Rogier Van der Weyden was a 15th century Flemish painter who was a student of Robert Campin and later rivaled his fame. This painting depicts Saint Luke drawing the Virgin Mary while she breastfeeds the Christ child, commissioned by the artists' guild of Brussels to honor their profession. It is believed Van der Weyden used his own face as a model for Saint Luke, reflecting the increasing self-awareness and professional identity of artists. The scene takes place in a contemporary Flemish interior with a view of a landscape outside, typical of Flemish style.

1. The Northern Renaissance
Rogier Van Der Weyden

2. Rogier Van der
Weyden, Saint Luke
Drawing the Virgin, c.
1435-14
Museum of Fine Arts,
Rogier van der Weyden was a student of Robert Campin, and soon came to rival his
master in fame

3. Rogier Van der
Weyden, Saint Luke
Drawing the Virgin, c.
1435-14
Museum of Fine Arts,
This painting was commissioned by the artists’ guild of Brussels and depicts Saint Luke
drawing the Virgin

4. According to legend, St. Luke was the first artist to record the likeness of the Virgin, so
Rogier was honoring the artist’s profession by choosing this particular subject

5. It is believed that the artist used his own face as a model for St. Luke – a bold statement
of self-importance that reflects the increasing self awareness of artists, who began to
regard themselves as professionals, rather than mere skilled artisans.

6. Rogier Van der
Weyden, Saint Luke
Drawing the Virgin, c.
1435-14
Museum of Fine Arts,
In this particular scene Mary is breastfeeding the Christ child (this is referred to as the
“Lactating Madonna”), an astonishingly “human” touch

7. Rogier Van der
Weyden, Saint Luke
Drawing the Virgin, c.
1435-14
Museum of Fine Arts,
Typical of Flemish painting, the scene takes place in a contemporary Flemish interior,
with a view out the window to a town and landscape beyond

8. Rogier Van der
Weyden, Saint Luke
Drawing the Virgin, c.
1435-14
Museum of Fine Arts,
Typical of Flemish painting, the scene takes place in a contemporary Flemish interior,
with a view out the window to a town and landscape beyond

9. Rogier Van der Weyden, Deposition, 1435. The Prado, Madrid
This painting formed the center panel of a triptych commissioned by the guild of
armorers (their crossbow emblem appears in the corners)

10. Rogier Van der Weyden, Deposition, 1435. The Prado, Madrid
It depicts the moment when Christ was taken down from the cross
(Giotto’s Lamentation depicts the moment after this scene)

11. Rogier Van der Weyden, Deposition, 1435. The Prado, Madrid
The action takes place in a shallow space, as if on a stage (the gold background recalls
Medieval conventions, except that this background has physical depth)

12. Rogier Van der Weyden, Deposition, 1435. The Prado, Madrid
As the men struggle to take the lifeless body of Christ off the cross, Mary faints in grief

13. Rogier Van der Weyden, Deposition, 1435. The Prado, Madrid
Mary Magdalene can be seen weeping on the left, and another woman twists her body
in a contorted gesture of grief on the right

14. The realistic detail is what we have come to expect of Flemish painting in the 15th
century

15. But what is unique is Rogier’s emphasis on psychology and emotion, an interest that
recalls Giotto

16. The facial expressions and gestures of the figures communicate deeply human
emotions, right down to the salty tears glistening on the cheeks of the Virgin and Mary
Magdalen

20. Rogier Van der Weyden, Deposition, 1435. The Prado, Madrid
While Van der Weyden’s work is similar to Giotto in his humanistic approach and his
focus on emotion, his work differs from Giotto in its extraordinary attention to detail

21. Giotto’s use of fresco made it necessary to focus on broad sculptural form

22. Rogier Van der Weyden, Deposition, 1435. The Prado, Madrid
Oil painting made it possible to render richly detailed surfaces and textures

23. Learn more about Van der Weyden at Smarthistory (Khan Academy)