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Cornelis Engebrechtsz (c. 1460/62-1527) was the first major Leiden
painter to whom works can be attributed with certainty. They
include a Lamentation Triptych from c. 1508 and a Crucifixion
Triptych that was probably executed a decade later, both of which
were made for the Marienpoel Convent near Leiden and are now in
Museum De Lakenhal in Leiden. These monumental triptychs display
the influence of the dynamic style and palette of the Antwerp
Mannerists, including splendid gold brocades. On the basis of the
documented works by Engebrechtsz, no more than a dozen paintings
and some fragments can be attributed to him personally, but many
more can be connected to his workshop, which specialized in
devotional works. Engebrechtsz's pupils included his three sons
Pieter (c. 1490-1560/61), Cornelis (c. 1493-1546) and Lucas (c.
1495-before July 1552). Although they must have played an important
role in the workshop, it has so far proved difficult to associate
specific paintings with them. Taking Walter Gibson's 1977
dissertation on Engebrechtsz and his workshop as its point of
departure, the present volume also draws upon the subsequent
technical investigation of many of the paintings. The spectacular
underdrawings revealed with infrared reflectography has given
better insight into the working methods of the artist and his
workshop. Moreover, the study of the gold-brocaded velvets by
Esther van Duijn clarifies his use of a variety of patterns, while
Peter Klein's dendrochronological examination of the panels helps
determine a chronology of the oeuvre. All this makes it possible to
characterize more clearly Engebrechtsz's stylistic development, his
workshop production and the different hands involved. The new
findings are presented in different chapters, which are
complemented by a complete catalogue of the paintings and drawings
by Engebrechtsz and his workshop. In addition, a complete survey of
the monogrammed and/or dated drawings by Pieter Cornelisz,
Engebrechtsz's eldest son, is presented here for the first time,
providing a firmer basis for the attribution of some paintings to
him. Finally, the present volume is enhanced by documented
biographies of Cornelis Engebrechtsz and his sons Pieter, Cornelis
and Lucas. The known archival documents are complemented by an
abundance of unpublished documents, richly enhancing our knowledge
of the lives, careers and personalities of this family of artists.
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