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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 : Adam and Eve Tempted by the Snake oil painting

Painting ID::  1804

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Hugo van der Goes
The Fall : Adam and Eve Tempted by the Snake
1470 Art History Museum, Vienna
   
   
     

 

 

Hugo van der Goes The Portinari Altarpiece oil painting

Painting ID::  1805

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Hugo van der Goes
The Portinari Altarpiece
1475 Galleria degli Uffizi, Florence
   
   
     

 

 

Hugo van der Goes Portrait of a Man  111 oil painting

Painting ID::  1806

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Hugo van der Goes
Portrait of a Man 111
Metropolitan Museum of Art, New York
   
   
     

 

 

Hugo van der Goes Adoration of the Shepherds oil painting

Painting ID::  10043

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Hugo van der Goes
Adoration of the Shepherds
1480 Wood, 97 x 245 cm Staatliche Museen Berlin
   
   
     

 

 

Hugo van der Goes Adoration of the Shepherds  ry oil painting

Painting ID::  10044

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Hugo van der Goes
Adoration of the Shepherds ry

   
   
     

 

 

Hugo van der Goes The Fall oil painting

Painting ID::  10045

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Hugo van der Goes
The Fall
1467-68 Oil on oak, 33,8 x 23 cm Kunsthistorisches Museum, Vienna
   
   
     

 

 

Hugo van der Goes The Lamentation of Christ oil painting

Painting ID::  10046

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Hugo van der Goes
The Lamentation of Christ
1467-68 Oil on oak, 33,8 x 23 cm Kunsthistorisches Museum, Vienna
   
   
     

 

 

Hugo van der Goes Mary Triptych oil painting

Painting ID::  10047

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Hugo van der Goes
Mary Triptych
1478 Wood 30,1 x 23,4 cm Stedelsches Kunstinstitut, Frankfurt
   
   
     

 

 

Hugo van der Goes Deposition Diptych oil painting

Painting ID::  10048

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Hugo van der Goes
Deposition Diptych
(Small Deposition, left wing)c. 1480 Canvas
   
   
     

 

 

Hugo van der Goes Adoration of the Magi oil painting

Painting ID::  10049

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Hugo van der Goes
Adoration of the Magi
(central panel of the Monforte Altar; from Monforte de Lemos cloister, Spain).1470 Oil on wood. Gemaldegalerie,Berlin
   
   
     

 

 

Hugo van der Goes Portinari Altar oil painting

Painting ID::  10050

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Hugo van der Goes
Portinari Altar
1476 Oil on wood. Galleria degli Uffizi, Florence,
   
   
     

 

 

Hugo van der Goes Adoration of the Shepherds. oil painting

Painting ID::  10051

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Hugo van der Goes
Adoration of the Shepherds.
(cenral panel of the Portinari Altar). 1476-1478. Oil on wood. Galleria degli Uffizi, Florence
   
   
     

 

 

Hugo van der Goes Tommaso Portinari with his sons and SS. oil painting

Painting ID::  10052

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Hugo van der Goes
Tommaso Portinari with his sons and SS.
Thomas and Anthony Abbot. The left panel of the Portinari Altar. 1476-1478.Oil on wood Galleria degli Uffizi, Florence
   
   
     

 

 

Hugo van der Goes Maria Baroncelli with Her Daughter oil painting

Painting ID::  10053

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Hugo van der Goes
Maria Baroncelli with Her Daughter
Margarita and SS. Margaret and Mary Magdalene. The right panel of the Portinari Altar.1476-78 Oil on wood. Galleria degli Uffizi, Florence
   
   
     

 

 

Hugo van der Goes Death of the Virgin. oil painting

Painting ID::  10054

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Hugo van der Goes
Death of the Virgin.
1480. Oil on oak. Groeningemuseum Bruges, Belgium
   
   
     

 

 

Hugo van der Goes Flagellation of Christ oil painting

Painting ID::  10055

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Hugo van der Goes
Flagellation of Christ
1450s Wood,106x210cm Louvre, Paris
   
   
     

 

 

Hugo van der Goes Last Supper oil painting

Painting ID::  10057

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Hugo van der Goes
Last Supper
1470 Wood,172x164cm Museum Nacional d'Art de Catalunya Barcelona
   
   
     

 

 

Hugo van der Goes The Fall of Adam (mk08) oil painting

Painting ID::  21252

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Hugo van der Goes
The Fall of Adam (mk08)
1470 Oil on wood 34x23cm Vienna,Kunsthistorisches Museum
   
   
     

 

 

Hugo van der Goes Adoration of the Magi (mk08) oil painting

Painting ID::  21253

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Hugo van der Goes
Adoration of the Magi (mk08)
c.1470 Oil on wood, 147x242cm Berlin,Gemaldegalerie,Staatliche Museen zu Berlin-Preubischer Kulturbesitz
   
   
     

 

 

Hugo van der Goes Adoration of the Shepherds (mk08) oil painting

Painting ID::  21254

X 
 

Hugo van der Goes
Adoration of the Shepherds (mk08)
1476-1478 Oil on wood, 253x304cm Florence,Galleria degli Uffzi
   
   
     

 

  1  2  3  4  5     Next

 

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.