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344:, which bought it in 1911. Gossaert surprises the viewer with pompous costume and flaring contrasts of tone. His figures, like pieces on a chess-board, are often rigid and conventional. The landscape which shows through the colonnades is adorned with towers and steeples in the minute fashion of Van der Weyden. After a residence of a few years at Antwerp, Gossaert took service with
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Burgundy on his
Italian mission to the pope, and by this accident an important revolution was effected in the art of the Netherlands. Gossaert appears to have chiefly studied in Italy the cold and polished works of the Leonardesques. He not only brought home a new style, but he also introduced the fashion of travelling to Italy; and from that time until the age of
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Antwerp), all prove that travel had left many of
Gossaert's fundamental peculiarities unaltered. His figures still retain the character of stone; his architecture is as rich and varied, his tones are as strong as ever. But bright contrasts of gaudy tints are replaced by soberer greys; and a cold haze, the
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of the
Milanese, pervades the surfaces. It is but seldom that these features fail to obtrude. When they least show, the master displays a brilliant palette combined with smooth surface and incisive outlines. In this form the Madonnas of Munich and Vienna (1527), the likeness of a girl weighing gold
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Philip of
Burgundy ordered Gossaert to execute a replica for the church of Middelburg, and the value which was then set on the picture is apparent from the fact that Dürer came expressly to Middelburg (1521) to see it. In 1568 the altarpiece perished by fire. In 1508 Gossaert accompanied Philip of
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came to the
Netherlands, he asked Gossaert to paint the likenesses of his dwarfs. In 1528 he requested the artist to furnish to Jean de Hare the design for his queen Isabellas tomb in the abbey of St Pierre near Ghent. It was no doubt at this time that Gossaert completed the portraits of John,
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Happily, Gossaert was capable of higher efforts. His St Luke painting the portrait of the Virgin in Sanct Veit at Prague, a variety of the same subject in the
Belvedere at Vienna, the Madonna of the Baring collection in London, or the numerous repetitions of Christ and the scoffers (Ghent and
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on a pleasure trip to Ghent, Mechelen and
Antwerp in 1527. The works of Gossaert are those of a hardworking and patient artist; the number of his still extant pictures practically demonstrates that he was not a debauchee. The marriage of his daughter with the painter
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it was considered proper that all
Flemish painters should visit the peninsula. The Flemings grafted Italian mannerisms on their own stock, and the cross turned out so unfortunately that for a century Flemish art lost all trace of originality.
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His name was in fact "Jan
Gossart", and he was so known in his lifetime; the Dutch version "Gossaert" crept into later sources, despite Gossart's first language being French. Little is known of his early life. One of his earliest biographers,
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556:'s biography accuses Gossaert of an unruly life; yet it describes the solid education he must have had to learn his trade so well. It also describes the splendid appearance of Gossaert, dressed in gold brocade, as he accompanied
416:, he gave the artists in his employ fair chances of promotion. Barbari was made court painter to the regent, while Gossaert received less important commissions. Records prove that Gossaert painted a (posthumous) portrait of
139:, whom he knew, but he has tended to be less highly regarded in modern times than they were. Unlike them, he was not a printmaker, though his surviving drawings are very fine, and are preferred by some to his paintings.
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only spoke by hearsay of the progress made by
Gossaert in the true method of producing pictures full of mythological nude figures and poesies. It is difficult to find anything more coarse or misshapen than the
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Gossaert undoubtedly made a large number of drawings in Rome after the innumerable ancient ruins and sculptures that the city had. Today only four surviving magazines are known; a sheet with the ruins of the
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515:, which were long known and often copied as likenesses of Prince Arthur, Prince Henry and Princess Margaret of England. One of the copies at Wilton, inscribed with the forged name of
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538:, in 1517, he was accompanied by Gossaert, who helped to decorate the new palace of his master. At Philip's death, in 1524, Gossaert designed and erected his tomb in the church of
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293:. At Scawby he illustrates the legend of the count of Toulouse, who parted with his worldly goods to assume the frock of a hermit. His altarpiece of the
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to the north, sometimes with a rather awkward effect. He achieved fame across at least northern Europe, and painted religious subjects, including large
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of painting with much nudity in historical allegories. From 1517 to 1524 he is registered at Duurstede Castle where according to the RKD, he had
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of Leuven suggests that he had a home, and did not live habitually in taverns. His death at Antwerp is recorded in the portrait engraved by
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by 28 June 1509. Although the details are unclear, it seems that Gossaert remained in Philip's employment until he died in 1524, by then
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From at least 1508 he was apparently continuously employed, or at least retained, by quasi-royal patrons, mostly members of the extended
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Nadine M. Orenstein, 'Jan Gossaert's Mocking of Christ: A Reversal of States', Print Quarterly, XXVIII, 2011, 249–55
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Bass, M. A. (2016). Jan Gossart and the invention of Netherlandish antiquity. Princeton University Press.
