Margaret L. Koster (Author of Hugo van der Goes and the Procedures of Art and Salvation (Studies in Medieval and Early Renaissance Art History))
Hugo van der Goes.
Hugo van der Goes probably Ghent c. Van der Goes was an important painter of altarpieces as well as portraits. He introduced important innovations in painting through his monumental style, use of a specific colour range and individualistic manner of portraiture. The presence of his masterpiece, the Portinari Triptych in Florence , from onwards played a role in the development of realism and the use of colour in Italian Renaissance art. Hugo van der Goes was likely born in Ghent or in the vicinity of Ghent around the year The sponsors for his membership of the guild were Joos van Wassenhove , master painter in Ghent from , and Daneel Ruthaert.
Portinari Altarpiece. Calvary Triptych.
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Hugo van der Goes
Hugo van der Goes belongs among the most important and innovative Flemish painters of the late 15th Century. The scant number of panels that has survived is acknowledged by a new monumentalism, a specific colour spectrum and an unparalleled individualistic manner of portraying figures and facial expressions. He was probably born in Ghent around After the departure of Joos van Wassenhove to Urbino, Hugo van der Goes is probably the most important painter in his hometown starting at circa He was selected to be deacon of the painter's guild various times. He received important assignments from the Burgundian court, from various church institutions, and the rich Flemish bourgeoisie and the Italian business associations that were located in the Burgundian Low Countries. The monumental triptych, which he painted per assignment by the Bruges-based Medici banker Tommaso Portinari, arrived in Florence in and inspired Italian artists such as Domenico Ghirlandaio.