De Stijl was published by the Dutch painter, designer, writer, and critic Theo van Doesburg that served to propagate the group's theories. Along with Theo van Doesburg, the group's principal members were the painters Piet Mondrian, Vilmos Huszár, and Bart van der Leck, and the architects Gerrit Rietveld, Robert van 't Hoff, and J. J. P. Oud. The artistic philosophy that formed a basis for the group's work is known as "Neoplasticism"—the new plastic art (or "Nieuwe Beelding" in Dutch). According to Theo van Doesburg in the introduction of the magazine "De Stijl" 1917 no.1, the "De Stijl"-movement was a reaction to
Hugo van der Goes seen in Florence, it was greatly praised. In his "Vite" of 1550 Giorgio Vasari referred to it as by "Ugo d'Anversa" ("Hugo of Antwerp"). This is the sole documentation for its authorship by Hugo van der Goes. All other works are attributed to van der Goes based on stylistic comparison with the altarpiece. After Hugo van der Goes' death the triptych was wrongly attributed to others, including Andrea del Castagno and Domenico Veneziano. These two artists had produced the frescoes around the altarpiece, but were not involved in its design. In 1824, Karl Friedrich Schinkel identified it as the work