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Hugo van der Goes is a towering figure in the history of art. Hugely original, he exerted a massive influence, pushing the portrayal of volume, motion and light to its limits while exploring an inherited Christian iconography in profoundly new ways. This book identifies the artist's painterly procedures as well as the religious practices and hopes his painting served. Focusing on Hugo's masterpiece, the Portinari Altarpiece, Koster pictures the painter, his patron, and the wider public as a set of diverse forces fuelling this artist's achievements. Painted in the Netherlands for a Florentine chapel, the altarpiece also reflects artistic exchange in the Fifteenth Century. Koster presents a ground-breaking technical examination of Hugo's triptych and for the first time, readers can access all of the evidence in a high-resolution and easily-navigable form - and for a work of supreme historical importance. But this book also studies the work's origins in the Modern Devotion movement, Hugo's personality, the machinations of a wealthy Italian donor, and the patterns of response within a church setting. Rich in information, wide-ranging in its sources, and original in its understanding of Hugo's aims, this book also places - uniquely - the tools of its analysis in the hands of specialists and general readers alike. ... Read more

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Hausarbeit aus dem Jahr 2000 im Fachbereich Kunst - Bildhauerei, Skulptur, Plastik, Note: 1-2, Johann Wolfgang Goethe-Universität Frankfurt am Main (Fachbereich Kunstgeschichte), 29 Eintragungen im Literaturverzeichnis, Sprache: Deutsch, Abstract: Hugo van der Goes (* etwa 1435/ 1440 vermutlich in Gent; † 1482 in Oudergem bei Brüssel)bekanntestes Werk ist wohl das in den Florenzer Uffizien ausgestellte Altarbild Portinari Triptychon, das von Tommaso Portinari, dem in Brügge lebenden Vertreter des Bankhauses der Medici, für die Kapelle der Portinari in der Kirche S. Egidio in Florenz 1475 in Auftrag gegeben wurde. Der Altar gehört zu den Schlüsselwerken der Altniederländischen Malerei. Die Mitteltafel zeigt die Anbetung des Kindes, die Außentafeln stellen das Stifterpaar Portinari mit seinen Schutzheiligen dar. Bei Van der Goes finden die Szenen in einem konsequent linearperspektivisch strukturierten Bildraum statt, dessen ›Weitwinkelperspektive‹ zu extremen Verkürzungen führt. Die monumentalen Figuren sind von einer bis dahin ungekannten Vitalität erfasst (Monforte-Altar). Zu den entscheidenden Neuerungen gehört auch die Steigerung der naturalistischen Tendenzen durch die Einführung genrehafter Elemente in religiöse Darstellungen (Portinari-Altar). Das von ungewöhnlichen Kompositionen und expressionistischen Tendenzen geprägte Spätwerk (›Anbetung der Hirten‹, ›Marientod‹) wird häufig mit einer dokumentarisch belegten Geisteskrankheit Hugos in Verbindung gebracht. Van der Goes Wille und die Fähigkeit zu einer detailgenauen Erfassung der Wirklichkeit haben u. a. eine Übertragung religiöser Szenen in eine zeitgenössische Alltagswelt zur Folge. Traditionelle Symbole werden so zum einen profaniert, zum anderen aber durch einen neuen Wirklichkeitsbezug in ihrer Suggestivkraft erhöht.Figuren und Gegenstände werden dabei in einer gänzlich ›unmittelalterlichen‹ Individualisierung und Naturnähe dargestellt. Ein besonderes Interesse gilt hierbei der stofflichen Chara ... Read more

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This digital document is an article from Renaissance: An Encyclopedia for Students, brought to you by Gale®, a part of Cengage Learning, a world leader in e-research and educational publishing for libraries, schools and businesses.The length of the article is 227 words.The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase.You can view it with any web browser.This set has been prepared especially for nonspecialists, focusing on Renaissance-era topics, including entries on Florence, Galileo, heraldry, Medici family, opera, piracy, Shakespeare, Leonardo Da Vinci, and many others. ... Read more

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Hardcover, French text, no dj as issued, spine w/raised bands & gilt decoration/lettering, covers w/leather corners & highly decorated boards, text block w/ gilt top, endpapers highly decorated. ... Read more

Customer Reviews (2)

Great text. Horrible Illustrations
It's great to have a reprint of this important work on the history of European landscape painting (first published in 1949). Unfortunately the 104 plates, which are an essential part of the book, are horribly reproduced --at least in my copy. The problem isn't that they are black and white, I could live with that, but they are uniformly so dark as to be mostly black. It seems like a botched job of printing. Moreover, there are two plates 3a and 3b (with the same images in different sizes) and no plates 2a or 2b.

I haven't compared this to the original, but it's hard to imagine it could have been this bad. What a disappointment not to be able to view better reproductions of the paintings discussed in the text.

A pioneering study of landscape painting
This is a pioneering 1960s study of Western landscape painting by one of the most esteemed art historians of the twentieth century. Unfortunately the b/w reproductions are poorly printed so one should scan the internet for better copies (thus the four star rating). ... Read more