他的名字，其实是“扬Gossart”，并且他是那么在他的一生知道; 荷兰语版本“Gossaert”悄悄潜入后透露，尽管Gossart的第一语言是法语。鲜为人知的是他早期的生活。他的一个最早的传记的卡雷尔·曼德，声称他是从一个小城镇阿图瓦或Henegouwen（埃诺县）呼吁莫伯日或Maubuse。另一些学者已经确定他是谁在收到他的训练胶订机的儿子莫伯日修道院，而RKD提到有证据支持声称他出生在Duurstede城堡。他是注册在安特卫普圣路加公会在1503

在1508-9他前往罗马，无论是在公司，还是后来，派勃艮第菲利普公爵的私生子菲利普好，谁是大使送往教皇尤利乌斯二世由菲利普英俊。菲利普的党，很可能包括Gossaert，离开荷兰在1508年十月1509年元月抵达罗马14，并回到了海牙六月1509 28 虽然细节还不清楚，似乎Gossaert留在菲利普的就业，直到他于1524年去世，届时乌得勒支的主教。然而，在整个这次他能为其他顾客，大多是菲利普的朋友合作。

在1509年至1517年Gossaert被登记为居民的米德尔堡。[5]据面包车曼德，他是第一个佛兰芒画家带回的一个意大利的方式有很多历史寓言裸体画。[4]从1517- 24根据RKD，他在Duurstede城堡被注册，他的Jan van Scorel的学生。[5]从1524年起，他又回到了米德尔堡的宫廷画家，以勃艮第的阿道夫，[5]另一哈布斯堡王朝的亲戚。扬梅尔滕斯雅戈尔又是学生。

他是当代的卢卡斯·范·莱顿，[4]和由他面前谁前来的艺术家，如影响罗希尔·范德魏登的大师图尔奈和布鲁塞尔和他一样，他的作品在建筑背景通常是陷害。

Gossaert显示先前位于大坛-件安特卫普影响霍华德城堡和Scawby。颜料在彩色浮雕明亮决定对比就像汉斯梅姆林，而走投无路，并填充布料就像凡·德尔·维登，而脸上的大胆，但苏格拉底的铸像的作品昆汀Matsys。在Scawby他说明了图卢兹伯爵，谁与他的家当分手承担了隐士的工装的传说。他的的祭坛下十字架与米德尔堡重型双门被推崇杜勒前教堂本身被雷电击中。这可能是现在在工作的冬宫，虽然面包车曼德说闪电摧毁了它，并描述了另一种十字架的后裔在1604年占有代尔夫特的马格努斯先生。

在霍华德城堡，在卡莱尔伯爵已获得国王的崇拜先前所创建的Grandmontines，会抛出三十几个数字一起的建筑背景，细节变化，在造型大规模和奇特的装饰性。这幅画是现在显示屏国家美术馆，它买了它在1911年Gossaert惊喜与华而不实的服装和色调的对比燃烧观众。他的数字，就像在一个棋盘件，往往是僵化和传统。这说明通过柱廊的景观装饰着塔楼和尖塔在范·德尔·维登的时尚分钟。在安特卫普几年居住后，Gossaert了服务与勃艮第的菲利普，私生子的菲利普好，在Somerdyk当时领主和海军上将泽兰。

勃艮第的菲利普下令Gossaert执行副本的米德尔堡的教会，这是当时在图片上设置的值从丢勒来到明确到米德尔堡（1521），看看它的事实是明显的。1568年祭坛被大火中丧生。在1508 Gossaert陪同勃艮第的菲利普对他的意大利使命教宗，并通过这起事故的重要革命艺术荷兰的影响。Gossaert出现在意大利已经主要研究了Leonardesques的寒冷和抛光的作品。他不仅带回了新的风格，但他还介绍了前往意大利的时尚; 而从那个时候到的年龄鲁本斯和范戴克它被认为是正确的，所有的佛兰芒画家应该访问朝鲜半岛。弗来明嫁接在自己的股票意大利举止，和交叉竟然如此不幸的是，对于一个世纪的佛兰德艺术失去了独创性的痕迹。

