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Adoration of the Shepherds. Adoration of the Shepherds (also referred to as The Nativity) is a late oil painting by the Flemish Northern Renaissance painter Hugo van der Goes, now in the Gemäldegalerie, Berlin. [1] Unusually large for van der Goes, it is less well-known than his Portinari Triptych or his Monforte Altarpiece on the same subject.
- New Devotional Image Theory
- The New Devotion as Historical Phenomenon: The Outlines of The Movement
- An Elite Network and Modes of Reception
- A Side-by-Side Reading
- An Image Within An Image and A Prayer Within A Poem
- The Adoration in The World of Objects and Clients
- Patronage and Brass Tacks
- Conclusion
To date, Bernhard Ridderbos has made the most compelling case for the importance of New Devotional image theory in the late work of Hugo van der Goes, arguing that there is a spiritual meaning behind Hugo’s play with varying levels of illusionism.19 For most of his career, Hugo was a profoundly ambitious painter who attempted to rival the grandeur ...
There are two major reasons to treat cautiously claims of the New Devotion having a direct influence on the wider public in the early modern Low Countries and Germany. First, the religious principles promoted by the movement were largely conventional (including its advocacy of devotion to Mary, meditation on the life and death of Christ, and the im...
According to Anne Laure van Bruaene, rederijkerskamers (chambers of rhetoric) were among the institutions that generated enthusiasm for artistic innovation – visual, literary, and musical –in Bruges; these chambers were one of the elements in an elite network (which also included religious confraternities and tournament societies) that supported th...
In contrast to Dhanens, I do not think that a poem by De Roovere served as direct inspiration for the Adoration, rather I will try to demonstrate that their similar themes and shared aesthetic strategies reflect a similarly elite intellectual context. I have chosen for a side-by-side reading De Roovere’s poem Lof van Maria (RW F 8 vo), because it i...
My close reading of this poem aims to demonstrate that many of the strategies it uses are analogous to Hugo’s painting – not because the one is the direct source for the other, but because both employ contemporary understandings of how the vernacular might offer new ways of representing familiar narratives. The deployment of the vernacular in the p...
The mode of reception fostered by both the Adoration and the Lof is a sophisticated and self-conscious one, and the existence of these compositions speaks to a select community of people capable of understanding them. Whereas both poem and painting may have been displayed in the relatively public space of a chapel endowed by an individual, guild, o...
The painting-buying public is the crucial variable in interpreting the Adoration of the Shepherds, because – simply put – a painting, especially one as big as the Adoration, exists in the world of objects as well as ideas. As Michael Baxandall observes in the opening lines of Painting and Experience, “a fifteenth-century painting is the deposit of ...
As a status object, the Adoration would have represented the piety, wealth, and sophistication of the patron or patrons. At the same time, it certainly served a religious purpose as an altarpiece. I have argued that the overlap of personal status represented and religious function performed is characteristic of the elite, urban milieu for which the...
- Jessica Buskirk
- 2014
The Portinari Altarpiece or Portinari Triptych (c. 1475) is an oil-on-wood triptych painting by the Flemish painter Hugo van der Goes, commissioned by Tommaso Portinari, representing the Adoration of the Shepherds. It measures 253 x 304 cm, and is now in the Galleria degli Uffizi in Florence, Italy. This altarpiece is filled with figures and ...
Dec 6, 2023 · Hugo van der Goes, Portinari Altarpiece, center panel, c. 1476, oil on wood, 274 x 652 cm when open (Uffizi) Moving to the left side of the central panel, we see Joseph, Mary’s husband, clothed in a rich red drapery. His hands are together in a gesture of prayer or supplication, as he honors the newly born Christ child.
Hugo van der Goes, Portinari Altarpiece (or Adoration of the Shepherds with angels and Saint Thomas, Saint Anthony, Saint Margaret, Mary Magdalen and the Portinari family, recto; Annunciation, verso), 1477-78, oil on wood, 274 x 652 cm (Uffizi, Florence) A conversation with Dr. Steven Zucker and Dr. Beth Harris. Created by Smarthistory.
- 5 min
- Smarthistory
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Hugo van der Goes, Portinari Altarpiece, closed, c. 1476, oil on wood, 274 x 652 cm when open (Uffizi) Triptych altarpieces like the Portinari Altarpiece would have been kept closed, except on holidays and special feast days. Therefore, the exterior of the folding side wings of such artworks were typically painted.
The Adoration of the Shepherds. Between 1476 and 1478 Hugo van der Goes made a huge altarpiece in commission for the Italian banker Tommasso Portinari. Portinari lived in Bruges where he represented the Medici family bank. The altarpiece was made for a church in Florence. The central panel shows the Adoration of the Shepherds.
