Late Master of Flemish Art: Hugo Van der Goes

A great Flemish painter with too short of a mysterious lifetime, Hugo Van der Goes. There is not much known about him before 1467 so roughly, Van der Goes would have been born around 1442. He was a painter, a master of the oil medium, during the latter half of the 15th century in Northern Europe. The first time Van der Goes name was recorded was in 1467 when he was accepted as a master in the painter’s guild in Ghent, a Flemish city in the region of Belgium. He then in 1475 entered a small monastery as a lay brother, a religious man not involved in the clergy, and continued to paint there and travel.

While in Ghent, he completed many commissions. One of the Monks in the monastery by the name of Gaspar Ofhuys wrote that in 1481 Van der Goes had short-set depression leading to paranoia and a mental breakdown that led to attempted suicide. Van der Goes did not die then but a short year later, in 1482, of natural causes.

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Works, Styles and Techniques

Van der Goes had three periods artistically during his lifetime that are characterized by the significant works that he did.

Early Period

The Monforte Altarpiece is an exquisite triptych based on the theme of the adoration of the Magi. There is a great attention to detail for the entire, open composition, but the hands of every figure are especially detailed, each looking quite realistic. The figures have a sense of stage presence and individuality, a reoccurrence in Van der Goes work during this period. The three kings are meeting the newborn Christ while he stares out at the viewer to bless them.

Middle Period

The Portinari Altarpiece depicts the adoration of shepherds and a great example of early northern realism. During this time, altarpieces were closed during the days of the week and let and then opened during mass on Sundays so that the bright colors within would stand out. The piece is named after the donor, Thommaso Portinari, who had quite the interesting story of his own. It was commissioned for the chapel in the hospital of Santa marina in Florence. Dating the piece to 1474-75 was done based on how many children were depicted in the piece and their approximate ages.

The main panel was the actual depiction of the adoration of the shepherds. There is Christ depicted lying on the ground with detailed hands pointing at him from all around. There is gold light radiating from him representing a vision and drawing viewers eyes to him as the center of attention even though he is the smallest figure in the composition. Mary is in a rich blue garment, there are fifteen angels total, Joseph is traditionally off in the corner starting to take off his shoes as he enters, there are animals, two buildings, flowers and wheat symbolizing the sacraments and so many more symbols represented in the painting. Also, the Devil is depicted luring in the shadows of the building, behind the main scene, with clawed feet and a morphed head

The two side panels are dedicated to the Donor’s family. The left side is of Portinari and his sons praying in the presence of the Saints Matthew and Anthony. The right side is of Portinari’s wife and daughters being protected by the Saints Mary Magdalen and Margaret. Once it was completed, it was taken to Florence, Italy for display.

This Altarpiece by Van der Goes was stylistically different than the earlier period. He used a colder palette with the addition of silver and gold leaf as well as the use of more white pigment. The people are wearing more decorative clothing and the forms and facial features are more accentuated. He also went back to the mediaeval tradition of increasing size based on the importance of the person religiously or socially during the times.

Late Period

During the late period of Van der Goes lifetime, he created the piece, Death of the Virgin. The disciples are all gathered around the Virgin Mary on her death bed in a compressed composition, unlike others up until then. He did not include many details fo the room and exploited space and color for emotional effects. Some of the disciples are even looking right at the viewer, getting people to participate and feel the emotions of the piece. Many historians believe this piece shows how Van der Goes was tormented mentally and the time he created the piece but that is just speculation, only the account from the Monk could clarify that piece.

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Influences

Van der Goes was very well influenced by other Flemish painters before himself who looked to Italy for advances in the structure of their paintings. Rogier Van der Weyden and Jan Van Eyck are just two important names of direct influence Van der Goes looked at their detailed paintings in grand spaces, figures going into natural surroundings, and the motifs they used. He wanted to continually develop the forms rather than continuing to paint them in the same way. If some of Van der Goes and Van der Weyden’s paintings are compared side-by-side, there is an obvious connection but a fine distinction as to Van der Goes’ style.

Hugo Van der Goes, The Fall. c 1479

Jan Van Eyck Ghent_altarpiecc. 1432

Hugo Van der Goes,The Lamentation.

Rogier Van der WeydenSeven_Sacraments_

In Conclusion

After researching Hugo Van der Goes, I find it most interesting that historians know nothing about his early life, only the events after the first commission he had. Van der Goes had so many intricate details within his paintings and each seemed to have such a specific meaning in reference to religion and the practices of the time. It makes me wonder, even though we do still have some of the same symbolism today, what we would replace symbols with if we were to recreate some of his work. He was able to take the influence of other artists during the time and paint practically the same figures but make them look and emotionally be completely different. I also found it interesting, looking more into altarpieces, that the person who commissioned the piece was often included in it and knowing now that they were not always open in the church for visitors to see, only on Sundays and holidays. Hopefully I can be similar to Van der Goes in consuming art that inspires me in a way to create something that feels different as opposed to looks different entirely. It feels like it is getting more difficult to have original, groundbreaking ideas but I suppose that is similar to creating religious artworks of that time.

Fun Fact

The Dutch phrase “Van der” means “of the” in English and indicates the origin of the family name. Also, “Van” means “from”. This helps us to identify Dutch artists.

References

Britannica, The Editors of Encyclopaedia. “Hugo Van Der Goes.” Encyclopædia Britannica,

Dillenberger, Jane. Style and Content in Christian Art. Wipt & Stock, 2005.

EastTennesseeState. “ARTH 4007 Hugo Van Der Goes.” YouTube, YouTube, 8 Oct. 2013, www.youtube.com/watch?v=vhoZzchwQVk.

Encyclopædia Britannica, Inc., 31 May 2017, www.britannica.com/biography/Hugo-van-der-Goes.

Harris, Beth, and Steven Zucker. “Van Der Goes, The Adoration of the Kings.” Khan Academy, Khan Academy, www.khanacademy.org/humanities/renaissance-reformation/northern-renaissance1/vandergoes/v/hugo-van-der-goes-the-adoration-of-the-kings-monforte-altar-c-1470.

“Hugo Van Der Goes.” Artble, 19 July 2017, www.artble.com/artists/hugo_van_der_goes. “Hugo Van Der Goes.” Italian Renaissance Art.com, www.italian-renaissance-art.com/Van-der-Goes.html.

Testa, Judith Anne. An Art Lovers Guide to Florence. NIU Press, 2012.