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Museums and Galleries

Art Market

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Francis DeStefano


Thanks for a very informative post with great images.


H Niyazi

Cheers for the review David. I've read mixed opinions on Gossaert prompted by this and the NY exhibition. It seems some are having difficulty shaking off the biases Panofsky blessed the world with.

I personally am delighted Museums have chosen to bring a lesser known Northern artist to the fore as it provides an opportunity to discuss the work of Northern Masters in an historical context, not just a stylistic one.

That catalogue is indeed too rich for my blood, so the pdf supplied will do very nicely - thank you!

For those interested in some more Gossaert goodness, there were some informative videos presented by the Met on their youtube Channel.

Kind Regards

Art History Today

Cheers Frank.

H, I'll check out the Met links. The NG were apologetic about the cost of the catalogue, but the Met gave them no choice. I didn't buy it- it might turn up in my bookclub at a discount price in a few years!

Alberti's Window

Great review. I wish that I could have seen the show, but your review helped me to experience the exhibition in my own way.

I wish we knew more about Gossaert's training. I have read that he was trained in Antwerp. I wonder if there would be any way to trace what possible teachers he might have had.

I would have liked to have seen "Hercules and Deianira" in person! I think your suggestion about the contorted pose being inspired by Durer is quite interesting. I wonder if we could also interpret this composition within the field of Mannerism (which was just about to begin in Italy). I sometimes discuss this painting with my students, particularly in how we can see Italian influence in Gossaert's style/subject matter (which is not surprising, since he traveled to Rome with Philip of Burgundy at the beginning of the 16th century).

Art History Today

Thanks Monica,

Good point about contextualizing H&D within mannerism. It struck me that the odd patterning of the limbs might owe something to mannerist art. And of course I didn't mention the fact that Gossaert ignored Michelangelo, so the mannerism is likely to be inspired by a northern source, i.e. Durer. Had the catalogue not been so pricey, I'd have got it as I'd like to know more about his attitude to drawing the nude. I'll look out for more information on Gossaert and mannerism.

Best- David

Glennis McGregor

This is a really insightful summary. The highlight for me (aside from getting a really good sense of Gossaert's style in context with other Flemish artists) was the reconstruction of the triptych with the outer wings from 'Portraits of Two Donors', Musées Royaux des Beaux-Arts, Brussels' and the inner panel being 'Virgin and Child', from the Chrysler Museum of Art, Norfolk, Virginia. I had recently seen the outer panels in Brussels last September and hadn't imagined them in this context. I haven't been able to find an image of this reconstruction (not even on the exhibition DVD I purchased), so I cheekily put my own together...http://glennis.net/real/?p=595
It's a speculative reconstruction which is maybe why it's hard to find any mention of.

David Packwood

Thanks Glennis,

I had a quick look at the Gossaert post on your site- excellent.



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