Portrait of a Man

The Artist: For a biography of Jan Gossart, see Maryan W. Ainsworth, "Jan Gossart (ca. 1478–1532) and His Circle." In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–.

The Painting: In this tightly cropped composition, the sitter is turned to the left in a three-quarter view against a dark background. Over his white shirt, the man wears a fur-trimmed garment and a purplish-blue robe with a rich brown damask sleeve. A hatpin with the letters “IM” is affixed to the man’s beret. In his right hand, he holds a scroll with the Latin inscription “...omrpses/J[o]annes…/malbodius… pingeba[t]” (Joannes Malbodius painted [this]). This form of the artist’s name appeared for the first time in his Neptune and Amphitrite of 1516 (Gemäldegalerie, Berlin; Ainsworth 2010, pp. 217–19).

The sitter of this portrait, which once belonged to the famous eighteenth-century British painter Sir Joshua Reynolds (1723–1792), remains unknown. Some have suggested that the letters “IM” of the hat pin stand for the artist’s name in Latin, Joannes Malodius, better known as Jan Gossart or Jan Mabuse, offering the possibility of a self-portrait (Burroughs and Weale 1932). However, the physiognomy of the sitter does not compare well with other proposed portraits of Gossart, such as the engraving by Johannes Wierix for Domenicus Lampsonius’s Pictorum aliquot celebrium Germaniae inferioris effigies (Portraits of Some Celebrated Artists of the Low Countries) of 1572 (see fig. 1 above). Max J. Friedländer (1906, p. 34) proposed that the “IM” stands for “Iesus Maria,” signifying the man’s piety. Alternatively, the Roman capitals may indicate that the sitter is a humanist and could denote the first letters of a personal motto or device.[1] Eric Larsen (1960, pp. 88–89) noted that deacons of professional guilds are known to have worn such pins, and this may identify the métier of the man, if not his name.

The Attribution and Date: Jan Gossart was a splendid and much sought-after portrait painter, as his many extant examples attest.[2] Jan’s earlier works in particular reveal his admiration for two predecessors who achieved great fame as portraitists in Bruges, namely Jan van Eyck and Hans Memling. Like them, Gossart portrayed his sitters as dignified yet aloof, not overly haughty, but always highly refined and elegant. From Van Eyck and Memling, Jan also assimilated his portrait formula—the three-quarter view of his sitters, often facing left, and the placement of their hands in the lower left or right corner of the composition (for Memling, see 14.40.626–27, 1975.1.112, 14.40.648). One thinks immediately of Van Eyck’s 1432 Portrait of a Man (Léal Souvenir) in the National Gallery, London (fig. 2; Bauman 1986, p. 42) who also holds a scroll, but with illegible script.

The combination of naturalistic observation and painterly virtuosity, so admired by the contemporaries of Van Eyck and Memling, also was achieved in Gossart’s best independent portraits. As with Memling’s portraits, for example the portrait of Tommaso Portinari 14.40.626, Gossart paid careful attention to the subtle modeling of the flesh tones, the stubble of the beard, the cleft chin, and the individually painted hairs of the eyebrows. However, Gossart’s far more sculptural treatment of the bony structure of the face separates his work from that of Memling, who opted for a softer, more generalized approach. The x-radiograph of Gossart’s painting shows how the flesh tones have been rather densely worked up, and the infrared reflectography indicates—as was usual for Gossart’s working method—minimal underdrawing at the contours of the hat and head, the features of the face, and in the man’s right hand (see Technical Notes and figs. 3, 4). The portrait has sometimes been dated to around 1516 (Herzog 1968, pp. 238–39), but most scholars assign a slightly later date in the early 1520s (see Refs.). Dendrochronology supports the later dating (Klein 2010, p. 432). It thus falls in line with Gossart’s routine and less ambitious portraiture of the early1520s, such as the Portrait of a Man (Self-Portrait?) in the Pushkin State Museum of Fine Arts, Moscow, or the Portrait of a Man in the Kunsthistorisches Museum, Vienna (Ainsworth 2010, pp. 250–53; figs. 5, 6).

Maryan W. Ainsworth 2020, adapted and updated from Ainsworth 2010

[1] Suggested by Jos Kodeweij in an email of September 5, 2009 to the author.
[2] See Ainsworth 2010, pp. 18–20, and nos. 36–63, pp. 236–302.

Support: The panel was constructed from two planks of vertically-grained oak, with the left plank measuring 33 cm wide and the right only 2 cm. Dendrochronological analysis of the panel suggested an earliest possible creation date of 1512 with a more plausible date of 1518 onwards.[1] The wood originated in the Baltic region. Dendrochronology also revealed that the wood came from the same tree as that used for the Portrait of a Merchant by Jan Gossart (National Gallery, Washington, 1967.4.1).

