Issued in connection with an exhibition held Oct. 5, 2010-Jan. 17, 2011, Metropolitan Museum of Art, New York, and Feb. 23-May 30, 2011, National Gallery, London (selected paintings only).
Man, Myth, and Sensual Pleasures: Jan Gossart's Renaissance ; the Complete Works ; [... Publ. in Conjunction with the Exhibition...
In Man, Myth, and Sensual Pleasures: Jan Gossart's Renaissance: The Complete Works, edited by Maryan W. Ainsworth, 3–7. New York: Metropolitan Museum of Art, 2010. ———. Jan Gossart's Trip to Rome and His Route to Paragone.
... “Zum Meister H.L.,” 62. Rasmussen sees traces of Bernard Van Orley in the figure of Adam, 64; Talbot, “Master H.L.,” 797. Stephanie Schrader, “Drawing for Diplomacy: Gossart's Sojourn in Rome,” in Man, Myth, and Sensual Pleasures, ...
See Lorne Campbell, The Sixteenth Century Netherlandish Paintings, with French Paintings before 1600 (London: National Gallery, 2014), 1:65, 310; and Maryan Ainsworth, ed., Man, Myth, and Sensual Pleasures: Jan Gossart's Renaissance ...
Campbell, Lorne, David Bomford, Ashok Roy, and Raymond White. “The Virgin and Child Before a Firescreen: ... Proceedings of the 2006 Symposium, edited by Amy L. Leonard and Karen L. Nelson, 239–65. Newark: University of Delaware Press, ...
See Ainsworth, ed., Man, Myth, and Sensual Pleasures, cat. no. 8. Erwin Panofsky, Early Netherlandish Painting (Cambridge, MA: Harvard University Press, 1953), 134–37. See Introduction, n. 107 and Ainsworth, ed., Man, Myth and Sensual ...
In her catalogue Man, Myth, and Sensual Pleasures. Jan Gossart's Renaissance (2010), Maryan W. Ainsworth (born 1950) follows the humanist readings of Gossaert's Danaë, as they were championed by Eric Jan Sluijter (born 1946).24 Sluijter ...
I was able to examine it once again on October 19, 2010 in the exhibition Man, Myth, and Sensual Pleasures: Jan Gossart's Renaissance, Metropolitan Museum of Art, New York. The most extensive discussion of the work is by Maryan ...
Dico appresso, non esser bene il confondere diverse azzioni in un quadro, tutto che fossero una sola d'unità formale [...] Thus, it is not appropriate for the painter to clutter his panel with so many images and create a displeasing ...
This book relates Floris’s hybridizing art to the social, religious, and political crises reshaping his society.