Lucas van leyden engraving

Northern Renaissance. L Monogram on plate [erased]Martin Petri excude in insigne aurei fontis bottom right on plate below date date, lower right corner not reversed as in early impressions. Bequeathed by Rev. Alexander Dyce. Described as 'third state, the date corrected and retouched' in Dyce catalogue. However, later state according to Hollstein, address of a printer Maarten Peeters, bottom right, has been erased and some details have been completely reworked eg some of the buildings in the background, the rock to left of dog is square in original but a boulder here, which would make it VI state; this may be original Leyden plate which passed over into ownership of MP and was reworked and reprinted.

There is a design for a copy after an earlier state of the original at Dyce However, according to Hollstein VI state see object history note. Crowd Scenes. Hollstein, F. Dutch and Flemish etchings, engravings and woodcuts, ca. Amsterdam : M. Hertzberger, , no. Bartsch, Adam von, The Illustrated Bartsch. Dutch, Signed 'L' in the lower centre of the plate.

Hollstein, F. Dutch and Flemish etchings, engravings and woodcuts, ca. Explore the Collections contains over a million catalogue records, and over half a million images. It is a working database that includes information compiled over the life of the museum. Some of our records may contain offensive and discriminatory language, or reflect outdated ideas, practice and analysis.

Lucas van Leyden was among the first Dutch exponents of genre painting and was a very accomplished engraver. Lucas was the son of the painter Huygh Jacobsz. He was born, died, and was mainly active in Leiden. Carel van Mander characterizes Lucas as a tireless artist, who as a child annoyed his mother by working long hours after nightfall, which she forbade not only for the cost of candlelight, but also because she felt that too much study was bad for his sensibilities.

According to Van Mander, as a boy he only consorted with other young artists, such as painters, glass-etchers and goldsmiths, and was paid by the Heer van Lochorst Johan van Lockhorst of Leiden, who died in a golden florin for each of his years at age 12 for a watercolor of St. He learned basic techniques from his father [ a ] and from Cornelis Engelbrechtsz , but his precocious originality was paramount.

Where he learnt engraving is unknown, but he took advantage of the works of Marcantonio Raimondi , whose motifs are reworked in Lucas' engravings and paintings, and became highly skilled in that art at a very early age: the earliest known print by him Mohammed and the Murdered Monk dates from , when he was perhaps only 14, yet reveals no trace of immaturity in inspiration or technique.

Seventeen paintings surely by Lucas survive, and a further twenty-seven are known from descriptions by Carel van Mander , from contemporary copies or from drawings of them made by Jan de Bisschop in the later 17th century. Four broad stages in his artistic development are characterized by Elise Lawton Smith as his early half-length figures c — , the development of his landscapes c — , the influence of Antwerp paintings c —25 and the late works ca — , where multiple figures are deployed against wooded landscapes, as in the Healing of blind man of Jericho illustration.

Raimondi's studies of nudes inspired van Leyden in his later work, particularly his altarpieces, in which he is an early Dutch adopter of the Italian-style nude figure. From to , Lucas created a series of woodcuts called "The Power of Women", which consisted of two large and small sets of prints. Artworks in the genre depict the traditional roles of men and women in inverse, with women dominating over men in various situations.

The subjects illustrated often consist of legendary historical women who were considered to be virtuous heroines as well as women who were considered cunning, seductive, and manipulative of men. The purpose of the "Power of Women" theme was to demonstrate that even the strongest and wisest of men were not resistant to the sexuality of women.

The Mouth of Truth : A woman kneels in front of the Emperor of Rome and places her hand in the mouth of a statue of a lion while a crowd observes in the background. The Fall of Man : In the foreground, Eve stands to the left of the tree of knowledge of good and evil, around which a serpent is wrapped, and hands an apple to Adam, who sits to the right of the tree.

In the background to the right, an angel drives Adam and Eve out of Eden. Samson and Delilah : Delilah sits a bed of rocks while Samson lies sleeping in her lap. She holds his hair in one hand and cuts it with a knife. Solomon 's Idolatry: King Solomon kneels in front of an idol of Moloch in the center foreground while one of his mistresses and a crowd of men observe him from behind.

Lucas van leyden engraving

Herod and Herodias : Herod and Herodias sit at a table while their daughter Salome approaches them, holding a plate bearing the head of St. John the Baptist. The style was inspired by ancient Roman designs discovered at the end of the 15th century in the underground rooms, or grottoes, of the Golden House of Emperor Nero in Rome. Grotesque ornament was used to decorate a wide range of objects, such as ceramics, and the style was much copied by Renaissance artists.

The two sphinx-like figures are particularly ornate, with female heads, wings, hooves and the bodies of snakes. Object details Categories Prints. Printing Ink. Lucas Hugensz van Leyden. Ornament with two sphinxes and a winged man. Dutch,