在1509夏季菲利普返回荷兰，并在退休他Suytburg所在地泽兰，自首来规划装饰品他的城堡和订购Gossaert和图片的乐趣雅各布·德巴尔巴里。正在与法院不断沟通奥地利的玛格丽特在梅赫伦，他给了艺术家的推广他的雇佣公平的机会。Barbari由法院画家摄政王，而Gossaert获得那么重要的佣金。记录证明Gossaert画的（追授）肖像葡萄牙埃莉诺，等小件，为查理五世在1516

但他只签这个时期的照片是海王星和安菲特里特在柏林的1516，和麦当娜，用肖像吉恩Carondelet的1517，在卢浮宫，两者都表明，瓦萨里只能通过所取得的进展传闻发言Gossaert生产图片充满了神话裸体人物和poesies的真正方法。这是很难找到什么比更粗或畸形安菲特里特，除非是怪诞和笨拙的车夫谁的数字海王星。在后来的形式同一主题的亚当和夏娃在汉普顿宫，或在柏林和其依次递减副本金星和阿莫尔（比利时皇家美术博物馆，布鲁塞尔）-there更裸体，与常见的类型的现实主义相结合。

令人高兴的是，Gossaert是能够提供更高的努力。他的圣路加画圣母在Sanct维特在布拉格，各种丽城维也纳同一主题的画像，霸菱收藏在伦敦的麦当娜，或基督的无数次重复和嘲笑者（布鲁塞尔和安特卫普）所有证明旅行留下了许多Gossaert的不变根本特殊性。他的数字仍然保留石材的性质; 他的建筑是丰富多彩的，他的音调是以往一样强烈。但色彩浓艳明亮的对比是由清醒的灰色所取代; 和寒冷的薄雾中，渲染层次米兰的，弥漫在表面。它是，但很少，这些特征不晃眼。当他们至少表明，主显示一个辉煌的调色板，表面光滑，轮廓深刻的结合。在这种形式慕尼黑和维也纳（1527），一个女孩称重金片（柏林）的肖像，和丹麦在国王的孩子们的肖像的圣母汉普顿宫，是他的技能公平的标本。

早在1523年时，丹麦的克里斯蒂安II来到了荷兰，他问Gossaert画他相形见绌的肖像。在1528年，他要求艺术家提供给让·德·黑尔的设计，他的王后Isabellas墓在圣皮埃尔根特附近的修道院。正是在这个时候，Gossaert完成约翰，多萝西和Christine，基督教II的孩子，其中来到集合的画像无疑是亨利八世。毫无疑问，另外，这些画像是与三个孩子在相同的汉普顿宫，这是久负盛名，经常复制为亚瑟王子，亨利王子和英国的玛格丽特公主的肖像。其中在威尔顿的份，用伪造的名字刻的汉斯·荷尔拜因，你们的父亲，和1495的假日期，经常被引为证据Gossaert中的统治来到英格兰亨利七世 ; 但声明建立在没有基础什么的。

在期间，当这些画像被处决Gossaert住在米德尔堡。但他每隔一段时间就住在别处。当勃艮第的菲利普成为乌得勒支的主教，并且在解决Duurstede城堡，在1517年，他陪同Gossaert，谁帮助来装饰他的主人的新宫。在菲利普的死亡，于1524年，Gossaert设计和教堂建造自己的陵墓Wijk BIJ Duurstede。他终于退休了米德尔堡，在那里，他花了服务与菲利普的兄弟阿道夫，Veeren的主人。
卡雷尔面包车曼德的传记指责不羁的生活Gossaert; 但它描述了坚实的教育，他一定要学习他的贸易这么好。它还描述Gossaert的精彩亮相，身着金色锦缎，他陪同卢卡斯·范·莱顿在一个愉快的旅行根特，梅赫伦和安特卫普在1527 [4]Gossaert的作品是那些勤奋和耐心的艺术家; 他还现存的图片数量，实际上表明，他不是一个浪荡子。他与画家的女儿结婚亨利·范德Heyden的鲁汶证明他有一个家，并没有在小酒馆生活习惯。他在安特卫普的死亡被记录在由刻肖像杰罗姆公鸡。
 

