Lucas van Leyden

s Wife Displays Joseph's Garment'' He learned basic techniques from his father 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 1508, 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. Max Friedländer described no clear pattern of stylistic development, in large part because Lucas' oeuvre was swelled and obscured by attributions since found unsustainable. with Crown of Thorns'', Lost work, After Lucas van Leyden '', now anonymous but previously attributed to van Leyden. Four broad stages in his artistic development are characterized by Elise Lawton Smith as his early half-length figures (c 1506–1512), the development of his landscapes (c 1512–1520), the influence of Antwerp paintings (c 1521–25) and the late works (ca 1525–1531), 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. Two further artistic influences were Albrecht Dürer and Jan Gossaert. Indeed, he was friends with both, and Dürer drew van Leyden's portrait when they met in 1521. Dürer's mastery of engraving and Gossaert's Romanist style both heavily influenced van Leyden's work. File:Lucas van Leyden 008.jpg|Annunciation, 1522 File:Lucas van Leyden 010 reconstruction 01.jpg|Virgin and Child with Mary Magdalen and a donor, 1522 File:Attributed to Lucas van Leyden 001.jpg|Saint Paul, attr. Leyden File:Leyden Bearing of the Cross.jpg|Bearing of the Cross with Veronica, 1520s File:Lucas van Leyden - The Temptation of St Anthony - WGA12935.jpg|The Temptation of St Anthony File:The Card Players sc1065.jpg|Card Players File:Last Judgement, by Lucas van Leyden.jpg|The Last Judgement File:Mohammed2.jpg|Mohammed and the murdered monk 1508 File:The Milkmaid MET MM10754.jpg|The Milkmaid, engraving, 1510 File:Lucas van Leyden 052.jpg|''Joseph Explains Pharaoh's Dream'', engraving, 1512 File:Lucas van Leyden Resting Pilgrims.jpg|Resting Pilgrims File:The Poet Virgil in a Basket MET I3.jpg|Virgil in a Basket, 1525 == Prints ==

'' Lucas's print included secular subjects, and many depictions of famous Biblical scenes, including Adoration of the Magi, The Virgin and Child on the Crescent, and The Holy Family. The Power of Women Series From 1513 to 1517, Lucas created a series of woodcuts called "The Power of Women", which consisted of two large and small sets of prints. The series is one of a number of representations of the Power of Women theme, which was extremely popular in Renaissance art and literature. 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. Large Power of Women (1513—) 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. ''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. 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 Poet Virgil Suspended in a Basket: Virgil is shown stranded in a basket hung on the side of a tower in the town square, with a jeering crowd below him. Small Power of Women (1517—) The Fall of Man: In the foreground, Adam and Eve are around the tree of knowledge of good and evil, with the serpent wrapped around the trunk and holding an apple. In the background, an angel drives Adam and Eve out of paradise. Samson and Delilah: Same as woodcut of larger size. 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. Herod and Herodias: In the foreground, Salome holds a plate bearing the head of St. John the Baptist in front of Herod and Herodias, who are sitting at a table. Through a window on the back wall, St. John the Baptist is seen being beheaded. File:Lucas van Leyden 046.jpg|The Fall of Man (Large Power of Women) File:Lucas van Leyden 061.jpg|Solomon's Idolatry File:Lucas van Leyden 050.jpg|Herod and Herodias (Large Power of Women) File:Lucas van Leyden 051.jpg|The Poet Virgil Suspended in a Basket File:Lucas van Leyden 062.jpg|The Fall of Man (Small Power of Women) ==Family==

In 1515, Lucas married Elisabeth van Boschhuysen, from a patrician Leiden family. The marriage remained childless. Lucas did have a daughter Marijtje, born in Leiden out of wedlock around 1512. This daughter Marijtje would later marry the painter Dammas Claesz de Hoij. In their offspring, the De Hoij family, one can find prominent artists throughout the sixteenth and seventeenth centuries. == Collections ==

Today, Lucas's work is held in the permanent collections of several institutions worldwide, including the Metropolitan Museum of Art, the Museum Boijmans Van Beuningen, the Philadelphia Museum of Art, the Fralin Museum of Art, the Brooklyn Museum, the Ashmolean Museum, the Detroit Institute of Arts, the Museum of New Zealand Te Papa Tongarewa, the Worcester Art Museum, the Clark Art Institute, the University of Michigan Museum of Art, and the Thyssen-Bornemisza Museum. ==See also==