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Oil Paintings Come From United Kingdom
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Hugo van der Goes
1440-1482 Flemish Hugo van der Goes Galleries Hugo became a member of the painters' guild of Ghent as a master in 1467. In 1468 he was involved in the decoration of the town of Bruges in celebration of the marriage between Charles the Bold and Margaret of York and he provided heraldic decorations for Charles's joyeuse entr??e to Ghent in 1469 and again in 1472. He was elected dean of the Ghent guild in 1473 or 1474. In 1475, or some years later, Hugo entered Rooklooster, a monastery near Brussels belonging to the Windesheim Congregation, and professed there as a frater conversus. He continued to paint, and remained at Rooklooster until his death in 1482 or 1483. In 1480 he was called to the town of Leuven to evaluate the Justice Scenes left unfinished by the painter Dieric Bouts on his death in 1475. Shortly after this, Hugo, returning with other members of his monastery from a trip to Cologne, fell into a state of suicidal gloom, declaring himself to be damned. After returning to Rooklooster, Hugo recovered from his illness, and died there. His time at Rooklooster is recorded in the chronicle of his fellow monk, Gaspar Ofhuys. A report by a German physician, Hieronymus M??nzer, from 1495, according to which a painter from Ghent was driven to melancholy by the attempt to equal the Ghent Altarpiece, may refer to Hugo. His most famous surviving work is the Portinari Triptych (Uffizi, Florence), an altarpiece commissioned for the church of San Egidio in the hospital of Santa Maria Nuova in Florence by Tommaso Portinari, the manager of the Bruges branch of the Medici Bank. The triptych arrived in Florence in 1483, apparently some years after its completion by van der Goes. The largest Netherlandish work that could be seen in Florence, it was greatly praised. Giorgio Vasari in his Vite of 1550 referred to it as by "Ugo d'Anversa" ("Hugo of Antwerp"). This the sole documentation for its authorship by Hugo; other works are attributed to him based on stylistic comparison with the altarpiece. Hugo appears to have left a large number of drawings, and either from these or the paintings themselves followers made large numbers of copies of compositions that have not survived from his own hand. A drawing of Jacob and Rachel preserved at Christ Church, Oxford is thought to be a rare surviving autograph drawing.

 

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Hugo van der Goes The Fall of Man (nn03) oil painting

Painting ID::  23305

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Hugo van der Goes
The Fall of Man (nn03)
c 1470 Oil on panel 35.5 x 23.2 cm 13 7/8 x 9 1/8 in Kunsthistorisches Museum Vienna
   
   
     

 

 

Hugo van der Goes Aubetung der Hirten oil painting

Painting ID::  29429

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Hugo van der Goes
Aubetung der Hirten
mk66 vor 1476 Mitteltafel des Portinari-Altars Holz 253x304cm Galleria degli Uffizi,Florenz
   
   
     

 

 

Hugo van der Goes The Portinari Triptych oil painting

Painting ID::  29818

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Hugo van der Goes
The Portinari Triptych
mk67 Oil on panel 99 5/8x230 11/16in
   
   
     

 

 

Hugo van der Goes Portinari Triptych oil painting

Painting ID::  30436

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Hugo van der Goes
Portinari Triptych
mk68 Oil on wood Florence,Uffizi, 1476-1479
   
   
     

 

 

Hugo van der Goes Portrait Triptych oil painting

Painting ID::  30948

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Hugo van der Goes
Portrait Triptych
mk68 1476-1479
   
   
     

 

 

Hugo van der Goes The Fall,from a diptych with The Fall of Man and salvation oil painting

Painting ID::  39638

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Hugo van der Goes
The Fall,from a diptych with The Fall of Man and salvation
mk150 1479 Oak 32.3x21.9cm
   
   
     

 

 

Hugo van der Goes The Fall of Man and the Lamentation oil painting

Painting ID::  40229

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Hugo van der Goes
The Fall of Man and the Lamentation
mk156 c.1470-1475 Tempera on wood 32.3x21.9cm
   
   
     

 

 

Hugo van der Goes Adoration of the Shepherds oil painting

Painting ID::  40244

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Hugo van der Goes
Adoration of the Shepherds
mk156 1476-1478 Oil on wood 250x310cm
   
   
     

 

 

Hugo van der Goes Portrait of a man oil painting

Painting ID::  41325

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Hugo van der Goes
Portrait of a man
mk161 Tempera and oil on wood 12x10
   
   
     

 

 

Hugo van der Goes Portinari Altarpiece oil painting

Painting ID::  41519

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Hugo van der Goes
Portinari Altarpiece
mk164 1476 Uffizi Florence
   
   
     

 

 