His name is "Yang Gossart", and he was then in his lifetime know; Dutch version of "Gossaert" sneak into revealed that although the first language is French Gossart. Little is known about his early life. One of his earliest biography of Karel Mander, claiming that he is from a small town in Artois or Henegouwen (Hainaut county) called Mo Bori or Maubuse. Some other scholars have identified him who received his training in the bookbinder's son Mo Bori monastery, and RKD said there is evidence to support the claim that he was born in the castle of Duurstede. He is registered in Antwerp Puy Saint Luke's Guild in 1503
In 1508-9 he went to Rome, or later in the company, Philip Duke of Burgundy paibo illegitimate child Philip, who is the ambassador to Pope Julius S by Philip handsome. Philip's party, possibly including Gossaert, left Holland in October 1508 January 1509 arrived in Rome in 14, and returned to Hague in June 150928, although the details are still unclear, it seems that Gossaert in Philip's employment, until he died in 1524, when Utrecht's main teaching. However, throughout this time he was able to work with other customers, mostly Philip's friends.
From 1509 to 1517 Gossaert is registered as residents of Middelburg. [5] according to van Mander, he was the first Flemish artist back to a way of Italy there are a lot of historical allegorical nudes. [4] from 1517- 24 according to RKD, he was registered at Duurstede castle, his Jan van Scorel student. [5] from 1524 onwards, he returned to the Middelburg court painter to Adolf of Burgundy, [5] another Habsburg relatives. Young Mel YOUNGOR is also a student.
He was a contemporary of Lucas Van Layton, [4] and by him who came to the artists, such as Vander Weiden rogier masters in Tournai and Brussels as well as he works in his architectural background is usually framed.Gossaert display previously located in the large altar - pieces of Antwerp Castle Howard and Scawby. The pigment in the bright color relief decided to compare like Hans Memling, and cornered, and filled with cloth as Van Del Witten, and the face of the bold, but Socrates's statue of the works of Quentin Matsys. In Scawby he explains the Earl of Toulouse, who broke up and his possessions take hermit tooling legend. His altar under the cross and Middelburg heavy door regarded Du Le before the church itself was hit by lightning. This is probably now work in Winter Palace, although van Mander said lightning destroyed it, and describes another cross descendants possession of Delft in 1604 Mr Magnus.
In castle Howard, the Earl of Carlile has been the king worship previously created Grandmontines, throws thirty figures with architectural background, details of the changes, in the form of large-scale and fancy decoration. This picture is now The National Gallery, it bought it in 1911 compared to Gossaert burning audience surprise and shades of clothing and flashy without substance. His numbers, like in a chessboard piece, are often rigid and traditional. This means that the landscape colonnade decorated with towers and spires in Van Del Weeden's fashion minutes. After living in Antwerp for a few years, Gossaert service and Philip of Burgundy, illegitimate child of Philip, in the Somerdyk at the Time Lords and admiral.
Philip of Burgundy ordered Gossaert to perform a copy of the church in Middelburg, which was set up in the pictures from Middelburg to clear dvrer value (1521), see the truth of it is obvious. The altar was killed in 1568. In 1508 Gossaert accompanied by Philip of Burgundy on his mission to Italy Pope, and through the influence of revolutionary art of the accident in Holland. Gossaert appeared in Italy has mainly studied the Leonardesques cold and polished works. He not only brought a new style, but he also introduced to Italy fashion; and from that time to the age of Lubensi and Van Dijk it is believed to be correct, all the Flemish artist should visit the Korean peninsula. Fleming grafted on its own stock in Italy and cross manners, so unfortunately, for a century Flemish art lost original traces.