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In the summer of 1509 Philip returned to the Netherlands, and, retiring to his seat of Suytburg in
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Gosssart's Spinario has been selected by CODART as one of the hundred masterpieces in the book
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Man, Myth, and Sensual Pleasures: Jan Gossart's Renaissance : the Complete Works
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to visit Italy and Rome, which he did in 1508–09, and a leader of the style known as
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before the church itself was hit by lightning. This is possibly the work now in the
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Dorothy and Christine, children of Christian II, which came into the collection of
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by Jan Gossaert (1520–25) Wood, 109.5 × 82 cm Kunsthistorisches Museum, Vienna
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and, like him, his compositions were usually framed in architectural backgrounds.
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Gossaert shows Antwerp influence in the large altar-pieces previously located at
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pieces (Berlin), and the portraits of the children of the king of Denmark at
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In 1508-9 he travelled to Rome, either in the company of, or later sent by,
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1045:. Vol. 17 (11th ed.). Cambridge University Press. p. 189.
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when in exile, and Mencía de Mendoza, Countess of Nassau, third wife of
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At the period when these portraits were executed Gossaert lived at
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This article incorporates text from a publication now in the
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mentions there is evidence to support a claim that he was born in
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100 Masterpieces Dutch and Flemish Art 1350-1750 – CODART Canon
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of the National Gallery exhibition, London and Washington, 2011
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7 full catalogue entries from the National Gallery, London
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Jan Gossaert-self portrait (1515–1520). Collection of the
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as pupil. From 1524 onwards he returned to Middelburg as
54:– 1 October 1532) was a French-speaking painter from the
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with heavy double doors in Middelburg was admired by
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Christ between the Virgin and Saint John the Baptist
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But his only signed pictures of this period are the
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In 1509–17 Gossaert was registered as a resident of
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The Virgin and Child with white lilies and cherries
459:of 1517, at the Louvre, both of which suggest that
311:in the possession of Mr. Magnus of Delft in 1604.
82:, in 1503. He was one of the first painters of
431:Portrait of Hendrik III, Count of Nassau-Breda
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1529:Master of the Amsterdam Death of the Virgin
1437:Master of the Legend of St. Ursula (Bruges)
681:Portrait of Francisco de los Cobos y Molina
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1002:"Biography – Jan Gossaert (Jean Gossart)"
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84:Dutch and Flemish Renaissance painting
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1600:Works by Early Netherlandish masters
1442:Master of the Legend of the Magdalen
1063:, 2010, Metropolitan Museum of Art,
987:Digital library for Dutch literature
897:Digital library for Dutch literature
1427:Master of the Legend of St. Barbara
499:, are fair specimens of his skill.
356:(50 figures), on the high altar of
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1432:Master of the Legend of Saint Lucy
180:. He is registered in the Antwerp
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1462:Master of the Morrison Triptych
1417:Master of the Antwerp Adoration
955:. The drawing can be viewed in
420:, and other small pieces, for
393:or "thorn extractor" (Leiden,
234:, another Habsburg relative.
