Page:Cyclopedia of painters and paintings (IA cyclopediaofpain04cham).pdf/446
WET, JAN DE (Johann Düwett), born in Hamburg in 1617 (?). Dutch school; history painter, pupil of Rembrandt in Amsterdam, whither he went early in life. Like his master he painted biblical and mythological subjects, well composed, better drawn than Rembrandt's, and more finished in details. His pictures were often sold under Rembrandt's name. He afterwards returned to Hamburg. Works: The Seven Works of Mercy, Haarlem Museum; Elijah and the Widow, Suermondt Museum, Aix-la-Chapelle; Christ in the Temple (1635), Burning of Troy, Brunswick Gallery; Raising of Lazarus (1633), Darmstadt Gallery; Tobias and the Angel, Kunsthalle, Hamburg; others in Frankfort, Göttingen, Hanover, and Oldenburg Galleries.—Kramm, vi. 1845; Kugler (Crowe), ii. 378; Riegel, Beiträge, ii. 265; Vosmaer, Rembrandt, sa vie, etc. (1868), 62.
WETTE, FRANS DE, Dutch school, 17th
century. This master is exclusively known
by his biblical subjects on a small scale, in
the style of Rembrandt, which are remarkable
for arrangement, and fine expression in
the heads, but of somewhat brown tone.
Works: Christ and the Adulteress, Augsburg
Gallery; The Three in the Fiery Furnace,
Raising of Lazarus, Schleissheim Gallery.—Kugler
(Crowe), ii. 390.
WEYDEN, ROGIER VAN DER (Rogelet
de la Pasture,
Roger de Bruges),
born at Tournay in
1399 or 1400, died
in Brussels, June 16,
1464. Flemish
school; history
painter, pupil in
Tournay (1426) of
one Robert Campin,
and master of the
guild there, Aug. 1, 1432; removed to
Brussels before April 21, 1435, and thence-*forth
his name appears in its Flemish form.
First mentioned as city painter, May 2,
1436. He also lived and worked at Louvain,
perhaps also at Bruges; but whether he
really was in Italy, especially at Ferrara
and Milan, as some circumstances seem to
indicate, and at Rome, during the jubilee in
1450, is not as yet ascertained. He was the
founder of the school of Brabant, highly esteemed
in his own country, and actively employed
throughout the Burgundian realm.
Although in technic and the realism of his
style Rogier belongs to the school of the
Van Eycks, with one of whom, Jan, he may
have had personal relations, he worked with
a deeper feeling and a religious intensity
which betrayed him into exaggeration of
sentiment and violence of action. The four
great pictures which he painted in the golden
chamber of the Town Hall at Brussels
were destroyed in 1695. Works: Entombment
(attributed), National Gallery, London;
Altarpiece, Grosvenor House, ib.;
Portrait of Charles the Bold, Head of Weeping
Woman, Brussels Museum; eight others
(attributed), ib.; Triptych with Seven Sacraments,
Annunciation, Portrait of Philip the
Good, Antwerp Museum; Descent from the
Cross, Madrid Museum; replica (1443), St.
Peter's, Louvain; altarpiece with Last Judgment
(before 1450), Hospital, Beaune (Côte
d'Or); Descent from the Cross, Hague Museum;
St. John, Rotterdam Museum; Madonna
with Saints, St. John Altar, Städel
Gallery, Frankfort; Triptych with Pietà (before
1445), do. with Life of St. John, do.
with Nativity, Berlin Museum; Figure of
the Virgin, Fürstenberg Gallery, Donaueschingen;
Christ on the Cross, Dresden
Museum; Triptych with Adoration of the
Magi, St. Luke painting the Virgin, Munich
Gallery; Triptych with Crucifixion, The
Virgin Nursing Christ, St. Catherine, Vienna
Museum; Pietà (attributed), Uffizi, Florence.—Ch.
Blanc, École flamande; C. & C.,
Flemish Painters, 182; Dohme, 1i.; Fétis,
Cat. du Mus. royal, 162; Gaz. des B. Arts
(1866), xxi. 201, 349; Kramm, vi. 1846;
Kugler (Crowe), i. 77; Kunst-Chronik, xvii.
441; Meyer, Gemälde köngl. Mus., 528;
Michiels, iii. 7; v. 451; Schnaase, viii. 165;