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Lucas van Leyden
1489-1533 Dutch Lucas van Leyden Galleries Lucas van Leyden (Leiden, 1494 ?C August 8, 1533 in Leiden), also named either Lucas Hugensz or Lucas Jacobsz, was a Dutch engraver and painter, born and mainly active in Leiden, who was among the first Dutch exponents of genre painting and is generally regarded as one of the finest engravers in the history of art. He was the pupil of his father, from whose hand no works are known, and of Cornelis Engelbrechtsz, but both of these were painters whereas Lucas himself was principally an engraver. Where he learnt engraving is unknown, but he was 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. Lot and his daughters (ca. 1509)In 1514 he entered the Painters' Guild at Leiden. He seems to have travelled a certain amount, and visits are recorded to Antwerp in 1521, the year of D??rer's Netherlandish journey, and to Middelburg in 1527, when he met Jan Mabuse. An unbroken series of dated engravings makes it possible to follow his career as a print-maker and to date many of his paintings, but no clear pattern of stylistic development emerges. D??rer was the single greatest influence on him, but Lucas was less intellectual in his approach, tending to concentrate on the anecdotal features of the subject and to take delight in caricatures and genre motifs. Carel van Mander characterizes Lucas as a pleasure-loving dilettante, who sometimes worked in bed, but he left a large oeuvre, in spite of his fairly early death, and must have been a prodigious worker. Lucas had a great reputation in his day (Vasari even rated him above D??rer) and is universally regarded as one of the greatest figures in the history of graphic art (he made etchings and woodcuts as well as engravings and was a prolific draughtsman). His status as a painter is less elevated, but he was undoubtedly one of the outstanding Netherlandish painters of his period. He was a pioneer of the Netherlandish genre tradition, as witness his Chess Players (Gemäldegalerie, Berlin) which actually represents a variant game called 'courier' - and his Card Players (National Gallery of Art, Washington), while his celebrated Last Judgement triptych (Lakenhal Museum, Leiden, 1526-27) shows the heights to which he could rise as a religious painter. It eloquently displays his vivid imaginative powers, his marvellous skill as a colourist and his deft and fluid brushwork.

 

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Lucas van Leyden Der heilige Andreas in Halbfigur, vor Landschaft oil painting

Painting ID::  88584

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Lucas van Leyden
Der heilige Andreas in Halbfigur, vor Landschaft
Oil on oak panel. 22 x 17 cm. c. 1518 (1513-1523) cjr
   
   
     

 

 

Lucas van Leyden Christ Healing the Blind oil painting

Painting ID::  88615

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Lucas van Leyden
Christ Healing the Blind
1531(1531) Medium Oil on canvas transferred from wood cyf
   
   
     

 

 

Lucas van Leyden The Temptation of St Anthony oil painting

Painting ID::  89143

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Lucas van Leyden
The Temptation of St Anthony
1530(1530) Medium oil on wood cyf
   
   
     

 

 

Lucas van Leyden Healing of blind man of Jericho oil painting

Painting ID::  90306

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Lucas van Leyden
Healing of blind man of Jericho
1531(1531) Medium Oil on panel transferred to canvas cyf
   
   
     

 

 

Lucas van Leyden Card Players oil painting

Painting ID::  90315

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Lucas van Leyden
Card Players
Oil on panel, 56 x 70 cm, National Gallery of Art, Washington Date 1508 - 10 cyf
   
   
     

 

 

Lucas van Leyden Virgin and Child with Mary Magdalen and a donor oil painting

Painting ID::  90586

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Lucas van Leyden
Virgin and Child with Mary Magdalen and a donor
1522(1522) Medium oil on oak panel cyf
   
   
     

 

 

Lucas van Leyden Portrat des Jakob Florisz van Montfort oil painting

Painting ID::  91470

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Lucas van Leyden
Portrat des Jakob Florisz van Montfort
1531(1531) Medium oil on panel Dimensions Deutsch: 89 x 32,5 cm cjr
   
   
     

 

 

Lucas van Leyden Der heilige Andreas in Halbfigur oil painting

Painting ID::  92017

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Lucas van Leyden
Der heilige Andreas in Halbfigur
oil on oak panel. 22 X 17 cm. Karlsruhe, Staatliche Kunsthalle. Inventory number 1478. Date c. 1518 (1513-1523) cyf
   
