Hugo van der Goes(redirected from Hugo Goes)
Goes, Hugo van der(ho͞o`gō vän dĕr go͞os), d.1482, Flemish painter. Probably born in Ghent, he was a member of the painters' guild there in 1467 and became dean of the guild in 1474, a year before his semiretirement to a monastery near Brussels. Early works, such as The Fall of Man (c.1468; Vienna), recall earlier Flemish art, such as that of the van Eycks and Justus of Ghent. The Monforte Altarpiece (c.1472; Berlin) reveals a classical sonority in color and serene figures. Later works, such as the great Portinari Altarpiece (c.1476; Uffizi), begin to show the tension and the dissonances in color and spatial arrangement that characterize his last works. His Death of the Virgin (c.1480; Bruges) is remarkable for the staring melancholy of the apostles' faces. Hugo suffered an attack of madness c.1481, which resulted in his death the following year. The ducal court and Italian and local merchants in Flanders admired his exquisite technique, powers of observation, and representation of human character, to be seen in his portraits at the Metropolitan Museum and Walters Art Gallery, Baltimore.
Van der Goes, Hugo:see Goes, Hugo van derGoes, Hugo van der
, d.1482, Flemish painter. Probably born in Ghent, he was a member of the painters' guild there in 1467 and became dean of the guild in 1474, a year before his semiretirement to a monastery near Brussels. Early works, such as The Fall of Man (c.
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Goes, Hugo Van Der
Born circa 1435–40, probably in Ghent; died 1482, in the monastery of Roode Kloster, near Brussels. Dutch painter.
Goes worked mainly in Ghent until 1475, and then he worked in the monastery of Roode Kloster. He courageously and in an original manner developed the realistic tradition in Dutch painting of the first half of the 15th century, striving for unity of dramatic effect, sharpness of the individual characteristics of his subjects (frequently common people), and bold and vivid emotionality of images (The Adoration of the Magi, in the Hermitage, Leningrad; The Adoration of the Shepherds, also called the Portinari Altarpiece, approximately 1474–75, in the Uffizi Gallery, Florence; and The Adoration of the Magi and The Adoration of the Shepherds, in the National Gallery, Staatliche Museen, Berlin). The cool, saturated coloring of Goes’ works is unusually expressive, his landscape backgrounds are poignantly lyrical (The Fall of Adam, The Art History Museum, Vienna), and the portrait figures of his customers are sharply distinctive (in the Portinari Altarpiece and others). Here, Goes preserved in his works the angularity, broken rhythm, and conditionality of spatial and scale relationships. In his late painting Death ofthe Virgin (Municipal Art Gallery, Bruges) the images assume an extremely tense, restless character.
REFERENCESNedoshivin, G. A. “Portretnye obrazy Gugo van der Gusa i krizis rannego niderlandskogo Vozrozhdeniia.” Uch. zap. MGU, 1947, issue 126, book I.
Winkler, F. Das Werk des Hugo van der Goes. Berlin, 1964.