He established himself in Brussels about 1435. He was in Italy in 1440-1450, but his visit shows no result on his style, which owes nothing to Italian models; and he returned to Brussels, where he died.
Works
Philip the Good, painted c. 1450 by Roger van der Weyden
His vigorous, subtle and expressive painting and popular religious conceptions had considerable influence on the art of Flanders and Germany. Hans Memling was his greatest pupil; and his place in the early Flemish school is second only to that of the Van Eycks. He was not a pupil of Jan van Eyck, as was at one time supposed.
Some of these latter, and others, are only doubtfully attributed to the master. The Crucifixion in the Brussels Museum, assigned either to him or to Memling, and containing portraits of the Sforzas, probably represents Roger van der Weyden in some of the principal figures at least, though Memling may have completed the picture.
St Ivo (c.1450) Oil on oak panel, 45 x 35 cm National Gallery, London
There was a younger Roger van der Weyden (c. 1450-1529), to whom a brilliant Mary Magdalen in the National Gallery is attributed.
Rogier was the son of a master cutler, and his childhood must have been spent in the comfortable surroundings of the rising class of merchants and craftsmen.
The removal of Rogier's art from concern with outward appearances and his return to medieval conventions is surprising; for it was during this decade that Rogier's international reputation was secured and commissions increased from noblemen such as Philip the Good, duke of Burgundy, and his powerful chancellor, Nicolas Rolin.
Rogier's art was also a vehicle for transporting the Flemish style throughout Europe, and during the second half of the 15th century his influence dominated painting in France, Germany, and Spain.
Works ascribed to Vrancke vander Stockt are distinguished by their slim, elegant figures with rather angular, mannered silhouettes; they are further characterized by a consistent use of Rogerian motifs, repeated virtually unchanged from the original.
The inclusion of Christ's temptations in representations of the Baptist is relatively rare; the central panel of Rogier's Saint John Altarpiece in Berlin, representing the Baptism of Christ, incorporates the three temptations of Christ in the painted archivolt surrounding the scene and probably served as a prototype for vander Stockt's composition.
Vander Stockt was a friend and possibly a collaborator of vanderWeyden, and succeeded him as official painter to the town of Brussels in 1464.
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