The exhibition is under the High Patronage of Their Majesties King Albert and Queen Paola
The exhibition aims to offer a general view of painting in Brussels in the late fifteenth and early sixteenth centuries, when the city was in rapid expansion following the decision of the Dukes of Burgundy to make Coudenberg Palace their principal residence.
When Van der Weyden died in 1464, he left a large studio in Brussels that must have employed several artists. None has been identified except for his son Pieter, to whom no work can be attributed. The presence of Hugo van der Goes at the priory of Rood Klooster from around 1475 until his death in 1482 also played an important role.
Many painters are mentioned in Brussels archives but, with the exception of Aert van den Bossche and Jacop Sourdiaus, no painting can be attributed to them. The great majority of the works conserved are anonymous. It is partly for this reason that, excluding the attention of specialists, little interest has been shown in them.
Nevertheless, through their individual contributions and their desire to pursue an esteemed tradition while also searching for new paths, the painters of Brussels at the end of the fifteenth century proposed original solutions in terms both of spatial organization and expressive and narrative development. In their fulfilment of the many commissions from the court, prelates, nobility, rich foreign merchants, clergy and patriciate who followed in the wake of the Dukes of Burgundy, the artists helped to spread the painting of Brussels far beyond the boundaries of the city, and opened the way to the renewal of the 1520s represented by the person of Bernard van Orley.
From Friday, November the 22th 2013, the exhibition 'The Heritage of Rogier van der Weyden. Painting in Brussels 1450-1520' is defintively closed