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;