Madonna and Child. The Madonna Standing is a small painting by the Flemish artist Rogier van der Weyden dating from about 1430-1432.
It is the left panel of a diptych held in the Kunsthistorisches Museum, Vienna since 1772. The right panel portrays St. Catherine and is also attributed by the KHM to van der Weyden, but is inferior in quality and generally regarded as by a workshop member.
The panel shows the Madonna and Child standing in a painted niche. The architecture of the niche's contains biblical and heavenly figures rendered in grisaille, including God the Father, the Holy Spirit represented by a dove, and Adam and Eve.
The painting is influenced by Jan van Eyck's Ghent altarpiece, which the younger artist probably saw after he moved to Ghent around 1432. Borrowings from van Eyck include the positioning of a living figure in a niche, separating Adam and Eve across panels, and placing figure of God leaning on the frame.
The painting is a Madonna Lactans. The Madonna and Child stand in a space delimited by the rich brocade of the throne at the back and the delicate curtain of tracery in the front, a flattening of the picture space into a kind of relief regarded by Panofsky as already unmistakably Rogerian. It was a technique he would further refine in his Duran Madonna of 1435-1438. In this work, Mary holds the child in her arms as he suckles at her breast. The blue colour of her robe may al
It is the left panel of a diptych held in the Kunsthistorisches Museum, Vienna since 1772. The right panel portrays St. Catherine and is also attributed by the KHM to van der Weyden, but is inferior in quality and generally regarded as by a workshop member.
The panel shows the Madonna and Child standing in a painted niche. The architecture of the niche's contains biblical and heavenly figures rendered in grisaille, including God the Father, the Holy Spirit represented by a dove, and Adam and Eve.
The painting is influenced by Jan van Eyck's Ghent altarpiece, which the younger artist probably saw after he moved to Ghent around 1432. Borrowings from van Eyck include the positioning of a living figure in a niche, separating Adam and Eve across panels, and placing figure of God leaning on the frame.
The painting is a Madonna Lactans. The Madonna and Child stand in a space delimited by the rich brocade of the throne at the back and the delicate curtain of tracery in the front, a flattening of the picture space into a kind of relief regarded by Panofsky as already unmistakably Rogerian. It was a technique he would further refine in his Duran Madonna of 1435-1438. In this work, Mary holds the child in her arms as he suckles at her breast. The blue colour of her robe may al
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