Gossart, Jan

or Jan Gossaert or Jan Mabuse

born с 1478, Maubeuge?, France

died Oct. 1, 1532, Antwerp?

Flemish painter.

After a stay in Italy (1508–09), Gossart turned from the ornate style of the Antwerp school to the High Renaissance style. Neptune and Amphitrite (1516) reflects his attempt to assimilate the art of Classical antiquity and the Italian Renaissance. Despite his efforts to develop a fully Italianate style, his nudes seldom avoid the stiffness of his earlier figures, and ultimately he retained the jewel-like technique and careful observation of traditional Early Netherlandish art. He was among the first to introduce the Italian Renaissance style into the Low Countries.

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▪ Flemish painter

also called  Jan Gossaert  or  Jan Mabuse  

born c. 1478, Maubeuge?, France

died October 1, 1532, Antwerp?

 Flemish painter who was one of the first artists to introduce the style of the Italian Renaissance into the Low Countries.

      Gossart is most likely to be identified with Jennyn van Hennegouwe, who is registered as a master in the Guild of St. Luke at Antwerp in 1503. His most important early work extant is the Adoration of the Kings, which is painted in the ornate style of the Antwerp school. Other early works, such as Jesus, the Virgin, and the Baptist, reflect his interest in the works of Jan van Eyck (Eyck, Jan van) and Albrecht Dürer (Dürer, Albrecht). Another early work, famous for its sense of mood, is the Agony in the Garden.

      In 1508 Gossart accompanied his employer, Philip of Burgundy, to Italy, where he was strongly impressed by the art of the High Renaissance. After his return from Italy in 1509, he continued to study Italian art through the engravings of Marcantonio Raimondi (Raimondi, Marcantonio) and Jacopo de' Barbari (Barbari, Jacopo de'). Gossart's subsequent work shows a continuous effort to develop a fully Italianate style. This is evident in such works as the Neptune and Amphitrite (1516) and the Hercules and Deianira (1517), in which his early, complex designs have given way to a comparatively simple and direct conception.

      Sculpturesque nudes become common in Gossart's later paintings, but they seldom avoid the stiff quality of his earlier figures. In his Danae, Gossart employs an elaborate architectural setting as a foil for the seminude figure, a device he frequently used. Throughout his life, he retained the lapidary technique and careful observation that were traditional in Netherlandish art.

      Gossart was also a renowned portrait painter. His portraits, such as the Charles de Bourgogne, Eleanor of Austria (c. 1525), and Jean Carondelet (1517), reveal his facility for psychological perception and are particularly notable for their expressive depiction of hands.

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