court in Mechelen for 18 years. He is missing from the records in Haarlem for a string of only 10 years, and only two documents from 1519 and 1521 give any mention that he was working at her court at the time. The current view of art historians is that Mostaert worked his entire life in Haarlem. Since his house was rented to others in 1553 and payments to him stopped around Easter 1553, it is believed that he died early in 1553 or perhaps late in 1552. In 1554 his name was crossed out from the list of members of the Haarlem Guild of St. Luke. Mostaert married Angnyese (Agnes) Martijnsdr, the widow of Claes Claesz Suycker, before 8 June 1498. His wife died before July 1532. Mostaert was commercially successful and owned multiple houses in Haarlem. Van Mander states that Mostaert had a son who was a common painter. It is no longer believed by art historians that Frans Mostaert and Gillis Mostaert were the grandsons of Jan Mostaert. Works Mostaert was principally a painter of portraits and religious subjects. He also had a fascination with primitive peoples and lands, as seen from his West Indies Landscape. At around 1520–25 he presented the family life of Adam and Eve in First Family as primitives working on their land. Mostaert was interested in combining pagan and Christian interpretations of humanity's origins. 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, Rijksmuseum). His refined brushwork is precise, with an almost religious