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Vrancke van der Stockt

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Redemption Triptych(c. 1455-59), oil on wood, 195 cm (76.8 in) x 326 cm (128.3 in). CollectionMuseo del Prado,Madrid

Vrancke van der Stockt(before 1420 - 14 June 1495)[1][2]was anearly Netherlandish painter.He is most notable as a "direct heir and popularizer" ofRogier van der Weyden.[1]

Life

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In 1445 Vrancke van der Stockt became a master in theBrusselsGuild of St. Lukeand inherited the workshop of his father, Jan van der Stockt, who had recently died.[1]He obtained considerable recognition for his work, becoming the town's official painter after the death ofRogier van der Weydenin 1464.[1]He was also served as town councilor in 1465, 1472, and 1475 and as head of theConfraternity of St. Eloybetween 1471 and 1473.[1]

With his wife Catherine de Moeyen he had two sons, Bernaert van der Stockt (before 1469 - after 1538) and Michiel van der Stockt (before 1469 -?), who were both painters.[1]

Work

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Van der Stockt's work was heavily influenced byRogier van der Weyden,with whom he may have collaborated.[1]Compared to Weyden, his work is "more gently drawn".[1]Although his figures have "slender, elegant, and mannered silhouettes,"[1]he was "unable to endow them with the same elegant movement and profound drama of his master's figures."[3]He would often reproduce motifs from paintings by Van der Weyden with only minor alterations, as is evidenced byKneeling Donor with Saint John the Baptist,now in the collection of theAllen Memorial Art Museum,in which the figure of the saint closely resembles that in Van der Weyden'sMedici Madonna.[4]HisPietàis likewise modelled on van der Weyden'sPietà.[5]

Although he was primarily a painter, Van der Stockt also completedcartoonsforembroideriesandtapestriesand designs forwoodcuts.[1]

None of Van der Stockt's works are documented; rather, they have been attributed to him based on their stylistic relationship to theRedemptiontriptych,now in the collection of theMuseo del Pradoin Madrid.[4]TheRedemptiontriptych itself was not attributed to Van der Stockt until the 1920s.[4]

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  • Kneeling Donor with Saint John the Baptist (c. 1470). Note the position of the Saint's feet compared to those in Van der Weyden's Medici Madonna. Van der Stockt has transposed them, unaltered, from steps to a grassy incline, resulting in a relatively awkward pose.[4]
    Kneeling Donor with Saint John the Baptist(c. 1470). Note the position of the Saint's feet compared to those in Van der Weyden'sMedici Madonna.Van der Stockt has transposed them, unaltered, from steps to a grassy incline, resulting in a relatively awkward pose.[4]
  • Rogier van der Weyden, Medici Madonna (c. 1450).
    Rogier van der Weyden,Medici Madonna(c. 1450).
  • Pietà (c. 1455-59), now in the Museum Mayer van den Bergh
    Pietà(c. 1455-59), now in theMuseum Mayer van den Bergh
  • The Adoration of the Magi
    The Adoration of the Magi

Bibliography

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  • Campbell, Lorne & Van der Stock, Jan.Rogier van der Weyden: 1400–1464. Master of Passions.Davidsfonds, Leuven, 2009.ISBN978-90-8526-105-6

Citations

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  1. ^abcdefghijC. Périer-d’Ieteren."Stockt, Vrancke van der."In Grove Art Online. Oxford Art Online, (accessed December 4, 2011; subscription required).
  2. ^The Getty ULAN entry gives his date of death as c. 1495.
  3. ^Redemption Triptych: Last Judgement,entry on the website of theMuseo del Prado,retrieved 4 December 2011.
  4. ^abcdKneeling Donor with Saint John the Baptist,entry in the online catalog of the Allen Memorial Art Museum, retrieved 4 December 2011.
  5. ^Campbell & Van der Stock p. 507
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