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File:Guillaume Koller - Hugo van der Goes Painting the Portrait of Mary of Burgundy.jpg

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Summary

Wilhelm Koller: Hugo van der Goes Painting the Portrait of Mary of Burgundy  wikidata:Q19912645 reasonator:Q19912645
Artist
Wilhelm Koller  (1829–1884)  wikidata:Q19670719
 
Alternative names
Guillaume Koller; Guilleaume Koller
Description Austrian painter
Date of birth/death 1829 Edit this at Wikidata between 1884 and 1885
date QS:P,+1884-00-00T00:00:00Z/8,P1319,+1884-00-00T00:00:00Z/9,P1326,+1885-00-00T00:00:00Z/9
/ 1884 Edit this at Wikidata
Location of birth/death Vienna Nancy
Work location
Düsseldorf (1851–1855); City of Brussels (1859–1869); Paris (1869–1884) Edit this at Wikidata
Authority file
artist QS:P170,Q19670719
image of artwork listed in title parameter on this page
Title
Hugo van der Goes Painting the Portrait of Mary of Burgundy
Object type painting
object_type QS:P31,Q3305213
Genre portrait Edit this at Wikidata
Depicted people Charles the Bold, Mary of Burgundy, Margaret of York, Hugo van der Goes
Date circa 1872
date QS:P571,+1872-00-00T00:00:00Z/9,P1480,Q5727902
Medium oil on panel
medium QS:P186,Q296955;P186,Q106857709,P518,Q861259
Dimensions height: 59.4 cm (23.3 in); width: 86.4 cm (34 in)
dimensions QS:P2048,59.4U174728
dimensions QS:P2049,86.4U174728
institution QS:P195,Q160236
Current location
not on view
Accession number
81.1.662
Credit line 1881: bequeathed by Stephen Whitney Phoenix (1839–1881)
Inscriptions

Signature bottom right:

G.Koller.
Guillaume is the French alternative for the artist's first name
Notes Alison Hokanson; Edward H. Wouk (4 December 2020). "The past is always present: The image of early Netherlandish art in the long nineteenth century". Oud Holland – Journal for Art of the Low Countries 133 (3-4): 146–154. Brill. ISSN 0030-672x. Retrieved on 11 June 2021. "The picture imagines an encounter between Van der Goes (ca. 1440-1482) and Mary of Burgundy (1457-1482), shown as a child seated on the lap of her young stepmother Margaret of York (1446-1503). Behind them is likely Charles the Bold (1433-1477), who married Margaret after the death of Mary’s mother, Isabella of Bourbon (1434-1465).² Koller’s painting offered nineteenth-century audiences an appealing, if fictional, image of an esteemed northern European artist depicting a moment in the domestic life of a noble dynasty closely identified with the history and heritage of Belgium.³ ...

² Keen-eyed readers will note that Koller exercised some creative license: Margaret of York married Charles the Bold in 1468, when Mary of Burgundy was eleven, much older than the child in the painting. Given that Koller’s title in the 1872 exhibition catalogue incorrectly identifies Margaret of York as Charles the Bold’s second wife (she was actually his third, and Isabella of Bourbon was his second), the artist may not have had access to the correct facts, or may simply have gotten them wrong. In any case, no records exist of a Van der Goes portrait of Mary of Burgundy at any age. On the reception of Hugo van der Goes in the nineteenth century, see D. Wolfthal, ‘Hugo van der Goes: A historiographical study’, Center 26 (2005-2006), pp. 165-167, which discusses Émile Wauters’ The painter Hugo van der Goes at the Rode Klooster (Brussels, Musées royaux des Beaux-Arts de Belgique, inv. 2519), also exhibited at the Brussels Salon in 1872, nr 873.

³ Mary of Burgundy’s marriage in 1477 to Maximilian of Austria (1459-1519), encouraged by her stepmother, was a politically transformative union that aligned the Burgundian State with the Habsburgs and initiated an enduring French-Habsburg breach. We are grateful to Maryan Ainsworth, Jan Dirk Baetens, Douglas Brine, and Diane Wolfthal for their insights into The Met’s painting."
References
Source/Photographer Metropolitan Museum of Art

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