Philip returned to Holland in the summer of 1509, and he retired in the location of Suytburg adenophorum, surrendered to his castle and ordered Gossaert planning decorations and pictures of the fun of Jacob Debarbari. Ongoing communication with the court of Austria in Mechelen, Margaret, he gave the artist the opportunity to promote his fair employment. Barbari by the court painter regent, and Gossaert was so important commissions. Record Gossaert painting (posthumous) portrait of Eleanor of Portugal, and other small, Charlie V in 1516
But he only signed this period photograph is Neptune and Ann Fetter Ritter in Berlin in 1516, and Madonna, 1517, a portrait of Jean Carondelet in Le Louvre Museum, both of which show that only Vasari was full of real naked figures method of myth and poesies through the progress of rumors speak Gossaert production pictures. It is difficult to find what is more coarse or deformed Ann Fetter Ritter, unless it is weird and awkward driver who figures neptune. Later in the form of the same theme of Adam and Eve in the Hampton palace, or in Berlin and its decreasing copy of Venus and Amor (the Royal Museum of fine arts of Belgium, Brussels) -there naked, combined with the common type of realism.
Happily, Gossaert is able to provide higher effort. His painting of Notre Dame in Luke Sanct victor in Prague, a variety of Belvedere in Vienna on the same theme of portrait, baring Madonna in London, repeated countless times and ridicule or Christ (Brussels and Antwerp) all that travel is not left essential particularity of many Gossaert. His figures still retain the nature of stone; his architecture is colorful and his tone is as strong as ever. But the rich bright color contrast is replaced by a sober grey; and cold mist, rendering Milan level, diffuse on the surface. It is, but few of these features are not dazzling. When they at least indicate that the master shows a brilliant palette, the surface is smooth and the contours are deeply combined. In this form of Munich and Vienna (1527), a portrait of a girl weighing gold tablets (Berlin), and the portrait of the king of Denmark in the portrait of the Virgin Mary of the children of Hampton, is a fair specimen of his skill.As early as 1523, Christian of Denmark II came to Holland, he asked Gossaert's portrait he inferior by comparison. In 1528, he asked the artist to design Jean de Hale, his queen Isabellas in the tomb of Saint Pierre monastery near ghent. It is at this time, John Gossaert, Dorothea and Christine, Christian II children, which came to a collection of portraits is undoubtedly Henry viii. In addition, there is no doubt that these portraits are with three children in the same Hampton house, this is a prestigious, often copied for Prince Arthur, a portrait of Prince Henry and princess Margaret of england. In Wilton, with forged names Hans Holbein, your father, and the false date of 1495, is often cited as evidence of Gossaert in the reign of Henry VII came to England; but the statement based on what basis.
During the period when these portraits were executed in Middelburg Gossaert. But he lives somewhere else. When Philip of Burgundy became bishop of Utrecht, and in the solution of Duurstede castle, in 1517, he accompanied Gossaert, who helped to decorate his new house owner. In the death of Philip, in 1524, Gossaert designed and built his own mausoleum Wijk BIJ Duurstede. He finally retired to Middelburg, where he took service with Philip's brother Adolf, the owner of Veeren.
Carrel van Mander's biography accused the lives of Gossaert; but it describes a solid education, he must learn his trade so well. It also describes the Gossaert's brilliant debut, dressed in gold brocade, he accompanied Lucas Van Layton in a pleasant trip in Ghent, Mechelen and Antwerp in 1527 [4]Gossaert's works are those diligent and patient artists; number of pictures of his existence actually shows that he is not a libertine. He married Henry Van de Heyden and the artist's daughter Leuven that he had a home, and not in the pub habits. His death in Antwerp was recorded in the portrait by Jerome rooster.