At some point before entering The Met’s collection, the reverse of the panel was planed down, and a cradle attached. The panel now measures 9 mm thick on average. All four edges of the panel have been planed somewhat, likely during the cradling process. As noted above, the left plank is substantially wider than the narrow plank on the right; however, this disparity does not appear to be the result of any significant re-sizing of the panel.[2] Traces of a bevel are evident on the reverse of the original panel, with less remaining on the reverse of the right side, suggesting that the right plank was marginally wider originally.

Preparation: The panel was coated with a chalk-containing white ground, followed by a lead white priming layer.[3] Infrared reflectography revealed a cursory underdrawing that laid out the basic facial elements and the position of the figure.[4] The underdrawing has a hard crumbly appearance, particularly evident along the left edge of the hat (see fig. 4 above).

Paint Layers: Gossart’s mastery of fine details is on display in this polished portrait. He has described the tiny features around the eyes with astounding precision, including the narrow shadow cast by the upper eyelid and the hint of a highlight on the lower lid (fig. 7). Fleshtones were softly blended, so that individual brushstrokes are usually not discernible with the exception of the minute strokes used to paint the sitter’s stubble. Gossart’s attention to detail extended to the costume where he picked out the hairs of fur at the lining of the robe and the fine points around the white collar. Yet, the pattern of the brocade on the sitter’s proper right sleeve does not exactly follow the folds, flattening the illusion somewhat.

Gossart made one minor alteration to the painting: he initially planned to position the man’s collar slightly higher but did not fully paint it before shifting the collar down, as can be seen in the x-radiograph (fig. 3) and the infrared reflectogram. The initial contour of the collar is somewhat visible as a pentiment.

The paint layers are generally in good condition although there is some evidence of pigment degradation in the man’s blue coat, discussed below, and the dark glazes in his hand are somewhat rubbed. Changes in refractive index due to the normal aging of the paint film have altered the contrast in the dark vest and patterned sleeve, making details difficult to read.

The man’s coat displays a mottled ashy appearance that is likely attributable to material changes in the paint. Under the microscope, the shadows displayed a glassy, blanched appearance, suggesting the presence of a faded red lake pigment. A microscopic cross-section sample was removed adjacent to an area of loss near the bottom of the painting and high-powered microscopic examination combined with Raman spectroscopy identified the pigments used to paint the blue overcoat.[5] Atop the white preparatory layers, the artist applied a paint comprised of a finely divided carbon black and red lake pigments. The upper paint layer was found to be a mixture of ultramarine blue and a red lake pigment with a slightly larger particle size than the red lake used in the lower layer. Examination with high magnification revealed that the red lake in the uppermost layer had begun to fade, with pigment particles towards the top of the layer displaying the most fading, although very large red lake particles retained their color to a greater degree regardless of location within the paint film. While some of the ultramarine particles had a characteristic bright blue hue, others had a grey, translucent appearance. It appears that the ultramarine has lost its color unevenly within this paint layer, contributing to the mottled appearance of the man’s coat. Similar fading of red lake and ultramarine blue paints has been documented in other paintings associated with Gossaert, including a Virgin and Child in The Met’s collection (17.190.17) and a Virgin and Child in a private collection in New York.

Karen Thomas 2009; adapted by Sophie Scully 2024

[1] Wood identification and dendrochronological analysis completed by Dr. Peter Klein, Universität Hamburg, report dated July 27, 2007. The report can be found in the files of the Department of Paintings Conservation. “The youngest heartwood ring was formed out in the year 1501. Regarding the sapwood statistic of Eastern Europe an earliest felling date can be derived for the year 1510, more plausible is a felling date between 1514..1516….1520 +x. With a minimum of 2 years for seasoning an earliest creation of the painting is possible from 1512 upwards. Under the assumption of a median of 15 sapwood rings, a creation is plausible from 1518 upwards.”
[2] Observations about wood construction and later interventions made by Alan Miller, Conservator, and Kristin Holder, Assistant Conservator, July 2024.
[3] Analysis with Raman spectroscopy of a microscopic paint sample was completed by Dr. Silvia Centeno, Research Scientist, Department of Scientific Research; a full report can be found in the conservation file.
[4] Infrared reflectography was acquired with a Merlin Indigo InGaAs near-infrared camera fitted with a StingRay macro lens customized for the wavelengths covered by the camera, 0.9 to 1.7 microns, 2008.
[5] Raman spectroscopy completed by Dr. Silvia Centeno, Research Scientist, Department of Scientific Research.

