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 :. | Maria Baroncelli with Her Daughter | Monforte Altarpiece | Adoration of the Shepherds (mk08) | Calvary Triptych | The Adoration of the Shepherds |
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Gobindram Chatera
1733-1810
Henri Toulouse-Lautrec
French Post-Impressionist Painter and Printmaker, 1864-1901 Henri de Toulouse-Lautrec, a direct descendant of the counts of Toulouse, was born on Nov. 24, 1864, at Albi. His eccentric father lived in provincial luxury, hunting with falcons and collecting exotic weapons. Henri began to draw at an early age. He suffered a fall in 1878 and broke one femur; in 1879 he fell again and broke the other one. His legs did not heal properly; his torso developed normally, but his legs were permanently deformed. Encouraged by his first teachers, the animal painters Rene Princeteau and John Lewis Brown, Toulouse-Lautrec decided in 1882 to devote himself to painting, and that year he left for Paris. Enrolling at the Ecole des Beaux-Arts, he entered the studio of Fernand Cormon. In 1884 Toulouse-Lautrec settled in Montmartre, where he stayed from then on, except for short visits to Spain, where he admired the works of El Greco and Diego Velazquez; Belgium; and England, where he visited Oscar Wilde and James McNeill Whistler. At one point Toulouse-Lautrec lived near Edgar Degas, whom he valued above all other contemporary artists and by whom he was influenced. From 1887 his studio was on the Rue Caulaincourt next to the Goupil printshop, where he could see examples of the Japanese prints of which he was so fond. Toulouse-Lautrec habitually stayed out most of the night, frequenting the many entertainment spots about Montmartre, especially the Moulin Rouge cabaret, and he drank a great deal. His loose living caught up with him: he suffered a breakdown in 1899, and his mother had him committed to an asylum at Neuilly. He recovered and set to work again. He died on Sept. 9, 1901, at the family estate at Malrome.
Jacques Blanchard
(1600 - 1638), also known as Jacques Blanchart, was a French baroque painter who was born in Paris. He was raised and taught by his uncle, the painter Nicolas Bollery (ca. 1560-1630). Jacques's brother and son, Jean-Baptiste Blanchard (after 1602-1665) and Gabriel Blanchard (1630-1704), respectively were also painters. Jacques spent the years from 1624 to 1628 studying in Bologna and Venice. After briefly working in Turin at the court of the Charles Emmanuel I, Duke of Savoy (ca. 1628) he returned to France and set himself up in Paris in 1629. Jacques Blanchard is best known for his small religious and mythological paintings. He died in Paris in 1638. This painter should not be confused with the French sculptor of the same name who lived from 1634 to 1689. Nothing seems to be known of his work before he left for Rome at the age of twenty-four. After two years he moved to Venice, where he remained for two more years. It was there that his style was formed. He then went to Turin, where he worked for the Dukes of Savoy, before returning to France 1628. It is from the brief but productive period after his return that all his dated works survive. They show him to stand quite apart from his contemporaries, not only in his painting style but also in his choice of sensual subject-matter, for example the Bacchanal at Nancy. The chief influences were the sixteenth century painters, especially Titian and Tintoretto with their rich, warm colours, and Veronese, whose blond and silvery colour and limpid light he used most effectively in his small religious and mythological subjects. The several versions of Charity, depicted as a young woman with two or three children, are excellent examples of his tenderness of colour handling, and of a softness of sentiment nearer to the 18th than to the 17th century.