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He was the first artist to depict game as a subject of hunting rather than as food displayed in a home or kitchen. He did not place fruit and vegetables in his game pieces but rather dogs forming part of the hunting scene in an outdoor landscape. As the game was no longer shown as food but as a trophy, these works hav... |
Some of his game pieces display the scene as if seen through the eyes of an animal witnessing the scene. An example is the Dead Game and Weasels (c. 1642, Detroit Institute of Arts). The adoption of the animal viewpoint has been interpreted as Fyt's reflection on new philosophical and scientific ideas on the differen... |
Fyt's innovative game pieces were influential on artists practicing the genre in France and the Dutch Republic. |
Flower pieces |
Fyt created flower pieces in the later part of his career from 1643 onwards. He depicted large flowers with drooping blooms, such as peonies, tulips with other flowers extending high above them. The pieces are typically arranged in a vase. In a few works the vase seems to have fallen over or is placed on an architectur... |
Collaborations |
As was the custom in Antwerp at the time, Fyt collaborated regularly with other painters who were specialist in other areas such as figure, landscape or architectural painting. He thus relied on figure painters such as Cornelius Schut, Thomas Willeboirts Bosschaert and possibly on occasion Jacob Jordaens and on figure ... |
Drawings |
Jan Fyt produced many drawings of animals based usually on studies from nature. The Hermitage holds a large gouache drawing of a Fox Hunt. It is rich in colour and carefully executed and was likely intended as a model for tapestry cartoon. |
Engravings |
Fyt was an accomplished etcher and he produced a series of etchings depicting mainly animals and dogs. These were published in his lifetime in two sets referred to respectively as the Set of the Dogs and the Set of the Animals. The set of 8 prints of the Dogs series was published in 1642. The title plate shows two hun... |
The Set of the Animals comprised 8 prints depicting respectively billy goats, an ox, a horse, a recumbent dog, a recumbent cow, a wagon near a tree, a recumbent cow and two foxes. |
References |
Further reading |
Keyes, G. 'Salerooms Discoveries: Still Life Drawings by Fyt and Snyders', The Burlington Magazine 119 (1977), pp. 310–312 |
Martin, Gregory, The Flemish School, 1600–1900, National Gallery Catalogues, 1970, National Gallery, London, ISBN 0-901791-02-4 |
External links |
Media related to Jan Fyt at Wikimedia Commons |
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. He was one of the firs... |
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 Na... |
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. |
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. Little is known of his early life. One of his earliest biographers, Karel van Mander, claimed he was from a small town in Artois or Henegouwen (C... |
In 1508-9 he travelled to Rome, either in the company of, or later sent by, Philip of Burgundy, an illegitimate son of Duke Philip the Good, who was sent as ambassador to Pope Julius II by Philip the Handsome. Philip's party, very likely including Gossaert, left the Netherlands in October 1508, arrived in Rome on 14 Ja... |
In 1509–17 Gossaert was registered as a resident of Middelburg. 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. From 1517 to 1524 he is registered at Duurstede Castle where according to the RKD, he had Jan van Scorel... |
He was a contemporary of Lucas van Leyden, 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. |
Works |
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. His altarpiece of the Descent from the Cross with heavy double doors in Middelburg w... |
At Castle Howard, the Earl of Carlisle had obtained The Adoration of the Kings previously created for the Grandmontines, which throws together some thirty figures on an architectural background, varied in detail, massive in shape and fanciful in ornament. This painting is now on display at the National Gallery, which b... |
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 Itali... |
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 stud... |
In the summer of 1509 Philip returned to the Netherlands, and, retiring to his seat of Suytburg in Zeeland, surrendered himself to the pleasures of planning decorations for his castle and ordering pictures of Gossaert and Jacopo de' Barbari. Being in constant communication with the court of Margaret of Austria at Meche... |
