Dictionary of painters and engravers . re of 1731. The latest descrip-tion of them is that by De Monconys, who visitedBrussels in July 1663. Rogers designs are pro-bably to some extent preserved in three tapestries-at Berne. As early as 1449 Cyriacus of Anconamentions Roger as a remarkable painter, and a fewyears later Facio speaks of him as a pupil andcompatriot of John van Eyck. These statementswere copied by Vasari, and by subsequent writersdown to our own time, but research in the archivesand more careful criticism have proved them to beincorrect. Rogers master, Campin, came fromthe same d
Dictionary of painters and engravers . re of 1731. The latest descrip-tion of them is that by De Monconys, who visitedBrussels in July 1663. Rogers designs are pro-bably to some extent preserved in three tapestries-at Berne. As early as 1449 Cyriacus of Anconamentions Roger as a remarkable painter, and a fewyears later Facio speaks of him as a pupil andcompatriot of John van Eyck. These statementswere copied by Vasari, and by subsequent writersdown to our own time, but research in the archivesand more careful criticism have proved them to beincorrect. Rogers master, Campin, came fromthe same district as the Van Eycks, and was pro-bably trained in the same school. Roger was farmore religious than John van Eyck; his figuresare less naturalistic, and their attitude and expres-sion more animated and dramatic. He apparentlystrove to express the tenderness, compassion andgrief which he himself felt when meditating on theepisodes he was representing. In 1439 he poly-chromed for Philip, Duke of Burgundy, an altar- w Q w Q >W oo. 55 I—I O —O CO is O 5o CO >oi—, w •s: 5= .a
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Keywords: ., bookcentury1900, bookdecade1900, booksubject, booksubjectpainters