Inscription: Signed: (on scroll) . . . omrpses / J[o]annes . . . / malbodius . . . / pingeba[t]; (on hat ornament) IM [monogram]

Sir Joshua Reynolds, London (until d. 1792; his estate sale, Christie's, London, March 16, 1795, no. 41, as "The Portrait of John Duke of Flanders," by J. Mabeuse, for £12.12 to Bryan); [Michael Bryan, London, 1795; his sale, Bryan's Gallery, London, April 27, 1795, no. 47, as "The Portrait of the Painter," by J. de Mabeuse]; Edward Coxe, London (until 1807; his sale, Peter Coxe, London, April 25, 1807, no. 33, as "His own Portrait," by J. de Mabuse, for £7.17 to Panné); [Philippe Panné, London, from 1807]; comte de Quincey (until 1904; his sale, Hôtel Drouot, Paris, June 22, 1904, no. 35, as "Portrait présumé de l'artiste," by Mabuse, for Fr 28,000 to Kleinberger); [Kleinberger, Paris, from 1904]; Richard von Kaufmann, Berlin (by 1906–d. 1908; his estate, 1908–17; his estate sale, Cassirer & Helbing, Berlin, December 4, 1917, no. 91, as "Bildnis eines Mannes," for Mk. 63,000); Camillo Castiglioni, Vienna (until 1926; his sale, Frederik Müller, Amsterdam, July 13–15, 1926, no. 21, ?to Kleinberger); [Kleinberger, Paris and New York, 1926, sold for $17,500 to Friedsam]; Michael Friedsam, New York (1926–d. 1931)

Palais des Beaux-Arts Charleroi. "Les arts anciens du Hainaut," 1911, no. 16 (as "Portrait du peintre" by Gossaert, lent by Mme von Kaufmann).

Berlin. Akademie der Künste. "Ausstellung von Werken alter Kunst," 1914, no. 50 (as "Bildnis eines Mannes," by Gossaert, lent by Frau von Kaufmann).

New York. F. Kleinberger Galleries. "Flemish Primitives," 1929, no. 74 (as a Self-Portrait by Mabuse, lent by Michael Friedsam).

New York. The Metropolitan Museum of Art. "The Michael Friedsam Collection," November 15, 1932–April 9, 1933, no catalogue.

Rotterdam. Museum Boymans-van Beuningen. "Jean Gossaert dit Mabuse," May 15–June 27, 1965, no. 4.

Bruges. Groeninge Museum. "Jean Gossaert dit Mabuse," July 10–August 31, 1965, no. 4.

New York. The Metropolitan Museum of Art. "From Van Eyck to Bruegel: Early Netherlandish Painting in The Metropolitan Museum of Art," September 22, 1998–February 21, 1999, no. 39.

New York. The Metropolitan Museum of Art. "Man, Myth, and Sensual Pleasures: Jan Gossart's Renaissance," October 6, 2010–January 17, 2011, no. 44.

London. National Gallery. "Jan Gossaert's Renaissance," February 23–May 30, 2011, no. 44.

Max J. Friedländer. "De Verzameling von Kaufmann te Berlijn." Onze Kunst 10 (July–December 1906), p. 34, considers it unlikely to be a self-portrait and suggests that the initials on the hat could stand for "Jesus Maria".

Ernst Weisz. Jan Gossart gen. Mabuse: Sein Leben und Seine Werke. Parchim i. M., Germany, 1913, pp. 84–85, 115 n. 66, 117, pl. 18, fig. 54, calls it "Herrenporträt" and dates it about 1520–25; considers the monogram J.M. on the hat likely to stand for "Jesus Maria"; compares the treatment of the hand holding an inscribed document with that of Jan van Eyck's "Tymotheos" in the National Gallery, London.

Max J. Friedländer. Von Eyck bis Bruegel: Studien zur Geschichte der Niederländischen Malerei. Berlin, 1916, p. 187.

T[ancred]. B[orenius]. "Monthly Chronicle: The Kaufmann Sale." Burlington Magazine 32 (January 1918), p. 36, no. 91.

Achille Ségard. Jean Gossart dit Mabuse. Brussels, 1924, pp. 178, no. 11, ill. opp. p. 136, calls it Portrait of a Man.

Max J. Friedländer in The Michael Friedsam Collection. [completed 1928], p. 121, as a self-portrait.

Max J. Friedländer. Die altniederländische Malerei. Vol. 8, Jan Gossart Bernart van Orley. Berlin, 1930, p. 161, no. 63, pl. 47, as Portrait of a Man.

Bryson Burroughs and Harry B. Wehle. "The Michael Friedsam Collection: Paintings." Metropolitan Museum of Art Bulletin 27, section 2 (November 1932), pp. 26–28, ill., identify it tentatively as a self-portrait; observe that the type of the signature indicates that the painting dates after 1516.

