has been linked to two small heads in the collection of the Calouste Gulbenkian Museum (Lisbon), of Saint Catherine and of St Joseph. It is now widely believed that these three fragments came from the same large altarpiece depicting the 'Virgin and Child with Saints', partly recorded in a later drawing now in Stockholm
Stockholm
Stockholm is the capital and the largest city of Sweden and constitutes the most populated urban area in Scandinavia. Stockholm is the most populous city in Sweden, with a population of 851,155 in the municipality , 1.37 million in the urban area , and around 2.1 million in the metropolitan area...
. At some unknown date before 1811, this altarpiece was carved up into these three fragments.
Rogier's most famous paintings, which survived until the 17th century, were four large panels representing the Justice of Trajan
Justice of Trajan
The Justice of Trajan is a legendary episode in the life of Roman Emperor Trajan, based upon Dio Cassius' account : "He did not, however, as might have been expected of a warlike man, pay any less attention to the civil administration nor did he dispense justice any the less; on the contrary, he...
and Justice of Herkenbald. These were commissioned by the City of Brussels for the Gulden Camere (Golden Chamber) of the Brussels Town Hall
Brussels Town Hall
The Town Hall of the City of Brussels is a Gothic building from the Middle Ages. It is located on the famous Grand Place in Brussels, Belgium....
. The first and third panels were signed, and the first dated 1439. All four were finished before 1450. They were destroyed in the French Bombardment of Brussels
Bombardment of Brussels
The bombardment of Brussels by French troops of King Louis XIV on August 13, 14 and 15, 1695 and the resulting fire were together the most destructive event in the entire history of Brussels. The Grand Place was destroyed, along with a third of the buildings in the city...
in 1695, but are known from many old descriptions, from a free partial copy in tapestry (Bern, Historisches Museum) and from other free and partial copies in drawing and painting. The paintings probably measured ca. 4.5 m each, which was an enormous scale for a painting on panel at that time. They served as 'examples of justice' for the aldermen of the city who had to speak justice in this room. The paintings were praised or described by a series of commentators until their destruction, including Dürer (1520), Vasari (1568), Molanus
Molanus
Jan Vermeulen or Jan van der Meulen, also known as Molanus was an influential Counter Reformation Flemish Catholic theologian of Louvain University, where he was Professor of Theology, and Rector from 1578...
(c.1570–1580), and Baldinucci
Filippo Baldinucci
Filippo Baldinucci was an Italian art historian and biographer.-Life:Baldinucci is considered among the most significant Florentine biographers/historians of the artists and the arts of the Baroque period...
(1688).
Influence
His vigorous, subtle, expressive painting and popular religious conceptions had considerable influence on European painting, not only in France and Germany but also in Italy and in Spain. Hans MemlingHans Memling
Hans Memling was a German-born Early Netherlandish painter.-Life and works:Born in Seligenstadt, near Frankfurt in the Middle Rhein region, it is believed that Memling served his apprenticeship at Mainz or Cologne, and later worked in the Netherlands under Rogier van der Weyden...
was his greatest follower, although it is not proven that he studied under Rogier. Van der Weyden had also a large influence on the German painter and engraver Martin Schongauer
Martin Schongauer
Martin Schongauer was a German engraver and painter. He was the most important German printmaker before Albrecht Dürer....
whose prints were distributed all over Europe from the last decades of the 15th century. Indirectly Schongauer's prints helped to disseminate van der Weyden's style.
Sources
- Campbell, Lorne. Van der Weyden. London: Chaucer Press, 2004. ISBN 1-904449-24-7
- Campbell, Lorne. The Fifteenth Century Netherlandish Schools. London: National Gallery Publications, 1998. ISBN 1-85709-171-X
- Campbell, Lorne & Van der Stock, Jan. Rogier van der Weyden: 1400–1464. Master of Passions. Davidsfonds, Leuven, 2009. ISBN 978-90-8526-105-6
- Clark, Kenneth. Looking at Pictures. New York: Holt Rinehart and Winston, 1960
- Davies, Martin. Rogier van der Weyden: An Essay with a Critical Catalogue of Paintings Assigned to him and to Robert Campin, London: Phaidon, 1972. ISBN 0-7148-1516-0
- De Vos, Dirk. Rogier van der Weyden: The Complete Works. Harry N Abrams, 2000. ISBN 0-8109-6390-6
- De Vos, Dirk. The Flemish Primitives. Amsterdam University Press, 2002.
- Dhanens, Elisabeth. Rogier van der Weyden. Revisie van de documenten. Brussels: Royal Academy of Belgium, 1995.
- Dillenberger, Jane. Style and Content in Christian Art. 2nd Ed. New York: Crossroad Publishing Company, 1986.
- Kemperdick, Stephan. Rogier van der Weyden. Könemann, 2000. ISBN 3-8290-2571-8
- Marzio, Peter C. A Permanent Legacy: 150 works from the Collection of the Museum of Fine Arts, Houston. New York: Hudson Hills Press, 1989.
- Snyder, James. Northern Renaissance Art: Painting, Sculpture, The Graphic Arts from 1350 to 1575. 2nd ed. New Jersey: Prentice Hall Inc. and Pearson Education, 2005.
External links
- Centre for the Study of Fifteenth Century Painting in the Southern Netherlands and the Principality of Liège – complete bibliography on Rogier van der Weyden and his circle since 1984
- The Netherlandish Diptych Unfolded – Exhibition on Netherlandish Diptychs in the National Gallery of Art in Washington including Van der Weyden's diptych of Philippe de Croy
- Rogier van der Weyden 1400–1464 – Master of Passions, Major international loan exhibition on Rogier van der Weyden at the Museum of Leuven, Belgium, 2009