Composition with Red Blue and Yellow working relationship, they were contacted by Theo van Doesburg, a painter who frequently wrote about art for different periodicals and whom is considered the propagandist of the De Stijl movement. He invited Mondrian and van der Leck to join his initiative to start an artistic review periodical. They agreed and the result of this was the journal entitled De Stijl. Together they formed an artistic collective that consisted not only of painters but also architects; the movement was confined to strictly Dutch areas due to war. These artists cannot be considered the same. For example, not all De Stijl artists
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