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268:, which are still in existence and part of the collections of the Louvre and the Galleria Nazionale delle Marche in Urbino, have been attributed to Joos van Wassenhove. There are many arguments for such attribution. The paintings appear to be made by a painter grounded in Netherlandish technique who had become strongly influenced by Italian painting. In addition, in his biography of Federico da Montefeltro, his former librarian, Vespasiano da Bisticci, attests that van Wassenhove made the series of 28 portraits of
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225:) for the Confraternity of Corpus Domini in Urbino shows some adaptations from the characteristically Netherlandish high viewpoint and decoratively organized surface of the Calvary Triptych. Van Wassenhove also increased the size of the figures relative to the picture space. The work cites Dieric Bouts'
206:. Both these early paintings are characterized by monumentality. The facial features of the figures and colour spectrum are closely related to the oeuvre of Hugo van der Goes. The two masters likely worked together before van Wassenhove left for Rome. There is also a relationship with the work of
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dating from 1604, which could be regarded as an attribution to
Berruguete (although Cespedes specifically stated that they were by a Spanish painter 'other' than Berruguete), the depiction of a Spanish-language book in a painting in the series and stylistic similarities with later works of
280:. The underdrawing showed that there was stylistic continuity between these works. The examination also disclosed a number of changes in composition and execution, which may point to a reworking by another artist. The attribution to van Wassenhove of some or all of the works in the
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in Spain. For this reason the picture was painted on canvas so it could be rolled up for easy transport. The stage-like space and arrangement of the main figures in two parallel diagonal lines seem to suggest an inspiration by theatre reenactments of the story of the
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when they entered the local painters' guild. Van
Wassenhove seems to have enjoyed an international reputation as in 1467–68 he received payment for the production of 40 coats of arms of the Pope. Van Wassenhove travelled to Rome around 1470.
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series and are unlikely the work of the same artist. Another hypothesis is that the work was a collaborative effort by the studio of van
Wassenhove in Urbino, in which Berruguete may have worked as a collaborator.
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has received the strongest support. The case for
Berruguete rests on various arguments including the mention of a 'Pietro Spagnuolo pittore' in Urbino in 1477, a reference to the
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etc. The artist is known for his religious compositions executed in the early
Netherlandish idiom and a series of portraits of famous men, which show the influence of early
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in the figure of the
Persian envoy. All other works attributed to Joos van Wassenhove were painted on commission by Federico da Montefeltro. In the enlarged version of
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it can be easily seen that Jesus Christ is depicted with light rays originating from his head which is also surrounded by a circular aureola both of which constitute a
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painted for the brotherhood of the Corpus Domini in Urbino between 1472 and 1474. A portrait of da
Montefeltro (with his broken nose in profile) in the company of
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Biographical
Encyclopedia of Artists, vol. 2. New York: Facts on File, Inc., 2005. Ancient and Medieval History Online. Facts on File, Inc. (accessed 25 July 2014)
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Berruguete. Although the matter of attribution is still unresolved the known pictures of this
Spanish artist are inferior in style and technique to those in the
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461:
Lauts, Jan; Herzner, Irmlind Luise: Federico da
Montefeltro. Herzog von Urbino : Kriegsherr, Friedensfürst und Förderer der Künste. München 2001.
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has revealed similarities of these works with the other important earlier commission that van Wassenhove completed for the duke in Urbino, i.e. the
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envoy to the court of Urbino, is included in the picture. Van Wassenhove participated in the decoration of the ducal residences in Urbino and
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as 'Giusto da Guanto' (i.e. 'Justus of Ghent') is the painter Joos van Wassenhove, who became a member of the Antwerp
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148:. This included a commission for a portrait series of 'uomini famosi' (famous men) for the study of da Montefeltro (
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Paula Nuttall. "Justus of Ghent." Grove Art Online. Oxford Art Online. Oxford University Press. Web. 25 July 2014
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Very little is known about the early life of Joos van Wassenhove. It is believed that the artist referred to by
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series has not received unanimous support. Various other artists have been proposed as the author of the
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Further attributed to Joos van Wassenhove are two paintings from a series on the liberal arts:
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in 1460 and a freemaster in the Ghent painters' guild in 1464. While in Ghent, he vouched for
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Two works from the time before he left for Italy have been preserved: the monumental
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The Communion of the Apostles, article by Greg Peters on September 19, 2008
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The Adoration of the Magi, Justus of Ghent (Joos van Wassenhove)
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Portrait of Federico da Montefeltro with His Son Guidobaldo
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266:Famous men
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944:Brussels
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250:with an
217:(a.k.a.
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185:(in the
968:General
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566:artists
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142:Persian
939:Bruges
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375:Justus
260:series
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126:Urbino
98:Vasari
28:, 1464
949:Ghent
329:Works
311:Music
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