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).

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References in periodicals archive ?
Adoration (after Jan Gossaert), 2015-16, Raqib Shaw (b.
Jan Gossaert's painting follows suit with no indication the elderly husband doubts his wife's fidelity, or that the young mother's pre-wedding pregnancy left any scars on her psyche, or that the adorable child will ever have to face life's injustices.
Subsequent arthistorians have, as in the current exhibition at the London National Gallery, Jan Gossaert's Renaissance, mistaken his name.
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.
Philip was a cultivated man and is said to have had some training in both painting and the art of the goldsmith, yet it is likely that he was helped to design the muscular snowman by the artist whose interest in classical antiquity he had taken pains to encourage, Jan Gossaert (c.
In many respects the Danae chapter is the centerpiece of the volume, and Sluijter is extremely thorough in his consideration of the models for the picture as well as the ambitions (especially relative to the previous nudes) that Rembrandt exerted in its making over two campaigns (Sluijter does, however, belittle modern scholars, including this reviewer, who could still see lingering medievalist allegory along with the new eroticism in the sixteenth-century rendering of the subject by Jan Gossaert, 1527, fig.
(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. (35) Kaufmann in several essays has considered wider issues of the tensions between such geographical diffusion and regional artistic identity.
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.
Visitors to the National Gallery in London may have long admired Jan Gossaert's Virgin and Child (Fig.
Jan Gossaert's painting picks up on all these sad parallels.
Jan Gossaert: Die niederlandische Kunst zu Beginn der Neuzeit.