   
     

 

 

Lucas van Leyden The fortune-teller. oil painting

Painting ID::  92634

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Lucas van Leyden
The fortune-teller.
Date c. 1508 (1508-1510) Medium oil on panel Dimensions 24 X 30.5 cm (9.4 X 12 in) TTD
   
   
     

 

 

Lucas van Leyden Triptych with the Adoration of the Golden Calf oil painting

Painting ID::  93217

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Lucas van Leyden
Triptych with the Adoration of the Golden Calf
c. 1530(1530) (1525-1533) Medium oil on oak panel Dimensions 92.5 x 127 cm (36.4 x 50 in) cjr
   
   
     

 

 

Lucas van Leyden FortuneTeller with a Fool oil painting

Painting ID::  96034

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Lucas van Leyden
FortuneTeller with a Fool
between 1508(1508) and 1510(1510) Medium oil on panel cyf
   
   
     

 

 

Lucas van Leyden Madonna and Child or Virgin and Child with Angels oil painting

Painting ID::  96152

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Lucas van Leyden
Madonna and Child or Virgin and Child with Angels
circa 1520(1520) Medium oil on panel Dimensions 74 X 44 cm cyf
   
   
     

 

 

Lucas van Leyden Card Players oil painting

Painting ID::  96276

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Lucas van Leyden
Card Players
1525(1525) Medium oil on panel cyf
   
   
     

 

 

Lucas van Leyden Thyssen oil painting

Painting ID::  96819

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Lucas van Leyden
Thyssen
Oil on panel - 1525 cyf
   
   
     

 

 

Lucas van Leyden The Temptation of St Anthony oil painting

Painting ID::  97616

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Lucas van Leyden
The Temptation of St Anthony
circa 1530(1530) Medium oil on panel cyf
   
   
     

 

 

Lucas van Leyden Self portrait oil painting

Painting ID::  97765

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Lucas van Leyden
Self portrait
1509(1509) Medium oil on oak cyf
   
   
     

 

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Lucas van Leyden
1489-1533 Dutch Lucas van Leyden Galleries Lucas van Leyden (Leiden, 1494 ?C August 8, 1533 in Leiden), also named either Lucas Hugensz or Lucas Jacobsz, was a Dutch engraver and painter, born and mainly active in Leiden, who was among the first Dutch exponents of genre painting and is generally regarded as one of the finest engravers in the history of art. He was the pupil of his father, from whose hand no works are known, and of Cornelis Engelbrechtsz, but both of these were painters whereas Lucas himself was principally an engraver. Where he learnt engraving is unknown, but he was 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. Lot and his daughters (ca. 1509)In 1514 he entered the Painters' Guild at Leiden. He seems to have travelled a certain amount, and visits are recorded to Antwerp in 1521, the year of D??rer's Netherlandish journey, and to Middelburg in 1527, when he met Jan Mabuse. An unbroken series of dated engravings makes it possible to follow his career as a print-maker and to date many of his paintings, but no clear pattern of stylistic development emerges. D??rer was the single greatest influence on him, but Lucas was less intellectual in his approach, tending to concentrate on the anecdotal features of the subject and to take delight in caricatures and genre motifs. Carel van Mander characterizes Lucas as a pleasure-loving dilettante, who sometimes worked in bed, but he left a large oeuvre, in spite of his fairly early death, and must have been a prodigious worker. Lucas had a great reputation in his day (Vasari even rated him above D??rer) and is universally regarded as one of the greatest figures in the history of graphic art (he made etchings and woodcuts as well as engravings and was a prolific draughtsman). His status as a painter is less elevated, but he was undoubtedly one of the outstanding Netherlandish painters of his period. He was a pioneer of the Netherlandish genre tradition, as witness his Chess Players (Gemäldegalerie, Berlin) which actually represents a variant game called 'courier' - and his Card Players (National Gallery of Art, Washington), while his celebrated Last Judgement triptych (Lakenhal Museum, Leiden, 1526-27) shows the heights to which he could rise as a religious painter. It eloquently displays his vivid imaginative powers, his marvellous skill as a colourist and his deft and fluid brushwork.