But his only signed pictures of this period are the Neptune and Amphitrite of 1516 at Berlin, and the Madonna, with a portrait of Jean Carondelet of 1517, at the Louvre, both of which suggest that Vasari only spoke by hearsay of the progress made by Gossaert in the true method of producing pictures full of mythological... |
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 t... |
As early as 1523, when Christian II of Denmark came to the Netherlands, he asked Gossaert to paint the likenesses of his dwarfs. In 1528 he requested the artist to furnish to Jean de Hare the design for his queen Isabellas tomb in the abbey of St Pierre near Ghent. It was no doubt at this time that Gossaert completed t... |
At the period when these portraits were executed Gossaert lived at Middelburg. But he dwelt at intervals elsewhere. When Philip of Burgundy became 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,... |
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. |
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 Henry van der Heyden of Leuven suggests that he had a home, and did not live habitually in taverns. His death a... |
Notes |
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 |
Ainsworth, Maryan Wynn, Man, Myth, and Sensual Pleasures: Jan Gossart's Renaissance : the Complete Works, 2010, Metropolitan Museum of Art, ISBN 1588393984 9781588393982, fully online |
Snyder, James. Northern Renaissance Art, 1985, Harry N. Abrams, ISBN 0136235964 |
Nadine M. Orenstein, 'Jan Gossaert's Mocking of Christ: A Reversal of States', Print Quarterly, XXVIII, 2011, 249–55 |
Bass, M. A. (2016). Jan Gossart and the invention of Netherlandish antiquity. Princeton University Press. |
External links |
Media related to Jan Gossaert at Wikimedia Commons |
7 full catalogue entries from the National Gallery, London Archived 12 October 2013 at the Wayback Machine, by Lorne Campbell |
Works and literature at PubHist |
Jan Harmensz. Muller (1571–1628) was a Dutch engraver and painter. |
Muller was born in Amsterdam. His father was a book printer, engraver and publisher. He learned the engraving trade while working at the family business. He traveled and lived in Italy for a time. Muller returned home, inherited his father's business, and died in 1628. |
Works |
Rape of Sabine, The Art Institute of Chicago, Chicago |
Couple embracing, The J. Paul Getty Museum, Los Angeles |
Two studies of Atlas, The Fitzwilliam Museum, Cambridge, UK |
Masked Ball, Le Louvre, Paris |
Head, Le Louvre, Paris |
Agar in the desert, Le Louvre, Paris |
The Prodigal son being seduced, Le Louvre, Paris |
Raising of Lazarus', National Gallery of Ottawa, Canada |
== References == |
Jan Lievens (24 October 1607 – 4 June 1674) was a Dutch Golden Age painter who was associated with his close contemporary Rembrandt, a year older, in the early parts of their careers. They shared a birthplace in Leiden, training with Pieter Lastman in Amsterdam, where they shared a studio for about five years until 163... |
Biography |
According to Arnold Houbraken, Jan was the son of Lieven Hendriksze, an embroiderer (borduurwerker), and was trained by Joris Verschoten. He was sent to Pieter Lastman in Amsterdam at about the age of 10 for two full years. After that he began his career as an independent artist, at about the age of 12 in Leiden. He be... |
When he returned from England via Calais, he settled in Antwerp, where he married Suzanna Colyn de Nole, the daughter of the sculptor Michiel Colyns, on 23 December 1638. In this period he won many commissions from royalty, mayors, and city halls. According to Houbraken, a Continence of Scipio was painted for the Leide... |
Lievens collaborated and shared a studio with Rembrandt van Rijn from about 1626 to 1631. Their competitive collaboration, represented in some two dozen paintings, drawings and etchings, was intimate enough to cause difficulties in the attribution of works from this period. Lievens showed talent for painting in a life-... |
During his time in England Lievens painted a portrait for Thomas Howard, 21st Earl of Arundel, and became influenced by the works of Anthony van Dyck. Lievens worked in Antwerp, and cooperated with Adriaen Brouwer. After being a court painter in The Hague and Berlin, he returned to Amsterdam in 1655. After his first wi... |
Posthumous |
In 2022, a long-lost missing drawing by Lievens (last seen at auction in Frankfurt in 1888) was rediscovered and auctioned by Christopher Bishop Fine Art for €1.35 million at TEFAF Maastricht. |
Public collections |
Agnes Etherington Art Centre |
Amsterdam Museum |
Mauritshuis, The Hague |
Museo Thyssen-Bornemisza, Madrid |
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