Jan Gossaert in the context of "Guild of St Luke"

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⭐ Core Definition: Jan Gossaert

Jan Gossaert (c. 1478 – 1 October 1532) was a French-speaking painter from the Low Countries also known as Jan Mabuse (the name he adopted from his birthplace, Maubeuge) or Jennyn van Hennegouwe (Hainaut), as he called himself when he matriculated in the Guild of Saint Luke, at Antwerp, in 1503. He was one of the first painters of Dutch and Flemish Renaissance painting to visit Italy and Rome, which he did in 1508–09, and a leader of the style known as Romanism, which brought elements of Italian Renaissance painting to the north, sometimes with a rather awkward effect. He achieved fame across at least northern Europe, and painted religious subjects, including large altarpieces, portraits and mythological subjects.

From at least 1508 he was apparently continuously employed, or at least retained, by quasi-royal patrons, mostly members of the extended Habsburg family, heirs to the Valois Duchy of Burgundy. These were Philip of Burgundy, Adolf of Burgundy, Christian II of Denmark when in exile, and Mencía de Mendoza, Countess of Nassau, third wife of Henry III of Nassau-Breda.

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👉 Jan Gossaert in the context of Guild of St Luke

The Guild of Saint Luke was the most common name for a city guild for painters and other artists in early modern Europe, especially in the Low Countries. They were named in honor of the Evangelist Luke, the patron saint of artists, who was identified by John of Damascus as having painted the Virgin's portrait.

One of the most famous such organizations was founded in Antwerp. It continued to function until 1795, although by then it had lost its monopoly and therefore most of its power. In most cities, including Antwerp, the local government had given the Guild the power to regulate defined types of trade within the city. Guild membership, as a master, was therefore required for an artist to take on apprentices or to sell paintings to the public. Similar rules existed in Delft, where only members could sell paintings in their city or have a shop. The early guilds in Antwerp and Bruges, setting a model that would be followed in other cities, even had their own showroom market stall from which members could sell their paintings directly to the public.

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