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 Jan Mostaert, also known by the names Joannes Sinapius and Master Of Oultremont was a Netherlandish Renaissance painter of portraits and religious subjects, though his most famous creation was the West Indies Landscape.
According to Karel van Mander, Mostaert was born in Haarlem and had been a pupil of Jacob van Haarlem, the painter that painted the altarpiece of the Carrier's guild there in the St. Bavochurch. He was handsome, eloquent and polite, and claimed to be descended from the Haarlem knights of the Crusade to Damietta. He worked eighteen years as portraitist for Margaret of Austria (1480-1530), governor of the Habsburg Netherlands. He died in Antwerp where he had been awarded a pension for life. Mostaert's name first appeared in city records in 1498, the year he married and bought a house in his birthplace. He is also mentioned in Haarlem archives from 1527 to 1554. In 1500 Mostaert was commissioned to paint the shutters for a receptacle housing the relics of Saint Bavo in the Groote Kerk, Haarlem. From this date he began to be listed in the records of the Haarlem Guild of St. Luke, and continued to be frequently listed until 1549. He became deacon of the painters' guild in 1507, and again in 1543 and 1544.
According to the Netherlands Institute for Art History (RKD) he worked for the Regentess from 1503–1521, returned to Haarlem, and moved to Antwerp around 1552.
Mostaert's teacher Jacob van Haarlem may have actually been the anonymous Master of the Brunswick Diptych. Karel van Mander described several works in detail, including his strange landscape of the West Indies, which he considered to be an unfinished work. Much of Mostaert's work was destroyed in the great fire of Haarlem in 1576, and some paintings once attributed to him are now attributed to Adriaen Isenbrant.
His earliest works are noticeably influenced by Geertgen tot Sint Jans, an earlier Haarlem artist. Some believed that Mostaert was actually apprenticed to Geertgen but it is doubtful that the artist had any apprentices or workshop assistants during his career. From Geertgen, Mostaert adopted a refined style and thoughtful compositions for his works, as well as the stiff, angular look of his figures.
Between 1510 and 1516 Mostaert developed a delicate style where his doll-like figures inhabited bright, blue-skied landscapes, as for example in his Adoration of the Magi (c. 1520–25). His refined brushwork is precise, with an almost religious attention to detail. Also of note is the landscape, which demonstrates his leanings towards more romantic views with expansive hills. During the 1520s Mostaert was also influenced by Joachim Patinir's take on landscapes. Mostaert's St. Christopher, a painting with a landscape that features a river receding into an expansive and hilly background, was once even attributed to Patinir.
Mostaert's portrait work of this earlier period includes a piece entitled Portrait of Abel van den Coulster (c. 1500–10), in which an elegant, thin-faced man is situated in equally elegant surroundings. Mostaert was known for copying original portraits for some of his courtly commissions but, as is the case with the Portrait of Abel, he also painted figures from life and added aristocratic touches. He was known for presenting his portrait sitters in three-quarter-length and placing their hands on cushions.
Being an accomplished court painter allowed for Mostaert to make a living off his art and to gain a steady patronage. The last documented reference to him is in 1549 when he petitioned the Haarlem town council for permission to live in Hoorn so that he could complete an altarpiece there.
In 1518, Margaret named Mostaert "peintre d'honneur." Under her employ, he was commissioned to create portraits, though he also produced a number of devotional images as well as portraits for the lesser Dutch nobility.
As was common practice in 15th and 16th century Netherlands, Mostaert frequently reproduced portraits of political figures based on original models. In 1521, Mostaert gave Margaret a portrait of her third husband, Duke Philibert of Savoy, as a New Year's present. The portrait was made sixteen years after Duke Philibert's death.
Mostaert accompanied Margaret on many of her travels and painted many portraits of her courtiers, coming into contact with upper class and public figures. One such figure is presented in Portrait of an African Man (c. 1525–30, Rijksmuseum ). It is not known exactly who this man was but there are indications that he was either associated with Margaret's court or was an attendant of her nephew, Charles V, who had a black archer, Christophle le More, among his bodyguards. The man wears rich clothes, gloves, and holds a sword, all indicative of his important status. The insignia on his hat and bag allude to possible Spanish or Portuguese origins. Many of the Africans who arrived in Europe in late medieval and early Renaissance times were scholars and advisers.
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