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Rogier van der Weyden (1399 or 1400 – 18 June 1464) was an Early Dutch / Flemish painter. His surviving works consist mainly of religious triptychs, 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 various foreign princes.<br/><br/> By the latter half of the 15th 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.
Dancing mania (also known as dancing plague, choreomania, St John's Dance and, historically, St. Vitus' Dance) was a social phenomenon that occurred primarily in mainland Europe between the 14th and 17th centuries. It involved groups of people dancing erratically, sometimes thousands at a time.<br/><br/> The mania affected men, women, and children, who danced until they collapsed from exhaustion. One of the first major outbreaks was in Aachen, Germany, in 1374, and it quickly spread throughout Europe; one particularly notable outbreak occurred in Strasbourg in 1518, France.<br/><br/> Affecting thousands of people across several centuries, dancing mania was not an isolated event, and was well documented in contemporary reports. It was nevertheless poorly understood, and remedies were based on guesswork. Generally, musicians accompanied dancers, to help ward off the mania, but this tactic sometimes backfired by encouraging more to join in. There is no consensus among modern-day scholars as to the cause of dancing mania.
Petrus Christus (c. 1410/1420 – 1475/1476) was an Early Netherlandish painter active in Bruges from 1444, where, along with Hans Memling, he became the leading painter after the death of Jan van Eyck.<br/><br/> He was influenced by van Eyck and Rogier van der Weyden and is noted for his innovations with linear perspective and a meticulous technique which seems derived from miniatures and manuscript illumination.<br/><br/> This painting is currently in the Gemaldegalerie, Berlin, Germany.
Dancing mania (also known as dancing plague, choreomania, St John's Dance and, historically, St. Vitus' Dance) was a social phenomenon that occurred primarily in mainland Europe between the 14th and 17th centuries. It involved groups of people dancing erratically, sometimes thousands at a time.<br/><br/> The mania affected men, women, and children, who danced until they collapsed from exhaustion. One of the first major outbreaks was in Aachen, Germany, in 1374, and it quickly spread throughout Europe; one particularly notable outbreak occurred in Strasbourg in 1518, France.<br/><br/> Affecting thousands of people across several centuries, dancing mania was not an isolated event, and was well documented in contemporary reports. It was nevertheless poorly understood, and remedies were based on guesswork. Generally, musicians accompanied dancers, to help ward off the mania, but this tactic sometimes backfired by encouraging more to join in. There is no consensus among modern-day scholars as to the cause of dancing mania.
Rogier van der Weyden (1399 or 1400 – 18 June 1464) was an Early Dutch / Flemish painter. His surviving works consist mainly of religious triptychs, 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 various foreign princes.<br/><br/> By the latter half of the 15th 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.
The Ghent Altarpiece (also called the Adoration of the Mystic Lamb or The Lamb of God, Dutch: Het Lam Gods) is a very large and complex 15th-century Early Flemish polyptych panel painting.<br/><br/> Commissioned and designed as an altarpiece, it comprises 12 panels, eight of which are hinged shutters painted on each side, giving two distinct views depending on whether they are open or closed. Except for Sundays and festive holidays, the outer wings were closed and covered with cloth.<br/><br/> It was begun by Hubert van Eyck who was most likely responsible for the overall design, but died in 1426. Probably, the individual panels were executed by his younger and better known brother Jan van Eyck between 1430 and 1432.<br/><br/> In 1945, the altarpiece was returned from Germany after spending much of World War II hidden in an Austrian salt mine, which greatly damaged the paint and varnish.
Rogier van der Weyden (1399 or 1400 – 18 June 1464) was an Early Dutch / Flemish painter. His surviving works consist mainly of religious triptychs, 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 various foreign princes.<br/><br/> By the latter half of the 15th 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.
Jan van Eyck was an Early Netherlandish painter active in Bruges and one of the most significant Northern Renaissance artists of the 15th century.<br/><br/> In addition to the Ghent Altarpiece and the illuminated miniatures of the Turin-Milan Hours, about 20 surviving paintings are confidently attributed to him, all dated between 1432 and 1439.