Jan Gossaert

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Jan Gossaert-self portrait (1515–1520). Collection of the Currier Museum of Art, Manchester, New Hampshire
St Luke Painting the Madonna by Jan Gossaert (1520–25) Wood, 109.5 × 82 cm Kunsthistorisches Museum, Vienna

Jan Gossaert (c. 1478 – 1 October 1532) was a French-speaking painter from the Low Countries also known as Jan Mabuse (the name he adopted from his birthplace, Maubeuge) or Jennyn van Hennegouwe (Hainaut), as he called himself when he matriculated in the Guild of Saint Luke, at Antwerp, in 1503.[1] He was one of the first painters of Dutch and Flemish Renaissance painting to visit Italy and Rome, which he did in 1508–09, and a leader of the style known as Romanism, which brought elements of Italian Renaissance painting to the north, sometimes with a rather awkward effect. He achieved fame across at least northern Europe, and painted religious subjects, including large altarpieces, but also portraits and mythological subjects, including some nudity.

From at least 1508 he was apparently continuously employed, or at least retained, by quasi-royal patrons, mostly members of the extended

Habsburg family, heirs to the Valois Duchy of Burgundy. These were Philip of Burgundy, Adolf of Burgundy, Christian II of Denmark when in exile, and Mencía de Mendoza, Countess of Nassau, third wife of Henry III of Nassau-Breda.[2]

He was a contemporary of Albrecht Dürer and the rather younger Lucas van Leyden, 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.[3]

Biography

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.

RKD mentions there is evidence to support a claim that he was born in Duurstede Castle.[6] He is registered in the Antwerp Guild of Saint Luke in 1503.[6]

In 1508-9 he travelled to Rome, either in the company of, or later sent by,

Bishop of Utrecht. However, throughout this time he was able to work for other patrons, mostly friends of Philip.[7]

In 1509–17 Gossaert was registered as a resident of Middelburg.[6] According to Van Mander he was one of the first Flemish artists to bring back the Italian manner of painting with much nudity in historical allegories.[5] From 1517 to 1524 he is registered at Duurstede Castle where according to the RKD, he had Jan van Scorel as pupil.[6] From 1524 onwards he returned to Middelburg as court painter to Adolf of Burgundy,[6] another Habsburg relative. Jan Mertens the Younger was another pupil.

He was a contemporary of Lucas van Leyden,[5] and was influenced by artists who came before him, such as Rogier van der Weyden, the great master of Tournai and Brussels and, like him, his compositions were usually framed in architectural backgrounds.[1]

Works

The Adoration of the Kings, formerly at Castle Howard, now at the National Gallery

Gossaert shows Antwerp influence in the large altar-pieces previously located at Castle Howard and Scawby. At Scawby he illustrates the legend of the count of Toulouse, who parted with his worldly goods to assume the frock of a hermit.[1] His altarpiece of the Descent from the Cross with heavy double doors in Middelburg was admired by Albrecht Dürer before the church itself was hit by lightning.[5] This is possibly the work now in the Hermitage,[8] though Van Mander stated the lightning destroyed it and describes another Descent of the Cross in the possession of Mr. Magnus of Delft in 1604.

Jean Carondelet

At Castle Howard, the

Philip the Good, at that time lord of Somerdyk and admiral of Zeeland. One of his pictures had already become celebrated: a Descent from the Cross (50 figures), on the high altar of Tongerlo Abbey.[1]

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 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

Van Dyck 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.[1]

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 Colosseum (Berlin, Kupferstichkabinett), a study of the so-called Apollo Kitharoedos (Venice, Accademia), a study of the so-called Capitolean Hercules (Private collection, London), and a sheet with studies of, among others, the famous Spinario[9] or "thorn extractor" (Leiden, Leiden University Library's Print Room).

