Thank you for your report!
We have received your report and it is currently under investigation by a forum moderator.
Hugo van der Goes's Monforte Altarpiece and the Challenge of a Modern Reconstruction
Welcome to the forum.
Here you can discuss all things art with like-minded artists, join regular painting challenges, ask questions, buy and sell art materials and much more.
Make sure you sign in or register to join the discussions.
Hang on Studio Wall
This is a Studio member-only feature!
Join our Studio membership and save your favourite Painters Online content, from gallery artwork to step-by-step guides, to your own online mood boards. Create your go-to place for inspiration and learning. Plus, members can also enjoy a range of exciting features including monthly art videos and a digital magazine library.
If you are already a Studio member, simply login to your account.
Not a Studio member? Why not try our free 30-day trial - no commitment, no credit card required
Message
Posted
Here's a most interesting article about the reconstruction of the missing upper portion of the central panel of Hugo van der Goes' Monforte Altarpiece.
If only Jan van Eyck's Ghent Altarpiece could've been treated as carefully and sympathetically as this by the committee appointed team responsible for "phase two" of its "restoration"(!)
https://www.codart.nl/feature/curators-project/hugo-van-der-goess-monforte-altarpiece-and-the-challenge-of-a-modern-reconstruction/
Posted
Interesting indeed, I’ve bookmarked this and will read it again when all of me is awake.
One of the great pleasures of an interest in art is that there’s always new artists to discover. I’d not heard of this one. I must admit I’m not a fan of religious art, but if you brush it aside you’ll miss astonishing artists like this man.
Posted
Have long had an interest in the northern Netherlandish panel painters of the 15th and early 16th centuries. There's a great deal to enjoy even if, like me, you're not religious. The phenomenal ability those blokes had in drawing and the manipulation of oil paint to achieve the effects they got is something to behold. The beautifully observed expressions and attitudes of staffage figures, the incidental details, fantastic landscapes, and jewel-like colour effects of the glazes all add up to an astonishing display of craftsmanship and artistry.
Here's a corker by Joachim Patinier (c. 1480 - 5th October 1524):
This was a favourite subject of these artists, St. Jerome in the Wilderness. He's usually depicted in his retreat, or chamber, with his pet lion---as here. But in the landscape below the lion is romping about, scaring a bloke on a donkey. The ingenious painter has broken up time and shows two different moments in the same picture!
Posted
Interesting article, amazing reconstruction. What is also interesting is the wanton vandalism that allowed the original tryptich to be broken up, and then for the upper original extension to be sawn off and presumably destroyed. It’s clear that the various churches / owners considered the painting pure decoration and not a work of art in its own right.
Posted
Here's the painting for anyone not having looked at the article.
I think it a breathtaking piece of work. The artist reconstructing the top portion had an impossible task, not least in trying to match colours made over 500 years ago. The rank vandalism in earlier times was probably because they were wary of giving a mere work of art any respect. The bible sends out mixed messages about art, from simply don't do any, to 'maybe' some...worshipping craven images and all that jazz. All very puzzling, because the church has been a MAJOR patron of the arts.
In the Patinier picture shown above by Tom, I'm seeing a fantasy background. Must be imaginary, a combination of things that appealed to the artist. For me, fantasy art has very early beginnings.
I think it a breathtaking piece of work. The artist reconstructing the top portion had an impossible task, not least in trying to match colours made over 500 years ago. The rank vandalism in earlier times was probably because they were wary of giving a mere work of art any respect. The bible sends out mixed messages about art, from simply don't do any, to 'maybe' some...worshipping craven images and all that jazz. All very puzzling, because the church has been a MAJOR patron of the arts.
In the Patinier picture shown above by Tom, I'm seeing a fantasy background. Must be imaginary, a combination of things that appealed to the artist. For me, fantasy art has very early beginnings.Edited
by Lewis Cooper
Posted
The altarpiece is an odd shape, perhaps the rest of the top is also missing. I thought at first it might be cross shaped but it has no hint of anything further to add to the bottom.
What I do see, however, is Van Gogh's Irises, on the left hand side. I doubt he travelled to Spain, I wonder if news of the discovery had travelled. Just my fantasy...
Edit: The Patinier picture is something I could study for a long while. Thanks for sharing.
Edited
by Norrette Moore
Posted
Just in case you missed it Norrette, this altar piece was originally a triptych. It still has hinges on either sides. The panels to the left and right have been lost…more vandalism maybe? All that remains is the centrepiece shown above, this part was clearly in the shape of an inverted ‘T’. In the past some jerk has sawn off the top part to make the painting a plain rectangle. Only a fragment of the missing top part remains. The above reconstruction of the top part is just a ‘best guess.’ From the quality of what remains it must have been an impressive triptych.
Edited
by Lewis Cooper
Posted
The amazing rock pinnacles seen in the fantastic landscapes of Joachim Patinier were inspired by natural geological features to be seen in his place of birth, Dinant, Wallonia. Patinier and Albrecht Durer were friends. Durer called Patinier, "der gute landschaftsmaler" (The good landscape painter), and thus was coined the word landscape.
Posted
Totally off piste.
Ive just finished reading A Month In the Country by JL Carr, for my local book club tonight.
The protagonist is restoring an altarpiece in a country church in 1920. Some interesting details about restoration at that time, and the colours and pigments used. It's bound not to be accurate, but I'd recommend the story.
It's a short novella, he restores his shell-shocked soul at the same time as the painting.