The Metropolitan has a marvelous exhibit of the works of Jan Gossart (he is known by a variety of names) that I visited today. A northerner, in the pictorial tradition of van Eyck and other pioneering artists in oil, he, like Albrecht Durer, went south, and was enthralled by the ruins of the classical world and the Humanist revival in Italy. He fuses this taste with his northern gothic tradition and produces something that is at times downright weird, but compelling. The exhibit was unusual, I thought, in its emphasis on the sources in contemporary art of the north for many of his works. Gossart was on the cutting edge; one of a group of humanist-scholar-artist afficianados who found deep-pocketed patrons to finance their new vision.
As always, click on the images to enlarge them.
The image at the top was one of my favorites – a disguised portrait of a young girl as Mary Magdalen, so simple, plain, and lovely compared to the other Magdalen below.
His debt to Durer’s popular engraving is clear and direct, but he drops some of the classicizing of the print’s image.
Here, he cuts loose a bit and depicts Adam and Eve as actual human beings, rather “than Biblical Figures”, who are obviously quite attracted to one another.
The Virgin Mary, and Mary Magdalen: The first is calm, contemplative, and shows that strange marble-like texture found in so many of his portraits. He seems to enjoy painting people as though they were sculpture, sometimes to a degree that it appears trompe l’oeil. The second is strange, twisted, writhing, and definitely tipping in the direction of mannerism.
Hercules and wife, classical architecture, bodies – see, her breasts are perfect hemispheres – and a weird, erotic entangling of legs. The picture on the right makes use of blue pigment created from lapis lazuli that was as expensive as gold.
A bit of weirdly erotic classicizing…
A portrait of a man who was in charge of municipal toll collections, an important and lucrative post. From his look, he seems right for the job. If you look very closely at his eyes, at the white highlight on the iris reflecting the incoming light, you can see the image of the mullions of the window from which this scene is illuminated.