This seminal exhibition, which opened at the Metropolitan Museum of Art before traveling to the National Gallery, London, was the first devoted to Jan Gossart in the United States and the first major monographic exhibition anywhere since The results of a dendrochronological study of selected works are given in an appendix.
The catalogue will appear in Dutch and Flemish editions together with a companion volume of the documents relating to his art and life, edited by Sytske Weidema and Anna Koopstra, entitled Jan Gossart: The Documentary Evidence Turnout: Brepols, The exhibition in New York seen by this reviewer was almost as exhaustive: the curators succeeded in assembling some two-thirds of the entire oeuvre, supplemented by appositely chosen comparative works of antiquity and of his nearer contemporaries that provided historical and artistic context.
As the chief curator, Maryan W. Ainsworth, makes clear in her introduction, the aim was to present as complete a picture of the artist as possible, drawing on an often technical firsthand study of the works and the fruits of recent scholarship.
The exhibition was arranged over a series of eight galleries that in the main reflected the thematic arrangement of the catalogue. Gossart ca. The themes of the catalogue emerge from and extend these recent reassessments. Two drawings, the meager evidence of his earliest activity as an independent artist, displayed in the first room of the exhibition, reveal his early interest in the exotic, highly ornamented architectural settings of the Antwerp School, exemplified in his signed The Emperor Augustus and the Tiburtine Sibyl Berlin; ca.
By the second decade, he was working concurrently in two modes, the High Gothic and the Italianate, at times conjoining both styles in a single work. The St. Luke Drawing the Virgin in Prague, made in ca. Luke in Sint-Romboutskerk, Mechelen no. Discussing the study of the Colosseum no.
