around 1478 -1532 · Antwerp, Rome and the course of the Netherlands

Ancient architecture, sculptural nudes, penetrating portraits and Nordic devotion make Jan Gossaert, known as Mabuse, one of the first great smugglers of the Italian Renaissance to the Netherlands.

Jan Gossaert was born around 1478, probably in the Maubeuge region, the origin of his nickname Mabuse. His training remains poorly known, but he was made a master at the guild of Saint-Luc in Antwerp in 1503. His first works still belong to Antwerp Mannerism: fantastic architecture, precious costumes, tight figures and brilliant colors give religious stories a theatrical brilliance. An event transformed his career. In 1508, Gossaert accompanied Philippe de Bourgogne, diplomatic envoy to Pope Julius II, to Rome. In 1508, Gossaert accompanied Philippe de Bourgogne, diplomatic envoy to Pope Julius II, to Rome. An event transformed his career. In 1508, Gossaert accompanied Philippe de Bourgogne, diplomatic envoy to Pope Julius II, to Rome. An event transformed his career. In 1508, Gossaert accompanied Philippe de Bourgogne, diplomatic envoy to Pope Julius II, to Rome. In 1508, Gossaert accompanied Philippe de Bourgogne, diplomatic envoy to Pope Julius II, to Rome. An event transformed his career. In 1508, Gossaert accompanied Philippe de Bourg classical and the sculptural presence of the body. On his return, he worked for court sponsors, notably Philippe de Bourgogne, and adapted Antiquity to biblical and mythological subjects. Neptune and Amphitrite affirm life-size bodies enclosed in marble architecture; Danaé brings together nudity, light and Italianate decor in a scholarly but sensual image. Gossaert never abandons Flemish precision. In The Adoration of the Magi, jewelry, fabrics and ruins are described in detail. In The Adoration of the Magi, jewelry, fabrics and ruins are described in detail. In The Adoration of the Magi, jewelry, fabrics and ruins are described in detail. In The Adoration of the Magi, jewelry, fabrics and ruins are described in detail. Gossaert never abandons Flemish precision. In The Adoration of the Magi, jewelry, fabrics and ruins are described in detail. In The Adoration of the Magi, jewelry, fabrics and ruins are described in detail. In The Adoration of the Magi, jewelry, fabrics and ruins are described in detail. Gossaert never abandons Flemish precision. In The Adoration of the Magi, jewelry, fabrics and ruins are described in detail. In The Adoration of the Magi, intimate: political function, prayer and psychological observation respond to each other between the two aspects. Court painter, portraitist and experimenter of engraving, Gossaert thus contributed to making Romanism a major path of the Northern Renaissance. Died in 1532, he left a work where late Gothic and ancient Italy remained visible without ever canceling each other out. The "Jan Gossaert" selection notably compares The Adoration of the Magi and Danaé. His reading favors composition.

Gossaert brings Antiquity into Northern painting: marble becomes body, the portrait remains alive and Flemish precision welcomes the space of Rome.