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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
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Hugo van der Goes Aubetung der Hirten mk66
vor 1476
Mitteltafel des Portinari-Altars
Holz
253x304cm
Galleria degli Uffizi,Florenz
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Hugo van der Goes The Portinari Triptych mk67
Oil on panel
99 5/8x230 11/16in
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Hugo van der Goes Portinari Triptych mk68
Oil on wood
Florence,Uffizi,
1476-1479
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Hugo van der Goes Portrait Triptych mk68
1476-1479
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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
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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
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Hugo van der Goes Adoration of the Shepherds mk156
1476-1478
Oil on wood
250x310cm
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Hugo van der Goes Portrait of a man mk161
Tempera and oil on wood
12x10
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Hugo van der Goes Portinari Altarpiece mk164
1476
Uffizi
Florence
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Hugo van der Goes The Portinari Altarpiece mk176
center 252.7x304.8cm
251.7x140.9cm
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Hugo van der Goes Portinari Altarpiece nn09
1475
Oil on wood
253x304cm
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Hugo van der Goes Portinarialtaret mk234
about 1476
each jambs mater
254x140cm
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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
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Hugo van der Goes syndafallet olja pa tra 23x33,8cm
1659
se
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Hugo van der Goes begratelsen olja pa tra 23x33.8cm
se
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Hugo van der Goes Calvary Triptych Date between 1465(1465) and 1468(1468)
Medium Oil on wood
cjr
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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
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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
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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
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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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