Hugo van der Goes The Portinari Altarpiece oil painting

Painting ID::  44878

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Hugo van der Goes
The Portinari Altarpiece
mk176 center 252.7x304.8cm 251.7x140.9cm
   
   
     

 

 

Hugo van der Goes Portinari Altarpiece oil painting

Painting ID::  51696

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Hugo van der Goes
Portinari Altarpiece
nn09 1475 Oil on wood 253x304cm
   
   
     

 

 

Hugo van der Goes Portinarialtaret oil painting

Painting ID::  53675

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Hugo van der Goes
Portinarialtaret
mk234 about 1476 each jambs mater 254x140cm
   
   
     

 

 

Hugo van der Goes Portinari Altarpiece oil painting

Painting ID::  55960

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Hugo van der Goes
Portinari Altarpiece
mk247 c.1475,oil on wood 99.675x230.75 in,253x586 cm,uffizi,florence,ltaly
   
   
     

 

 

Hugo van der Goes syndafallet oil painting

Painting ID::  70776

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Hugo van der Goes
syndafallet
olja pa tra 23x33,8cm 1659 se
   
   
     

 

 

Hugo van der Goes begratelsen oil painting

Painting ID::  70777

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Hugo van der Goes
begratelsen
olja pa tra 23x33.8cm se
   
   
     

 

 

Hugo van der Goes Calvary Triptych oil painting

Painting ID::  82152

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Hugo van der Goes
Calvary Triptych
Date between 1465(1465) and 1468(1468) Medium Oil on wood cjr
   
   
     

 

 

Hugo van der Goes A Benedictine Monk oil painting

Painting ID::  82215

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Hugo van der Goes
A Benedictine Monk
Oil on panel; 25.1 x 18.7 cm Metropolitan Museum of Art Date ca.1478 cjr
   
   
     

 

 

Hugo van der Goes Monforte Altarpiece oil painting

Painting ID::  83099

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Hugo van der Goes
Monforte Altarpiece
Date ca. 1470(1470) Medium Oil on wood Dimensions Height: 150 cm (59.1 in). Width: 247 cm (97.2 in). cjr
   
   
     

 

 

Hugo van der Goes The Lamentation of Christ oil painting

Painting ID::  83100

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Hugo van der Goes
The Lamentation of Christ
Date between 1467(1467) and 1468(1468) Medium Oil on oak Dimensions Height: 33.8 cm (13.3 in). Width: 23 cm (9.1 in). cjr
   
   
     

 

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Hugo van der Goes
1440-1482 Flemish Hugo van der Goes Galleries Hugo became a member of the painters' guild of Ghent as a master in 1467. In 1468 he was involved in the decoration of the town of Bruges in celebration of the marriage between Charles the Bold and Margaret of York and he provided heraldic decorations for Charles's joyeuse entr??e to Ghent in 1469 and again in 1472. He was elected dean of the Ghent guild in 1473 or 1474. In 1475, or some years later, Hugo entered Rooklooster, a monastery near Brussels belonging to the Windesheim Congregation, and professed there as a frater conversus. He continued to paint, and remained at Rooklooster until his death in 1482 or 1483. In 1480 he was called to the town of Leuven to evaluate the Justice Scenes left unfinished by the painter Dieric Bouts on his death in 1475. Shortly after this, Hugo, returning with other members of his monastery from a trip to Cologne, fell into a state of suicidal gloom, declaring himself to be damned. After returning to Rooklooster, Hugo recovered from his illness, and died there. His time at Rooklooster is recorded in the chronicle of his fellow monk, Gaspar Ofhuys. A report by a German physician, Hieronymus M??nzer, from 1495, according to which a painter from Ghent was driven to melancholy by the attempt to equal the Ghent Altarpiece, may refer to Hugo. His most famous surviving work is the Portinari Triptych (Uffizi, Florence), an altarpiece commissioned for the church of San Egidio in the hospital of Santa Maria Nuova in Florence by Tommaso Portinari, the manager of the Bruges branch of the Medici Bank. The triptych arrived in Florence in 1483, apparently some years after its completion by van der Goes. The largest Netherlandish work that could be seen in Florence, it was greatly praised. Giorgio Vasari in his Vite of 1550 referred to it as by "Ugo d'Anversa" ("Hugo of Antwerp"). This the sole documentation for its authorship by Hugo; other works are attributed to him based on stylistic comparison with the altarpiece. Hugo appears to have left a large number of drawings, and either from these or the paintings themselves followers made large numbers of copies of compositions that have not survived from his own hand. A drawing of Jacob and Rachel preserved at Christ Church, Oxford is thought to be a rare surviving autograph drawing.