around 1455/65 - around 1485/95 · Haarlem, Dutch primitives and devotional painting

Oval faces, direct stories, meditative landscapes and bright first nights make Geertgen tot Sint Jans the most original master of 15th century Holland.

The life of Geertgen tot Sint Jans remains surrounded by uncertainties. Probably born in Leiden around 1455 or 1465, he was trained by Isaac van Ouwater before settling in Haarlem. His nickname means "little Gerard of Saint John" and refers to the commandery of the Knights of Saint John, where he lived from around 1480, perhaps as a lay brother. Karel van Mander, writing more than a century after his death, claims that he disappeared at a very young age, around twenty-eight. Despite this brief career, Geertgen imposed a decisive language for painting in the Northern Netherlands. Despite this brief career, Geertgen imposed a decisive language for painting in the Northern Netherlands. Despite this brief career, Geertgen imposed a decisive language for painting in the Northern Netherlands. Despite this brief career, Geertgen imposed a decisive language for painting in the Northern Netherlands. Despite this brief career, Geertgen imposed a decisive language for painting in the Northern Netherlands. Despite this brief career, Geertgen, writing more than a century after his death, claims that he disappeared at a very young age, around twenty-eight. Despite this brief career, Geertgen, writing more than a century after his death, claims that he disappeared at a very young age, around twenty-eight. Despite this brief career, Geertgen imposed a decisive language for painting in spectator. His women with oval faces, slender fingers and gently concentrated expressions are immediately recognizable. The Adoration of the Magi combines richness of detail, depth of landscape and almost familiar behavior of the characters. Saint John the Baptist in the desert is even more exceptional: the saint, seated and pensive, does not dominate nature; his body and the landscape together reflect an inner meditation. His body and the landscape together reflect an inner meditation. Nativity at night is among the earliest and most poetic researches on a light emanating from the Child. Faces, angels and darkness are built around this sacred source. The Man of Sorrows concentrates the instruments of the Passion and devotional emotion in a small format intended for close contemplation. The large altarpiece of the Saint-Jean de Haarlem church, now fragmentary, testifies to its monumental ambition. The attributions remain complex: autograph works, workshop and first followers are still discussed. Died in Haarlem around 1485 or 1495, Geertgen leaves a deep imprint through the direct simplicity of his stories, the tenderness of his figures and his intuition of light. The selection "Geertgen tot Sint Jans" notably compares Saint John the Baptist in the desert and Nativity at night. His reading favors color.

Geertgen reduces the distance between the sacred and everyday life: a childish face, a calm landscape or a faint light are enough to open up contemplation.