Man, Myth, and Sensual Pleasures: Jan Gossart's Renaissance: The Complete Works (英語) ハードカバー – 2010/11/9
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Jan Gossart (ca. 1478–1532) was among the first Netherlandish artists to travel to Rome to make drawings after antique monuments and sculpture and then, upon his return, to introduce biblical and mythological subjects with erotic nude figures into the mainstream of Northern painting. Often credited with successfully assimilating Italian Renaissance style into the art of 16th-century northern Europe, Gossart is the pivotal old master who redirected the course of early Netherlandish art from the legacy of its founder, Jan van Eyck, toward a new style that would eventually lead to the great age of Peter Paul Rubens.
Man, Myth, and Sensual Pleasures offers a much-needed comprehensive reappraisal of the artist’s accomplishment—the first in 45 years. It is not only an exhibition catalogue but also a study of the artist’s complete oeuvre as a painter, draftsman, and printmaker. The majority of the paintings in this volume have for the first time undergone rigorous technical examination. As a result, many problems relating to attributions, dating, versions, and copies have been clarified, and a fuller understanding has been obtained of the artist’s working procedures. The text draws on these unprecedented technical investigations as well as on recent original scholarship concerning many issues not adequately examined in the past, such as Gossart’s early career as a proponent of Antwerp Mannerism and the patronage of Philip of Burgundy (including a closer look at the erotic nature of court art).
Selected as a Choice Outstanding Academic Title for 2011 in the Fine Arts category (Choice Outstanding Academic Title: Fine Arts Choice 2012-04-12)
Winner of the 2012 Alfred H. Barr Jr. Award, as given by the College Art Association (Alfred H. Barr Jr. Award College Art Association 2012-06-06)商品の説明をすべて表示する
This relatively unappreciated artist is presently the subject of a major exhibition at the Metropolitan Museum of Art. The magnificent and substantial catalog, edited by Maryan Ainsworth, gives a comprehensive overview of Gossart's creative output. It is superbly published; the general printing quality and standard of the color reproductions are excellent and there are a host of scholarly articles about the artist and his era.
There are 63 paintings,47 drawings and 10 prints presented in this catalog of the exhibition. Some exhibits are attributions to the artist. There are a host of works featuring "Virgin and Childs" as well as "Adam and Eves". There are also some fine portraits. I was thrilled to discover many beautiful creations by this unjustly neglected artist and recommend this book with the greatest enthusiasm.
Jan Gossaert was a Flemish painter (1478 - 1532) who was also known as Jan Mabuse and as Jennyn van Hennepouwe. Though it was not uncommon to change names to appease patrons as painters moved from city to city, the name changes in this case led to a certain degree of obscurity. In his time Gossart (the spelling the Metropolitan wishes to use) was an accomplished painter of frescoes for cathedrals and for palaces. He was one of the most influential 'teachers' of his day: many better known painters from his period actually usurped Gossart's images and incorporated them into their own works - a tradition that should be an homage to the greatness of the original painter but in those times it often served as an advance or door opener for lesser well known artists to climb the ladder of fame.
The book is filled with as much information as we know about this reclusive man and the rest of the information in the text is very well written art history about the Renaissance. Gossart's paintings include many depictions of Adam and Eve (some rather ungainly as though after the apple bite their bodies became more corporal and less holy), many versions of the Madonna and Child and other illustrations of biblical tales. But they also include a large number of depictions of Greek mythological characters, something not always welcome under the Church's gaze. Oddly his manipulation of the nude figures of, say, Neptune and Amphitrite are truly distorted - bulky, unattractive beasties that instead of settling on fig leaves and ivy to cover genitalia, Gossart places a suggestive seashell over Neptune's virility, a move that seems to be an incident of thumbing the nose at those who disallowed frontal nudity!
The beauty of this very well designed and reproduced book is the vast number of fine paintings by an artist few of us have known by name. This volume should change that historical error. Grady Harp, December 10