Circle of Hugo van der Goes, 15th century

Circle of HUGO VAN DER GOES (Ghent, ca.1440 - 482)
Flemish school of the 15th century
"Descent from the Cross".
Oil on oak panel.
Measurements: 94 x 123 cm; 117 x 146 cm (frame).

This panel is a representative example of the painting of the Flemish Primitives of the second half of the 15th century, a period characterized by a deep emotional intensity, a meticulous realism and a chromatic brilliance, largely thanks to the mastery of the oil technique. The work, attributed to the circle of the master Hugo van der Goes, faithfully reflects his monumental style and his capacity for psychological introspection of the characters. More specifically, the model most similar to the panel shown here is the work by Hugo van der Goes, currently conserved in the Musee Municipal de Cambrai, France.

The painting represents the solemn and tragic moment when the lifeless body of Christ is taken down from the cross. The composition is densely populated, with the figures clustered around the body of Christ, which forms a dramatic diagonal across the center of the work. This descending axis accentuates the lifelessness and fragility of the body. The cross stands as the vertical axis that structures the scene, while the stairs and figures create a dynamic and contained movement.

The artist focuses on the different human reactions to the tragedy, endowing each character with a unique expression and gesture: Christ's body, with its olive pallor, is the focus of the composition. The anatomy is depicted with poignant realism, evidencing the suffering through the wounds of the crucifixion (the stigmata) and the muscular tension that begins to disappear with death.

As is traditional in iconography, two venerable men are in charge of lowering the body: Joseph of Arimathea, perched on a ladder, carefully holds the torso of Christ, while Nicodemus, at the bottom, prepares to receive the legs. Their faces reflect concentration and solemn piety.
The Virgin Mary is depicted at the moment of fainting. Her face is pale and her body collapses, being supported by St. John. This representation underlines her suffering in the Passion. St. John the Evangelist, dressed in his traditional red mantle, holds the Virgin. His youthful face shows deep sadness and dismay, fulfilling his role as Mary's caretaker.

On the right, a group of women express their grief. Among them, Mary Magdalene stands out for her beauty. The Holy Women convey withdrawn grief and restrained anguish.

The work exhibits the distinctive characteristics of the style of Hugo van der Goes and the Flemish school: psychological intensity, sculptural quality, vibrant light and detail.

Thus, beyond the narrative, the painting is a profound study of human emotions. The faces are individualized. The figures possess great monumentality and volume. The drapery and clothing fall in angular and broken folds, adding drama and weight to the scene. Meticulous attention to detail is evident, especially in the quality of the fabrics: brocade, trimmings, silk.... The palette is rich, with glazes that create vibrant colors and a light that models the forms with great precision.

Hugo van der Goes was a Flemish painter of 15th century Gothic painting. He was one of the most important Flemish painters of the second half of the 15th century after the death of Jan Van Eyck. He entered the guild of artists in 1467, but before this date nothing is known about his life. The first certain information about this painter places him in the 1460s in Bruges where he collaborated with the decoration of the festivities in honor of the wedding of the Duke of Burgundy, Charles the Bold. Later he was elected dean of the guild, holding this position from 1473-1474 to August 18, 1475. Already in life he enjoyed wide fame, having commissions from both the bourgeoisie and the aristocracy, although of all these commissions we can only recognize a few as his, the most recognized being The Adoration of the Shepherds in the Portinari Triptych, made for Tommaso Portinari. He was also employed by the city government as a painter of gonfalons, banners and other temporary paintings necessary for the ceremonies of the time. At the end of his career as an artist there is a great difference from the first to the last of his paintings, improving more and more the technique; as for example in The Death of the Virgin, where a clear artistic perfection can be seen. In his work he shows the influence of authors such as Jan Van Eyck and Rogier van der Weyden who had managed to represent the human body with solvency and realistic finish in detail. Subsequently he undoubtedly met some contemporary Italian works, and this contact influenced him, in the sense of ending up in a more monumental arrangement of space.