1400 – 1500
Renaissance in Italy & the North

Van der Weyden's Deposition

Rogier van der Weyden, Deposition, c. 1435 (Prado, Madrid)

Speakers: Dr. David Drogin, Dr. Beth Harris

Your Comments (3)

Previous Comments

Allen Farber wrote on Sunday, November 15, 2009

To expand on the points made in the discussion, it is striking how van der Weyden has explored individual emotion. This is most apparent in the variety of poses and different types of grief shown. It is also notable that if you look at the figures carefully, no two of them are looking in the same direction. The individual figures are responding to the sorrow of Christ's death each in their own way.

Anakaya wrote on Friday, February 11, 2011

My art history teacher also mentioned to us that this work was comissioned most likely by a Crossbow Guild because of the crossbow symbols in the upper left- and right-hand corners.

Robert Pomykala wrote on Sunday, April 29, 2012

Some observations: The only figure that has direct physical contact with Christ's body is the angel, the other figures have a cloth boundry preventing contact, and lastly the shadow box effect seem to enhance the figures dance like qualities.

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Where and When

Van der Weyden, Deposition, c. 1435 (Prado, Madrid)
Brussels, Flanders,
c. 1435

Check this out as well

Van der Weyden database, Center for the Study of Fifteenth-Century Painting, Liege
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