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This essay describes the deposition accounts for the work of Rogier van der Weyden from the cross. The main concerns the journey of the deposition from the Netherlands to Spain and the copies that it left at the time to exhibit the events and images that bear on the concept of authenticity as well as the art-historical practice of restructuring what is usually designated as original context. The deposition is among the ancient work of art attributed to Rogier van der Weyden. It is also among the most impressive works of art at the time. As an altarpiece it was intended for use in a chapel in a place know as Leuven. Unfortunately, it fell into the hands of Italians. The center of the painting shows Jesus being lowered from the cross by Joseph of Arimathea and a neat Nicodemus. The body of Christ forms an arch on the left with the upper arm of a woman, Mary Magdalene.

The body of Christ is immaculate except the wounds on his hands, feet and the cut on his ribs. The woman said to be the mother of Jesus is in blue. She is in immense grief that makes her faint. Incidentally, her body takes the shape of her son's body when she falls hence the implication that her suffering is similar to his. On the forehead, a skull reminds us that we are looking at Golgotha. Across the painting, there is a straight line between the skull's eyes and the eyes of Nicodemus. Although there many people participating in the event Rogier van der Weyden manages makes a good attempt to create an atmosphere that is not only convincing but also intimate without the bother of crowding. In the history of art, majority of the historians consider Rogier van der Weyden's deposition as the most influential piece of art in Netherlandish paintings. It was adopted on large scale in the consecutive centuries at the time of its creation (Werner, 50)

The depiction in the picture is however variant to the historical event to some extent because there is nothing momentary even though the scene actually lasted for only a short moment. To achieve the effect, Rogier place the group at the event in an altar shrine. There was a good connection established with gilded shrines that did hold the statues in paint. The depiction has a life-like effect that comes out clearly emphasized by their appearance that is almost actual life size instead of some wooden statues in an altar. This method gives them a three dimension that is more of life likeness than mere sculpture. To some extent, Rogier does depart from the rational imagination and breaks realistic depiction that had been earlier achieve in painting.

The Netherlandish art renaissance was at great heights, as other countries had no produced such kind of arts depicted in deposition by Rogier van der Weyden. The Italian art was as strong as the literature and very influential especially in the north of Europe. The profound artists were known of impressive depictions because of their visit to Italy hence put their observation in art. The excellent examples are Darer and Brueghel. The vibrant northern art went on to find expressions and sustained a distinct manifestation of a rather native renaissance of Italian elements. The traditions of north actually had a very strong influence on the Italian art. The two did coexist mutually as they evolved to better depictions and vivid illustrations. Actually, the art painting oil technique was first developed in Flanders and later adopted elsewhere (Mark 12).

Generally the art in the north carried on the late medieval tradition of the in a great attention detail. This emphasis was modified due to the influence of Italian art. This was possibly done in the direction of achieving unique simplicity and leaving aside the less important features to the main theme. There are other contributions of the northern art but important to note is the tendency it had towards realism and naturalism. There was evident special and great skill in both portraiture and the interest in landscape (Nick 12)

Amidst the founders of Flemish painting is Robert Campin referred to as Master of Flemish painting in the fifteenth century. He has skill in realism as depicted in the art piece Mrode Altarpiece that has emphasized on careful detail.  The depictions are centrally on the focus of domestic interior. The side panel shows St. Joseph precisely as traditional carpenter with his tools literally scattered on the workbench. The paintings no doubt reveal the great talent for which is often shown in the background via an open window.  The other major facet of his realism is the representation of spatial depth. There are many depictions, which portray passion and convey a strong sense of emotion (Mark 45).

Adoration of the lamb in the Ghent is among the great masterpieces by Evan Eycks ever. This masterpiece is an elaborate and complex piece of art with the paintings depicting folding of wings with paintings on both the outside and the inside.  The scene that is focused on gives the title and portrays large numbers of pilgrims in a magnificent way, adoring the lamb.  The impression of this work of art is a splendor magnificence of and a religious devotion emphasized by the loving and detailed meticulous of flowers, jewels and some elements. The depictions carry out the psychological skill and variety.

Rogier van der Weyden supposedly worked with Campin at the same workshop or trained by him to become a painter. He was actually a painter in the city of Brussels and patronized by the court of Burgundian at some time. The altarpiece is an outstanding part of his works in arts. This deposition master stands in the Prado gallery in Madrid and is referred to as the Escorial Deposition. In various aspects, it shares several characteristics of the work of Master Flmalle, inclusive of the realistic representation of details and intense emotions. There is successful depiction of the grief of those present at the deposition of Jesus. The depiction are so striking that it appears genius realism. The glowing colors and the rich texture heighten the effects that are very conspicuous in Flemish art and were made more effective by use of medium oil.

Space is occupied completely by human figures in the deposition. In other parts of the work, the Flemish does touch the landscape, and other natural genre details of domestic interiors. This was the sharp difference between Rogier and Jan Evan Eyck. His artist represent only a very few of the outstanding Netherlandish masters.

Readers should be careful not to reduce so vast a subject into a mere generalization. It is only convenient to classify artists according to their pieces of work. The classification groups artists into, medieval, Early Renaissance, Mannerist or High Renaissance and the like.

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