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Peter Parshall Lucas van Leyden is acknowledged as a major figure in the history o f N etherlandish art. W e are fortunate to retain a large and varied number o f w orks distributed over most o f his active life, a career which spanned a critical period in the cultural, social, and political emergence o f the Low- lands. L u c a s’ artistic impact is well attested by his principal successors - Pieter Bruegel the E ld er, H endrik G oltzius, and R em brandt - who responded meaningfully to his engravings with m asterpieces of their own. Y et Lucas van Leyden has not excited the degree of scholarly interpretation his stature would seem to merit. The earlier m onographs by N . Beets and Rosy Kahn remain the m ost thorough, sensitive, and insightful overviews. M ax. J . Fried- lander’s last study has proven inadequate in many respects, leaving us with an uneasy im pression o f the artist as an eclectic, dependent from the outset on Albrecht D ürer and later on a pale Italian classicism gleaned from the engravings o f M arcantonio and oth ers.1 L u c
Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek Online – Brill
Published: Jan 1, 1978
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