Netherlandish Northern Renaissance Painter, ca.1440-1482 South Netherlandish painter. In 1467 he enrolled as master in the Ghent painters' guild, sponsored by Joos van Wassenhove, master painter in Ghent in 1464 after registering in Antwerp in 1460. In 1469 the two together acted as guarantors for the illuminator Sanders Bening when he became a master, and it was from Hugo that Joos borrowed money when he went to Rome. Sanders Bening was married to Kathelijn van der Goes, perhaps Hugo's sister. Hugo's status within the guild is further attested by the fact that he was guarantor for two other painters in 1471 and 1475, that he was one of the dean's jurors in 1468-9 and that he himself served as dean from towards the end of 1473-4 to at least 18 August 1475.  Related Paintings of GOES, Hugo van der :. | Calvary Triptych | Venus between Ceres and Bacchus dsg | Monforte Altarpiece (detail) | Calvary Triptych (detail) | The Death of the Virgin |
Related Artists:
Thomas Kennington
(7 April 1856 - 10 December 1916) was an English genre, social realist and portrait painter. He was a founder member of the New English Art Club (NEAC) and the Imperial Arts League. Kennington was born in Grimsby in Lincolnshire and trained in art at the Liverpool School of Art (winning a gold medal), the Royal College of Art (RCA) in London, and the Academie Julien in Paris, where he studied under Bougereau and Robert-Fleury. He later moved to Chelsea in London. He exhibited at the Royal Academy, London from 1880 - 1916, and also regularly showed his work at the Royal Society of British Artists (RBA) in Suffolk Street and the Grosvenor gallery. He was a founder member and first secretary of the New English Art Club (from 1886), and also founded the Imperial Arts League, whose stated purpose was to "protect and promote the interests of Artists and to inform, advise and assist...."He won a bronze medal at the Exposition Universelle of 1889. cjr
Giacomo Francesco Cipper
(Feldkirch, 1664 - Milan, 1736) was a German painter active in Milan from 1696 to 1736. Of German origin, he was active in Milan in the first half of the 18th century. Fertile painter of scenes of kind of formulation caravaggesca, his first attributed work is dated 1700; he operated in Lombardia and in Veneto ( Hunters and greengrocers , Modena, Gallery Campori; Farmers' family , Venice, Galleries of the academy). Subsequently the artist, perhaps under the influence of the Cerruti (some of whose works were once attributed to Cipper), to the scrupulous surrender of the detail it replaced a less illustrative vision, more sensitive to the games of light. His last known work is Self-portrait (1736, Hampton Court).
Ammi Phillips
(1788-1865), a self-taught New England portrait painter, is regarded as one of the most important folk artists of his era. Phillips was born in Colebrook, Connecticut, and began painting portraits as early as 1810. He worked as an itinerant painter in Connecticut, Massachusetts, and New York for five decades. In 1924, a group of portraits of women, shown leaning forward in three-quarter view and wearing dark dresses, were displayed in an antique show in Kent, Connecticut. The anonymous painter of these strongly colored works, which dated from the 1830s, became known as the "Kent Limner," after the locality where they had come to light. Stylistically distinct from those of the "Kent Limner," a second group of early-19th-century paintings emerged after 1940 in the area near the Connecticut?CNew York border. Attributed at the time to an unknown "Border Limner," these works, dating from the period 1812?C1818, were characterized by soft pastel hues, as seen in the portrait of Harriet Leavens, now in the Fogg Art Museum, Harvard University. It was not until 1968 that Ammi Phillips's identity as the painter of both groups of portraits was established. Additional works were identified, showing the artist's transition from the delicate coloration of the Border period to the bold and somber works that followed.