Gossart, Jan

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Gossart or Gossaert, Jan,

c.1478–1532, Flemish painter, b. Maubeuge, also known as Jan de Mabuse after his birthplace. He may have studied in Bruges before joining the Antwerp guild in 1503. In 1508 he went to Italy for a year with his patron, Philip of Burgundy, and he was strongly influenced by Italian art and ancient sculpture. Gossart is often credited with introducing Italian Renaissance sensuality to Northern European painting; he was among the first Flemish artists to represent the nude and classical mythology in a manner derived from Italy. His forms are fleshy, solid, and heavy, and their surfaces are rendered with smooth precision. Gossart is noted as well for his portraits. The imperious attitude he gave to his subjects was highly popular in his time. A Donor and His Wife (Brussels), Neptune and Amphitrite (Berlin), Danaë (Munich), St. Luke Painting the Virgin (versions in Vienna and National Gall., Prague), and Jean Carondelet Adoring the Virgin (Louvre) are characteristic paintings. He is also known for his masterful drawings and prints.

Bibliography

See H. B. Wehle and M. Salinger, Early Flemish, Dutch and German Painters (1947); M. W. Ainsworth, Man, Myth, and Sensual Pleasures: Jan Gossart's Renaissance: The Complete Works (museum catalog, 2010).

References in periodicals archive ?
Cranach's experience in the Netherlands may have encouraged him in exploring the female nude--Margaret was said to enjoy nudes, and other painters at her court, notably Jan Gossaert and Jacopo de' Barbari, were using that form.
The "heritage apples" are the work of local entrepreneurs Nicky Smart and Lorraine Taylor and will be displayed in conjunction with a painting entitled Adam and Eve by Flemish artist Jan Gossaert.
33) Ethan Matt Kavaler has addressed case studies in stone sculpture; (34) Larry Silver and Ariane Mensger have considered the contrasting style choices made by Jan Gossaert.
1520, Kunsthistorisches Museum, Vienna), by the mannerist Jan Gossaert, known as Mabuse, attests to the persistence of the motif, complete with a wriggling baby who grasps his mother's chin.
Jan Gossaert (circa 1478 to 1532), credited with being one of the first to bring the innovations of the Italian Renaissance to northern Europe, brought home to the Netherlands new painting ideas and a new trend, introducing a greater awareness of anatomy and architectural space with his art.
Although destroyed by lightning in 1568, the multi-panel altarpiece created by Jan Gossaert for the abbey church of Middelburg, in the Dutch province of Zeeland, remains a subject of art-historical interest due largely to Albrecht Darer, who saw it in December 152o and pronounced Gossaert's work 'Nit so gut im Hauptstreichen als in Gemal' (not so good in design as in painting).
SECOND SUNDAY OF LENT: "The Agony in the Garden" by Jan Gossaert, c.
Jan Gossaert, the early standard-bearer of the Netherlandish Renaissance, is the subject of a new monograph by Ariane Mensger, the first general consideration of the artist since the Gossaert exhibition in Bruges of 1965 and the revision of Max J.
Jan Gossaert (circa 1478 to 1532) was a Netherlandish artist credited with being one of the first to bring the innovations of the Italian Renaissance to northern Europe.
Meit's figures never have the exaggerated musculature we sometimes see in Durer and Jan Gossaert, whom he also knew.
TECHNICAL DETAILS Issue: Christmas: Jan Gossaert's Madonna and Child Item Number: 670200 Denomination & Type of Issue: 37-cent Special Format: Convertible Booklet of 20 (1 design) Series: Christmas Issue Date & City: October 10, 2002, Chicago, IL 60607 Artist: Jan Gossaert, painting from the Charles H.