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.  Related Paintings of Hugo van der Goes :. | Calvary Triptych | The Adoration of the Shepherds | Monforte Altarpiece | Monforte Altarpiece | Calvary Triptych |
Related Artists:
Sir Frank Dicksee
1853-1928 English Sir Frank Dicksee Location English painter and illustrator. He studied in the studio of his father, Thomas Francis Dicksee (1819-95), who painted portraits and historical genre scenes; he then entered the Royal Academy Schools, London, where he was granted a studentship in 1871. He won a silver medal for drawing from the Antique in 1872 and a gold medal in 1875 for his painting Elijah confronting Ahab and Jezebel in Naboth Vineyard (untraced), with which he made his debut at the Royal Academy in 1876. He also began to work as an illustrator during the 1870s, contributing to Cassell Magazine, Cornhill Magazine, The Graphic and other periodicals. During the 1880s he was commissioned by Cassell & Co. to illustrate their editions of Longfellow Evangeline (1882), Shakespeare Othello (1890) and Romeo and Juliet (1884).
VASARI, Giorgio
Italian Mannerist Writer and Painter, 1511-1574 Italian painter, architect, and writer. Though he was a prolific painter in the Mannerist style, he is more highly regarded as an architect (he designed the Uffizi Palace, now the Uffizi Gallery), but even his architecture is overshadowed by his writings. His Lives of the Most Eminent Architects, Painters, and Sculptors (1550) offers biographies of early to late Renaissance artists. His style is eminently readable and his material is well researched, though when facts were scarce he did not hesitate to fill in the gaps. In his view, Giotto had revived the art of true representation after its decline in the early Middle Ages, and succeeding artists had brought that art progressively closer to the perfection achieved by Michelangelo.
Umberto Boccioni
1882-1916 Italian Umberto Boccioni Locations Italian sculptor, painter, printmaker and writer. As one of the principal figures of FUTURISM, he helped shape the movements revolutionary aesthetic as a theorist as well as through his art. In spite of the brevity of his life, his concern with dynamism of form and with the breakdown of solid mass in his sculpture continued to influence other artists long after his death.