This is a part of the Wikipedia article used under the Creative Commons Attribution-Sharealike 3.0 Unported License (CC-BY-SA). Black Friday Sale! Their expressions are animated but not dramatic, combining the calm atmosphere traditionally evoked in Flemish art with the increasing concern for emotion and experience that came with the rising tide of Humanism. The unearthly colours of this work are particularly disturbing, and its poignancy is intensified by the controlled grief seen in the faces of the Apostles, who are placed in irrationally conceived space. Just as he reached the pinnacle of his artistic career, van der Goes made a sudden and shocking decision. They are called albarelli, and were the jars used by apothecaries to store medicinal ointments and remedies. Premium Membership is now 50% off! Updates? In 1481 a tendency to acute depression culminated in a mental breakdown during which he tried to kill himself. The side panels depicts members of the Portinari family, who funded the masterpiece and donated it to the church. Mia is a contributing writer from London, with a passion for literature and history. The Death of the Virgin, circa 1470-1480, via RijksMuseum Amsterdam. It is likely that he had trained elsewhere before he became a master in Ghent. He closed down his workshop in Ghent to join a monastery near modern-day Brussels. Try to remember if these famous names were painters or architects.
The ukiyo-e art movement started in the 17th century and peaked in 18th and 19th century Edo, current-day Tokyo. A later source suggests that he may have been driven mad by his desire to surpass Jan Van Eyck’s masterpiece, the Ghent Altarpiece. In 1474 he was elected dean of the guild, but the following year—when he was at the climax of his career—he decided to enter Roode Kloster, a priory near Brussels, as a lay brother. Like many devotional paintings produced in the 15th century, the Portinari triptych shows a nativity scene. Even though he had abandoned his workshop, however, van der Goes did not give up painting. The painter was repeatedly elected as deacon of the painter's guild of Ghent and served as its deacon from 1474 to 1476. Panel from The Trinity Altarpiece, 1478-1478, via National Galleries Scotland. Hugo van der Goes, (born c. 1440—died 1482, Roode Kloster, near Brussels [now in Belgium]), one of the greatest Flemish painters of the second half of the 15th century, whose strange, melancholy genius found expression in religious works of profound but often disturbing spirituality. This was a trend that would catch on in the subsequent decades and become more prominent in Netherlandish art during the 16th century.
A comparison between the large Adoration of the Magi and The Nativity reveals the direction in which van der Goes’s later works were to evolve.
van der Goes’ figures epitomize the typical Flemish style, with their somber facial expressions, slender forms and cool tones. The Portinari Altarpiece or Portinari Triptych (c. 1475) is an oil on wood triptych painting by the Flemish painter Hugo van der Goes representing the Adoration of the Shepherds. It appears in the Holy Trinity Adored by Sir Edward Bonkil and The Royal Family of Scotland, panels that were probably designed as organ shutters (c. 1478–79), and culminates in the Death of the Virgin, executed not long before van der Goes’s death. Corrections? By contrast, the Nativity (also called Adoration of the Shepherds), a later work painted on a curiously elongated panel, is disturbing even in its format—an emotionally charged supernatural drama on an uncomfortably low stage revealed by the drawing of curtains. Our editors will review what you’ve submitted and determine whether to revise the article. There he continued to paint and received distinguished visitors; he also undertook journeys.
Van der Goes was an important painter of altarpieces as well as portraits. Hugo van der Goes is widely regarded as one of the most unique talents of early Flemish art. As a result, it is also extremely valuable, and so in 2017, when an incomplete painting attributed to van der Goes went under the hammer at Christie’s New York, it sold for $8,983,500 from an estimate of $3-5million indicating a high demand. The first record of Hugo van der Goes appears in 1467, when he was admitted to the city’s painters guild. His hands are together in a gesture of prayer or supplication, as … He would later be called upon once more to design ornamental finery for Charles’ victorious procession into the city of Ghent. Alexander Bening married Catherina van der Goes, a cousin of Hugo van der Goes, in 1480. Soon after its completion it was taken to Florence, where its rich colours and careful attention to detail impressed many Italian artists.
A diptych (begun about 1467) in the Kunsthistorisches Museum, Vienna, reflected an awareness of the Ghent Altarpiece of Jan van Eyck in the Fall of Man, while the Lamentation is reminiscent of Rogier van der Weyden. He also created a sense of depth by layering the different figures and playing with distance. Hugo van der Goes was likely born in Ghent or in the vicinity of Ghent around the year 1440. Portrait Of A Man Hugo van der Goes • 1475 Portrait of a Man of Prayer with St. John the Baptist Hugo van der Goes • 1475 Virgin and Child With St. Anne and a Franciscan donor Hugo van der Goes • 1475 Portinari Triptych Hugo van der Goes • 1475 Just as important as his devotional paintings were his portraits. The artist and his workshop worked on commissions of the city of Ghent to provide heraldic decorations for Charles the Bold's Joyous Entry in Ghent in 1469 and later in 1472. Some historians have suggested that Dieric Bouts was possibly the master of van der Goes but there is no independent evidence for this. Save 50% off a Britannica Premium subscription and gain access to exclusive content. Hugo van der Goes, (born c. 1440—died 1482, Roode Kloster, near Brussels [now in Belgium]), one of the greatest Flemish painters of the second half of the 15th century, whose strange, melancholy genius found expression in religious works of profound but often disturbing spirituality. Books Advanced Search Today's Deals New Releases Amazon Charts Best Sellers & More The Globe & Mail Best Sellers New York Times Best Sellers Best Books of the Month Children's Books Textbooks Kindle Books Audible Audiobooks Let us know if you have suggestions to improve this article (requires login). The full text of the article is here →, Lamentation of Christ , c.1480, detail (supposed self-portrait) - Hugo van der Goes, http://en.wikipedia.org/wiki/Hugo_van_der_Goes, The Adoration of the Kings (Monforte Altar). As well as his Flemish peers and followers, Hugo van der Goes also gained a reputation among artistic circles in Italy. Over the decade, he received many more official commissions from both court and church, and was regularly elected as head of the painter’s guild. It was commissioned by Tommaso Portinari, agent for the Medici in Bruges, who is portrayed with his family on the wings. Soon after he joined the painter’s guild, van der Goes was commissioned by the Flemish authorities to produce a series of paintings celebrating civic achievements and occasions. The sponsors for his membership of the guild were Joos van Wassenhove, master painter in Ghent from 1464, and Daneel Ruthaert. Although no single portrait by van der Goes survives, fragments from his larger works can give us a good idea of his style. Hugo van der Goes (probably Ghent c. 1430/1440 – Auderghem 1482) was one of the most significant and original Early Netherlandish painters of the late 15th century. Sadly, van der Goes died shortly after returning to the monastery, leaving several works incomplete.