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15 LIPPI FRA FILIPPO ST LUKE THE EVANGELIST
15 LUKE PAINTING THE VIRGIN
15 MISSEL ROMAIN LUC ECRIVANT
15 NANNI DI BANCO ST. LUKE AS ROMAN SENATOR
15 SORG LUKE WRITING
  15 WEYDEN ST L DRAWING A PORTRAIT OF THE MADONNA.jpg - 15 Weyden St Luke Drawing a Portrait of the Madonna 1435 Oil and tempera on panel, 137,7 x 110,8 cm Museum of Fine Arts, Boston This work shares the solidity and monumentality of its figures with the Deposition (Prado, Madrid), but differs from it in a striking atmospheric effect of chiaroscuro, a quality typical of the art of Jan van Eyck. In fact Rogier is referring directly in his St Luke Madonna to a painting by Jan van Eyck, the Madonna commissioned around 1435 by the Burgundian chancellor Nicolas Rolin and consequently known as the Rolin Madonna (Louvre, Paris). As well as the ideas about the atmospheric use of light and shade that Rogier derived from this picture, he also adopted its overall construction and many motifs from Jan van Eyck's painting, including the colours of the garments worn by the main figures. They are arranged in the picture as in the van Eyck model, except that the Virgin and her companion have changed sides. These similarities of colour and light show that Rogier must have seen the original version of the Rolin Madonna, and he can have done so only in Jan van Eyck's studio in Bruges before Chancellor Rolin collected the picture, which was for his private enjoyment only and so was not accessible to the public thereafter. The meeting in Bruges between the two men who were by now the greatest and most famous painters north of the Alps - perhaps they were already acquainted - cannot have taken place very long after 1435, and may well have been accompanied by a lively exchange of ideas. At any rate, Rogier as town painter of Brussels not only profited by his knowledge of the Rolin Madonna, he also obviously came away from Jan van Eyck with new ideas and sketches of other motifs, soon to be used in his own workshop. In spite of the inspiration Rogier had gained from Jan van Eyck, his St Luke Madonna is an entirely independent depiction of the subject, and was to establish a new tradition. In a departure from  
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16 BLONDEEL LUKE PAINTING THE VIRGIN S PORTRAIT
16 GIAMBOLOGNA SAINT LUKE BB
16 GIAMBOLOGNA SAINT LUKE
16 LUKE MARY AND PAUL

15 Weyden St Luke Drawing a Portrait of the Madonna 1435 Oil and tempera on panel, 137,7 x 110,8 cm Museum of Fine Arts, Boston This work shares the solidity and monumentality of its figures with the Deposition (Prado, Madrid), but differs from it in a striking atmospheric effect of chiaroscuro, a quality typical of the art of Jan van Eyck. In fact Rogier is referring directly in his St Luke Madonna to a painting by Jan van Eyck, the Madonna commissioned around 1435 by the Burgundian chancellor Nicolas Rolin and consequently known as the Rolin Madonna (Louvre, Paris). As well as the ideas about the atmospheric use of light and shade that Rogier derived from this picture, he also adopted its overall construction and many motifs from Jan van Eyck's painting, including the colours of the garments worn by the main figures. They are arranged in the picture as in the van Eyck model, except that the Virgin and her companion have changed sides. These similarities of colour and light show that Rogier must have seen the original version of the Rolin Madonna, and he can have done so only in Jan van Eyck's studio in Bruges before Chancellor Rolin collected the picture, which was for his private enjoyment only and so was not accessible to the public thereafter. The meeting in Bruges between the two men who were by now the greatest and most famous painters north of the Alps - perhaps they were already acquainted - cannot have taken place very long after 1435, and may well have been accompanied by a lively exchange of ideas. At any rate, Rogier as town painter of Brussels not only profited by his knowledge of the Rolin Madonna, he also obviously came away from Jan van Eyck with new ideas and sketches of other motifs, soon to be used in his own workshop. In spite of the inspiration Rogier had gained from Jan van Eyck, his St Luke Madonna is an entirely independent depiction of the subject, and was to establish a new tradition. In a departure from | 15 WEYDEN ST L DRAWING A PORTRAIT OF THE MADONNA.jpg
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