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 :. | Sts Anthony and Thomas with Tommaso Portinari | Monforte Altarpiece | The Adoration of the Shepherds | Monforte Altarpiece | Adoration of the Shepherds ry |
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Nils Schillmark
Nils Schillmark (1745-1804)Aliases: Nils Schillmarch; Nils Schillmarck; Nils SkiellmarkProfessions: Portrait painter; Landscape painter; Painter. (b Skellefteå, northern Sweden, 1745; d 1804). Finnish painter of Swedish birth. The son of a crofter, he was apprenticed in Stockholm to Pehr Fjellström, an artist and military officer. It is possible that Schillmark also studied at the Swedish Royal Academy of Art. He accompanied Fjellström on journeys to Finland and eventually moved there in 1773, first staying in Viaborg, the fortress situated off the shore near Helsinki, and later moving to the mainland and settling in Helsinki. In 1777 he began to receive commissions for portraits, and from then on he spent most of his life as a travelling portrait painter. His sitters came from both the bourgeoisie and the landed gentry, but they were widely spread across southern and western Finland. Occasionally Schillmark also received other kinds of commissions, for example for an altarpiece for the old stone church in Hattula (in situ). From 1787 Schillmark lived permanently in the town of Loviisa, but he continued to tour the estates of the neighbouring countryside. His only landscape paintings to have been preserved are from this year and show the town of Heinola and its new residence for the governor of the Uusimaa and Häme districts. A few years later Schillmark produced a number of still-life paintings for this building. It is possible that he spent some time in Stockholm during this period.
MASTER of Heiligenkreuz
Austrian Northern Renaissance Painter, 15th Century,was an Austrian painter active at the beginning of the fifteenth century; a tentative lifespan of 1395 to 1430 has been put forth, but this appears highly conjectural. His name is taken from a diptych that once belonged to the Cistercian Abbey of Heiligenkreuz, located in southeastern Austria near the present-day border with Hungary. The left panel depicts the Annunciation on the obverse; the reverse is a depiction of the Madonna and Child. The right panel depicts the Mystical Marriage of Saint Catherine, with Saint Dorothy on its reverse. Details of costume and iconography combine with associations with the International Style to indicate a date of around the first decade of the fifteenth century. It was initially proposed, by Betty Kurth in 1922, that the artist was French and had some association with the court in Paris. Other writers have disagreed, and various nationalities including French, Austrian, German, or Bohemian have been posited for the Master. Some have further suggested that he was an itinerant court artist, trained in France but active in Austria. Various clues have been used in an attempt to describe his nationality. These include his use of finely-worked gold decoration, in which some have seen a link to Franco-Burgundian goldsmith's work of the late fourteenth century. Others, instead, see it as a link to the school of panel painting then active at the court in Prague. Consequently, it seems highly unlikely that the artist's nationality will be conclusively established.
Francisco Pedro do Amaral
Amaral, Francisco Pedro do (1790 - 1831) painted Portrait of Domitila de Castro Canto e Melo, Marquise of Santos in 19th century