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Lucas van Leyden’s narrative style

Lucas van Leyden’s narrative style 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 http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek Online Brill

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Publisher
Brill
Copyright
Copyright © Koninklijke Brill NV, Leiden, The Netherlands
eISSN
2214-5966
DOI
10.1163/22145966-90000497
Publisher site
See Article on Publisher Site

Abstract

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

Journal

Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek OnlineBrill

Published: Jan 1, 1978

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