Netherlands • 1470−1532

Probably studied with Gerard David. In 1502 he was admitted to the Guild of St. Luke in Antwerp. Probably in 1499 he went to England, where he painted mainly portraits.

Around 1507 was passed to the court of Philip of Burgundy (bastard son of Philip III the Good). Accompanied him during the trip to Rome (1508-1509). In the later years continued to work for Philip in his castle. When Philip of Burgundy was ordained Bishop of Utrecht, In followed him to the castle Duurstede and helped in its decoration.

Died in Antwerp in 1541.

Dutch painter (Gossaert; nickname – van Mabuse, van Mabuse, i.e., Maubeuge, now in France). He studied at Bruges, he worked in Antwerp, Utrecht, Middelburg and other cities in 1508-1509 visited Italy. In 1527, together with Gossaert and Lucas van Leyden made a trip through Flanders. The founder of Romanism, a trend in Netherlandish painting of the 16th century, Gossaert tried to exploit the achievements of the Italian Renaissance in the composition, anatomy, perspective: turning to ancient and biblical subjects, often depicted Nude figures against a background of classical architecture or in the natural environment, transferred, typical Dutch art careful and substantive detail (“Adam and eve”, “Neptune and Amphitrite”, 1516, both in the Art gallery, Berlin; Danae, 1527, Alte Pinakothek, Munich). The artistic traditions of the Dutch school closest to the portraits of Jan Gossart (diptych depicting Chancellor Jean Carondelet, 1517, Louvre, Paris).

Picture Gossart Jan Mabuse “St. Luke writing the icon of the virgin”.

Saint Luke stands behind the lectern in the Church, and paints the Madonna and child; his hand sends an angel. Gossaert was one of the first Flemish painters who visited Italy. The impact of this travel is clearly evident in inspired by the Renaissance architecture, that light has a source (namely, the glow surrounding the Madonna), and in the heavy, sculpted figures of. However, the Northern tradition of painting is felt in the character of the drapery panel folds completely in Flemish style, in the awkward pose of the kneeling Saint. Gossaert belonged to the group of Dutch artists, known novelists who wished to follow the High ideals of the Italian Renaissance, but was constrained by the traditional Flemish naturalism and painstaking painting technique. Although the artist borrowed the pose and details, the spirit of the classics had eluded him.

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