Lucas van Leyden

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Lucas van Leyden

(lü`käs vän lī`dən), 1494–1533, Dutch historical and genre painter and engraver. With Lucas, Dutch painting of scenes from daily life may be said to begin. His art is notable for its realistic treatment, dramatic power, and careful execution. He studied with his father, Huig Jacobsz, a Leiden artist, and with Cornelis Engelbrechtsz and soon established himself as an engraver of extraordinary ability, as well as a painter of originality and power. A child prodigy and prolific artist, Lucas executed more than 200 engravings, etchings, and designs for woodcuts, including Mohammed and the Monk (1508), Ecce Homo (1510), and Adam and Eve (1519). From c.1510 his works show the influence of Dürer, whom he met on a visit to Antwerp in 1521. They drew and exchanged portraits of each other. Later Lucas's style reflected his study of the prints of Marcantonio Raimondi. Among his paintings are Moses Striking Water from the Rock (Mus. of Fine Arts, Boston); Chess Game, St. Jerome, and Virgin Enthroned (Berlin); and Last Judgment (Leiden).


See his complete engravings, etchings, and woodcuts, ed. by J. Lavalleye (tr. 1967).

Leyden, Lucas van:

see Lucas van LeydenLucas van Leyden
, 1494–1533, Dutch historical and genre painter and engraver. With Lucas, Dutch painting of scenes from daily life may be said to begin. His art is notable for its realistic treatment, dramatic power, and careful execution.
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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Lucas Van Leyden


Born in 1489 or 1494 in Leiden; died there in 1533. Dutch painter and engraver, a representative of the Dutch Renaissance.

Lucas van Leyden studied with his father, Huygh Jacobsz (1504-08), and with Cornelis Engelbrechtsen. He very early mastered the art of line engraving on copper (Muhammad With the Monk, 1508; David and Saul, 1509). Later he did etchings and woodcuts. His graphic works, which were filled with the tension of artistic strivings, reflect the influence of A. Diirer, whom Lucas knew personally. From the late 1520’s his prints showed the influence of Italian Renaissance engraving, particularly the work of Marcantonio Raimondi (The Milkmaid, 1510; Dance of the Magdalene, 1519; The Poet Virgil Suspended in a Basket, 1523).

Lucas’ portraits and paintings of genre scenes are marked by a keen interest in the human personality (The Chess Players, c. 1508-10, Dahlem Museum, Berlin; Self-portrait, c. 1514, Herzog Anton Ulrich Museum, Braunschweig; Portrait of a Man, c. 1521, National Gallery, London). In his religious compositions, such as Sermon in Church (c. 1521, Rijksmuseum, Amsterdam) and the triptych Healing of the Blind Man (1531, Hermitage, Leningrad), a strong interest in everyday details is oddly combined with a mannerist stylization of the figures’ movements and poses. Lucas van Leyden was also a miniature painter and an outstanding graphic artist.


Nikulin, N. Luka Leidenskii. Leningrad-Moscow, 1961.
Klimov, R. B. “Tvorchestvo Luki Leidenskogo i Vysokoe Vozrozhdenie v Niderlandakh.” In the collection Ot epokhi Vozrozhdeniia k dvadtsatomu veku. Moscow, 1963.
Friedlander, M. Lucas van Leyden. Berlin, 1963.


The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.

Lucas van Leyden

?1494--1533, Dutch painter and engraver
Collins Discovery Encyclopedia, 1st edition © HarperCollins Publishers 2005
References in periodicals archive ?
The top lot of London's December sales was a small but exceedingly rare black chalk drawing of a young man by the Netherlandish master Lucas van Leyden (1489/94-1533).
The record for the Lucas van Leyden pipped the 9.4m [pounds sterling] paid for a Rembrandt oil study of the head of a young man as Christ in prayer, the top lot of Sotheby's 30m [pounds sterling] evening sale on 5 December, and what would otherwise have been Christie's top lot, a pair of portraits by Frans Hals, which found a new home for 10m [pounds sterling].
Lucas van Leyden's Chess Game is an allegorical contest between a knight and a lady, where presumably the stakes are the traditional ones of her virtue against his life.
The 1594 series, for which Goltzius was feted by the Duke of Bavaria, depicted the Life of the Virgin in six distinct Renaissance hands: Raphael, Parmigianino, Bassano, Barocci, Durer, and Lucas van Leyden, respectively.
Lucas van Leyden executed several paintings and at least two prints of Lot and His Daughters - striking evidence of the theme's popularity.
Although this was a popular subject in other media, Lucas van Leyden was one of the few printmakers to include this sequence in his `Power of Women' woodcut series of 1511.
Dutch artist Lucas van Leyden was regarded as a prodigy during his lifetime and was a source of inspiration for many artists--Rembrandt among them.
Rembrandt's choice of technique seems therefore laden with significance: his recording of such a crucial episode in his life in durable metalpoint is a conscious alignment with past northern European masters, stretching from Petrus Christus and van der Weyden in the 1400s to Lucas van Leyden and Durer in the 16th century.
'But there is another world out there--less well-known Dutch artists like Lucas van Leyden [1494-1533] as well as German printmakers of the 17th and 18th century and French rococo prints.' He looks 'for the uniqueness of the print, odd colours or odd histories'.
'Lucas van Leyden and the Renaissance' is the first exhibition to contrast the work of Northern Netherlandish artist Lucas van Leyden with works by his contemporaries, Albrecht Durer and Jan Gossaert.