In the summer of 1509 Philip returned to the Netherlands, and, retiring to his seat of Suytburg in

Margaret of Austria at Mechelen, 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 Eleanor of Portugal, and other small pieces, for Charles V in 1516.[1]

Portrait of Hendrik III, Count of Nassau-Breda
Christian II
of Denmark 1526

But his only signed pictures of this period are the Neptune and Amphitrite of 1516 at Berlin, and the Madonna, with a portrait of

Neptune. In later forms of the same subject—the Adam and Eve at Hampton Court, or its feebler replica at Berlin and Venus and Amor (Royal Museums of Fine Arts of Belgium, Brussels)—there is more nudity, combined with realism of the commonest type.[1]

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 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

Hampton Court, are fair specimens of his skill.[1]

As early as 1523, when

Hampton Court, 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 Hans Holbein, ye father, and the false date of 1495, has often been cited as a proof that Gossaert came to England in the reign of Henry VII; but the statement rests on no foundation whatever.[1]

At the period when these portraits were executed Gossaert lived at

bishop of Utrecht, and settled at Duurstede Castle, 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 Wijk bij Duurstede. He finally retired to Middelburg, where he took service with Philip's brother, Adolph, lord of Veeren.[1]

The Holy Family, about 1507–1508

Carel van Mander'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 Lucas van Leyden on a pleasure trip to Ghent, Mechelen and Antwerp in 1527.[10]
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
Jerome Cock.[1]

  • Drawing of Virgin and Child with Saints, c. 1511
    Drawing of Virgin and Child with Saints, c. 1511
  • Hercules and Deianira, 1517
    Hercules and Deianira, 1517
  • Floris van Egmond, 1519
    Floris van Egmond, 1519
  • Adam and Eve c. 1520, Royal Collection
    Adam and Eve c. 1520, Royal Collection
  • Madonna and Child Playing with the Veil 1520–1530, Mauritshuis
    Madonna and Child Playing with the Veil 1520–1530, Mauritshuis
  • Danae, (1527)
    Danae, (1527)
  • Portrait of Francisco de los Cobos y Molina, 1530
    Portrait of Francisco de los Cobos y Molina, 1530
  • Isabella of Spain and Denmark
    Isabella of Spain and Denmark
  • Portrait of a Merchant, c. 1530
    Portrait of a Merchant, c. 1530
  • A Young Princess (Possibly Dorothea of Denmark) 1530
    A Young Princess (Possibly Dorothea of Denmark) 1530
  • The Virgin and Child with white lilies and cherries, c. 1530
    The Virgin and Child with white lilies and cherries, c. 1530
  • Portrait of a Man, (1493-1532)
    Portrait of a Man, (1493-1532)
  • Christ between the Virgin and Saint John the Baptist, Prado Museum, Madrid.
    Christ between the Virgin and Saint John the Baptist,
    Prado Museum
    , Madrid.

Notes

  1. ^ a b c d e f g h i j k l Crowe 1911.
  2. ^ Campbell, 1–3
  3. ^ Cummings, Laura, Jan Gossaert's Renaissance Review in The Guardian of the National Gallery exhibition, London and Washington, 2011
  4. ^ a b Campbell, 1
  5. ^
    Digital library for Dutch literature
  6. ^ a b c d e 32898 artist record for Jan Gossaert in RKD
  7. ^ Campbell, 2
  8. ^ 56051 in the RKD
  9. ^ Gosssart's Spinario has been selected by CODART as one of the hundred masterpieces in the book 100 Masterpieces Dutch and Flemish Art 1350-1750 – CODART Canon. The drawing can be viewed in Leiden University Library's Digital Collections
  10. Digital library for Dutch literature

References

  • Campbell, Lorne, "Biography – Jan Gossaert (Jean Gossart)" Archived 16 April 2016 at the Wayback Machine, National Gallery, London
  •  This article incorporates text from a publication now in the public domain: Crowe, Joseph Archer (1911). "Mabuse, Jan". In Chisholm, Hugh (ed.). Encyclopædia Britannica. Vol. 17 (11th ed.). Cambridge University Press. p. 189.

Further reading

External links

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