“Cloeck en veerdigh”: Energetic and Skillful Painting Techniques of the Sixteenth-Century Leiden School
2012; Volume: 4; Issue: 1 Linguagem: Inglês
10.5092/jhna.2012.4.1.2
ISSN2473-1404
Autores Tópico(s)Historical Art and Architecture Studies
Resumopainting-techniques-sixteenth-century-leiden-school/ tions. 5 Concurrently, the Rijksmuseum undertook the conservation of two small paintings by Engebrechtsz, Christ Taking Leave of His Mother (fig.3) and Christ in the House of Martha and Mary (ca.1515-20), using methods similar to those mentioned above. 6 The examination of these slightly later paintings has provided insight into Engebrechtsz's development, as well as allowing comparison of his large and small works.My own examination under magnification of Christ on the Cross (ca.1500) and Carrying the Cross (ca.1510) has allowed me to make observations about technique and layer build-up. 7 Engebrechtsz's workshop profoundly influenced the techniques of the sixteenth-century Leiden School.Karel van Mander mentions five of his pupils, two of whom will be covered in this study: Lucas van Leyden (also known as Lucas Hugensz or Lucas Jacobsz, 1489 or 1494-1533) and Aertgen van Leyden (also known as Aert Claesz, ca.1498-ca.1564).Lucas van Leyden's Last Judgment (1526-27) was studied extensively before and during a conservation treatment in the mid-1970s, and technical observations and a large amount of sample material were published (figs.4 and 5). 8More recently, another relatively late masterwork from Lucas van Leyden's oeuvre,
Referência(s)