191:, an illegitimate son of Duke
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1706:16th-century Flemish painters
1519:Jacob Cornelisz van Oostsanen
1447:Master of the Lille Adoration
696:Isabella of Spain and Denmark
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1595:Early Netherlandish painting
1457:Master of the Mansi Magdalen
583:Virgin and Child with Saints
92:Italian Renaissance painting
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38:St Luke Painting the Madonna
451:of 1516 at Berlin, and the
336:previously created for the
29:, Manchester, New Hampshire
16:Flemish painter (1478–1532)
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1467:Master of the Prodigal Son
1452:Master of the Lübeck Bible
1011:, National Gallery, London
844:Jan Gossaert's Renaissance
333:The Adoration of the Kings
271:The Adoration of the Kings
1640:Netherlandish Renaissance
1084:, 1985, Harry N. Abrams,
957:Leiden University Library
241:He was a contemporary of
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126:Henry III of Nassau-Breda
1670:Nativity of Jesus in art
1082:Northern Renaissance Art
985:, 1604, courtesy of the
895:, 1604, courtesy of the
1175:Early Netherlandish art
1127:12 October 2013 at the
1042:Encyclopædia Britannica
504:Christian II of Denmark
502:As early as 1523, when
236:Jan Mertens the Younger
135:and the rather younger
122:Christian II of Denmark
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710:Portrait of a Merchant
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354:Descent from the Cross
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1367:Goswin van der Weyden
1007:16 April 2016 at the
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27:Currier Museum of Art
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1635:Northern Renaissance
1630:International Gothic
1509:Jan Joest van Calcar
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1481:Active mainly in the
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1194:Active mainly in the
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1118:at Wikimedia Commons
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563:Henry van der Heyden
309:Descent of the Cross
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1247:Melchior Broederlam
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1184:Early Netherlandish
961:Digital Collections
729:Dorothea of Denmark
418:Eleanor of Portugal
410:Margaret of Austria
383:Kupferstichkabinett
238:was another pupil.
201:Philip the Handsome
182:Guild of Saint Luke
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841:Cummings, Laura,
759:Portrait of a Man
613:Floris van Egmond
534:, and settled at
532:bishop of Utrecht
232:Adolf of Burgundy
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118:Adolf of Burgundy
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56:Low Countries
46:
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28:
23:
19:
1691:1470s births
1547:Main centres
1387:Jan van Eyck
1347:Jan Provoost
1332:Hans Memling
1292:Jan Gossaert
1291:
1277:Jean Delemer
1272:Gerard David
1242:Dieric Bouts
1222:Simon Bening
1116:Jan Gossaert
1081:
1073:fully online
1060:
1040:
982:
967:
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850:The Guardian
848:
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828:
778:Prado Museum
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172:, while the
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59:
45:Jan Gossaert
44:
43:
37:
18:
1696:1532 deaths
1490:Netherlands
1282:Jan de Beer
1033:Mabuse, Jan
928:Campbell, 2
865:Campbell, 1
652:Mauritshuis
650:1520–1530,
581:Drawing of
567:Jerome Cock
96:altarpieces
52: 1478
1685:Categories
1140:at PubHist
1090:0136235964
1069:1588393984
995:References
972:(in Dutch)
940:in the RKD
882:(in Dutch)
847:Review in
821:Crowe 1911
727:(Possibly
528:Middelburg
509:Henry VIII
466:Amphitrite
216:Middelburg
60:Jan Mabuse
1579:The Hague
1564:Brussels
1031:(1911). "
780:, Madrid.
746:, c. 1530
712:, c. 1530
630:c. 1520,
585:, c. 1511
521:Henry VII
424:in 1516.
422:Charles V
387:Accademia
381:(Berlin,
379:Colosseum
305:Hermitage
205:The Hague
184:in 1503.
160:) called
143:Biography
1125:Archived
1005:Archived
668:, (1527)
414:Mechelen
391:Spinario
370:Van Dyck
255:Brussels
162:Maubeuge
103:Habsburg
88:Romanism
64:Maubeuge
1588:General
1574:Tournai
1554:Antwerp
1203:Belgium
1186:artists
1039:(ed.).
1026::
491:sfumato
470:Neptune
453:Madonna
402:Zeeland
251:Tournai
166:Maubuse
80:Antwerp
72:Hainaut
1559:Bruges
1088:
1067:
1035:". In
1020:
885:Mabuse
731:) 1530
683:, 1530
615:, 1519
600:, 1517
461:Vasari
366:Rubens
291:Scawby
154:Artois
107:Valois
1569:Ghent
1131:, by
938:56051
917:32898
786:Notes
666:Danae
261:Works
78:, at
66:) or
1086:ISBN
1065:ISBN
368:and
289:and
253:and
981:'s
977:in
959:'s
891:'s
887:in
412:at
397:).
230:to
199:by
174:RKD
164:or
1687::
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858:^
793:^
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569:.
360:.
128:.
120:,
116:,
49:c.
1492:)
1205:)
1167:e
1160:t
1153:v
823:.
480:(
70:(
47:(
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