"Friedsam Bequest to be Exhibited Next November." Art News 30 (January 2, 1932), p. 13, prints Bryson Burroughs's survey of the Friedsam paintings.

"Sir Joshua Reynolds' Collection of Pictures—III." Burlington Magazine 87 (November 1945), p. 263, lists it with works from the Reynolds sale, giving buyer and price information.

Harry B. Wehle and Margaretta Salinger. The Metropolitan Museum of Art: A Catalogue of Early Flemish, Dutch and German Paintings. New York, 1947, pp. 141–42, ill., comment that "it has not the look of a self-portrait," suggesting, nevertheless, that the monogram on the hat probably stands for "Ioannes Malbodius".

Josephine L. Allen and Elizabeth E. Gardner. A Concise Catalogue of the European Paintings in The Metropolitan Museum of Art. New York, 1954, p. 43.

Erik Larsen. Les primitifs flamands au Musée Metropolitain de New York. Utrecht, 1960, pp. 88–89, 130, fig. 32, doubts it is a self-portrait; suggests that the monogram on the sitter's hat may indicate that he was guild doyen for the year, having drawn the winning wax ball marked with J M for "Jesus Maria" from the traditional guild lottery.

H. Pauwels, H. R. Hoetink, and S. Herzog. Jean Gossaert dit Mabuse. Exh. cat., Museum Boijmans Van Beuningen. [Bruges], [1965], pp. 65–66, no. 4, ill., states that the sitter bears no resemblance to the portraits of Gossart engraved by Hondius, Wiericz and Galle, all of which derive from the same prototype; finds it credible that the initials on the hat might relate to guild status as explained in Ref. Larsen 1960.

Sadja Jacob Herzog. "Jan Gossart, called Mabuse (ca. 1478–1532): A Study of his Chronology with a Catalogue of his Works." PhD diss., Bryn Mawr College, 1968, vol. 2, pp. 238–39, no. 14; vol. 3, fig. 18, based on the vertical format, crowded subject, expressionless face, and dark background, places this portrait with Gossaert's early portraits, before about 1516; the latinized signature, however, suggests to her that the portrait cannot date much earlier than 1516.

Lorne Campbell. Unpublished text for MMA Bulletin. 1981, tentatively dates this portrait to the 1520s; believes the letters on the sitter's hat are likely to stand for "Iesus Maria" and to be a mark of the sitter's piety.

Guy Bauman. "Early Flemish Portraits, 1425–1525." Metropolitan Museum of Art Bulletin 43 (Spring 1986), pp. 42, 48, ill. (color), places it during the first half of the 1520's and believes the letters on the hat ornament are most likely an abbreviation for "the common Christian invocation 'Ihesus Maria'"; sees the portrait as a conscious revival of Eyckian models such as Jan's "Tymotheos" of 1432 [National Gallery, London].

Introduction by Walter A. Liedtke in Flemish Paintings in America: A Survey of Early Netherlandish and Flemish Paintings in the Public Collections of North America. Antwerp, 1992, pp. 24, 338, no. 255, ill.

Katharine Baetjer. European Paintings in The Metropolitan Museum of Art by Artists Born Before 1865: A Summary Catalogue. New York, 1995, p. 267, ill.

Véronique Sintobin in From Van Eyck to Bruegel: Early Netherlandish Painting in The Metropolitan Museum of Art. Ed. Maryan W. Ainsworth and Keith Christiansen. Exh. cat., The Metropolitan Museum of Art. New York, 1998, pp. 69, 74, 190–91, no. 39, ill. (color) , dates it 1520–25.

Ariane Mensger. Jan Gossaert: Die niederländische Kunst zu Beginn der Neuzeit. Berlin, 2002, p. 160, fig. 88.

Isabelle Meunier-Fleury and Sonia Miralles Bou in La naissance des genres: La peinture des anciens Pays-Bas (avant 1620) au Musée d'art et d'histoire de Genève. Ed. Frédéric Elsig. Paris, 2005, p. 128, fig. 3, under no. 34.

Maryan W. Ainsworth in Man, Myth, and Sensual Pleasures: Jan Gossart's Renaissance. Ed. Maryan W. Ainsworth. Exh. cat., The Metropolitan Museum of Art. New York, 2010, pp. 9, 69–70, 81, 86 n. 1, 252, 256–58, 268, no. 44, ill. (color) and fig. 6G (color detail).

Peter Klein in Man, Myth, and Sensual Pleasures: Jan Gossart's Renaissance. Ed. Maryan W. Ainsworth. Exh. cat., The Metropolitan Museum of Art. New York, 2010, p. 432, based on dendrochronological analysis, gives the earliest possible felling date for the tree from which the panel was made as 1510, and the estimated felling date as 1516.