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Rogier van der Weyden, 'Saint Luke Drawing the Virgin', 1435-40

 


The conflation of heavenly and earthly realms mesmerises the viewer's eye as they gaze upon a fifteenth century Netherlandish setting occupied by key biblical figures. Saint Luke the Evangelist, patron saint of artists, is in the midst of capturing the Virgin and Child whilst Mary nurses Christ - and by extension the Church - somewhat oblivious to the intense gaze of the saint opposite. Seemingly captivated, Saint Luke is frozen in concentration, the luxurious folds of his red garment giving him weight and mass like a statue. He seems uncomfortably perched, and yet his stylus is poised to soldier on with his drawing. Opposite him the Virgin is enthralled by her own son, who equally pays attention to her. The lapis lazuli folds of her dress spill out over the complex tiling of the interior. The illusionistic skills of van der Weyden continue to impress any viewer today. 

Although little is known about the provenance behind this painting, its popularity is certain by the three other full size versions of this subject that exist by the artist. Documents also show that van der Weyden was appointed City Painter of Brussels in the 1430s, so it is likely this painting was commissioned there. An amalgamation of four individual oak wood panels, van der Weyden uses rich, expensive colours painted over a chalk ground bound with glue. The panel has suffered heavy damages, and it is testament to the artist's skill that the piece still retains its artistic and aesthetic powers. From the interior with its barrel vaulted ceiling and study just visible on the right, to the landscape with figural details and architectural ornamentation, the eye is constantly moving along the panel. This activation of the senses links to the mimetic, performative nature of this devotional piece. Further claims that Saint Luke is in fact a self portrait of the artist would imply his pride in the finished product. 

Although this is one of the earliest images of this subject in the Northern Renaissance, there are certain prototypes that van der Weyden references, as well as various iconographies. The painting recalls the Madonna of Chancellor Rolin of 1434 by Jan van Eyck, essentially exactly the same format but with the figures switched around. Infrared has shown that van der Weyden was continually making changes affecting his subject as well as the formal organisation, whether that was pentimenti to the hands and feet, or bringing the Virgin and Child closer together for greater intimacy. Their relationship is humanised, and with the loss of halos all of the figures slot seamlessly into the earthly realm. The walled garden outside is a reference to Mary's virginity, whilst the carvings on her throne depict Adam, Eve and the serpent of Temptation. Perhaps most intriguing are the figures in the background. Not one of them looks in on the event, suggesting a disinterestedness in the divine happenings of the interior. Instead they look outwards, encouraging the viewer to step closer and join them in their act of looking, thereby activating the work. 

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