Leiden, Artgen Van

Documentary data on Artgen are scarce and the main source of information about his life is the “Book of Artists” by Karel van Mander . The real name of the artist is Aert Claesz. He was born in Leiden in 1498 . Until the age of eighteen, he worked in his father's felting workshop (because of this he received the nickname Artgen-felter ; Artgen is also a nickname and corresponds to Little Art , although the artist was tall). Leiden continued to live in the wallowers, even becoming a famous painter. In 1516 he was given the teaching of painting to Cornelis Engelbrechtsen . Some sources mistakenly consider Artgen van Leiden to be the brother of Luke Leiden, who also studied at the workshop of Cornelis Engelbrechtsen. Perhaps, until 1530, the artist made a trip to southern Germany, where he met with representatives of the Danube School of Painting and their works (in the paintings of Artgen, Baldung Green’s influence is also felt) ^[3] .

The artist did not paint pictures of mythological or allegorical content. It was very religious. He often read scripture texts to his disciples, accompanying his reading with improvised teachings. He lived in poverty and refused to leave Leiden in order to move to a larger city, where he could find wealthy customers. Much attention was paid to teaching his students. In Leiden, the artist enjoyed universal sympathy and fame.

Artgen's paintings are distinguished by elongation of figures, and sometimes by some exaggeration of sizes in relation to surrounding objects; they are usually original in composition and try to uncover the plot underlying them in a new way. Artgen created drawings for stained-glass windows , as well as for paintings by other painters, because of this, a large number of his drawings were known. According to Karel van Mander ^[4] :

“Usually he received seven pennies for drawing in a whole sheet of paper, although in most cases he used a lot of work and effort. From this it is easy to imagine that his table did not break from overseas dishes. ”

The artist worked mainly on the orders of wealthy citizens of Leiden. He was greatly influenced by his teacher Cornelis Engelbrechtsen, later Jan van Skorel , and then his more famous peer Martin van Hemskerk (especially with regard to the image of architecture). Despite their influence, he was able to maintain his identity. Among the paintings that he created: “The Crucifixion with the Coming” , “The Cross”, “The Sacrifice of Abraham” , “Our Lady with the Choir of Angels”, “Crossing the Red Sea”, “The Court of Solomon ” (the last picture of the artist.) ^{[4 ]} .

Artgen van Leyden died in 1564 at the age of 66 as a result of an accident, falling late in the dark in a ditch designed to scoop up water.

Four paintings by Artgen were in the collection of Rubens , who showed interest in the artist. Several paintings were in the collection of Rembrandt . In the XVIII and XIX centuries, interest in the personality and work of Artgen was absent.

Artgen himself did not sign his paintings. Attribution to Artgen is usually permitted in relation to anonymous paintings, which occupy an intermediate position between the works of his teacher Engelbrechtsen and his fellow practitioner Luke Leidensky. A number of experts attribute to Arthgen “The Calling of St. Anthony ” (c. 1530-1535, Amsterdam , the Rijksmuseum ), which was previously considered the work of Luke Leiden (it is signed by the monogram “L”) ^[5] . Also currently attributed to Artgen van Leiden and another picture acquired by Charles I Stuart as a work of Luke Leiden, - “Martyrdom of St. Sebastian ” ^[6] . The composition and interpretation of the figures is close to the features of Artgen's style mentioned by Karel van Mander, a group of drawings executed with pen and ink with washing, the author of which is conventionally named the Master of 1527 . Discovered in 1969 by Artgen 's triptych “The Last Judgment” with portraits of customers from the Monfort family ( 1555 , located in Valenciennes at the Museum of Fine Arts) is now the only undisputed painting by this master ^[7] . Another image of the Last Judgment (1530-1535), similar in composition to the triptych of Lucas van Leiden, and attributed to Artgen van Leiden, is currently in the Museum De Lakenhal in Leiden ^[8] . The painting “The Nativity of Christ” , mentioned among the artist’s best works, has been preserved in three versions, two of which, as is commonly believed, belong to the artist’s workshop, and the version from the Louvre is probably to Arten himself.

• The fame of Artgen prompted the famous painter Frans Floris from Antwerp to come to Leiden. The artist himself was absent. Floris asked for permission to enter his workshop. Rising to the attic, he drew on the wall the head of a bull with the face of the Evangelist Luke and the coat of arms of painters. Having finished his drawing, France went to the hotel. When Artgen came home, he was told that he had a visitor from foreign lands, who wanted to talk with him, and that in the presence of his students he painted a picture on the wall. Who it was, no one knew. When Artgen saw the drawing, embarrassed by the fame of his guest, he said: "It was France Floris." Artgen was even afraid to visit his guest at the hotel, considering himself unworthy to be in the company of such a famous painter ^[4] .
• The artist masterfully played the German flute, often playing music, he

“... I could not see anything in front of me and therefore, busy with the game, I fell into the water two or three times ...” ^[4]

• Artgen made out all his orders in the tavern, staying up until late at night, although he did not differ in his passion for drinking. After an accidental attack by a drunk ^{[9], the} artist was afraid to return home at night in his poor, restless and dark quarter, and often therefore stayed in a room specially shot for the night in the city center ^[4] .

• Biography of Art Klaszon, a painter from Leiden. In the book: Mander, Karel Van. A book about artists. SPb. 2007.S. 239-243.
• C. D [odogson]. Two Drawings by Aert Claesz '. The Burlington Magazine 38 (1921). R. 25-27.
• JQ van Regteren Altena. Aertgen van Leyden. Oud-Holland 56 (1939). R. 16-25, 74-87, 128-138 en 222-235.
• A. van der Boom. Aertgen van Leyden en de glasruiten van het Leidse Anna-hofje. Oud-Holland 69 (1954). R. 180-181.
• J. Bruyn. Twee St. Antonius-panelen en andere werken van Aertgen Claesz. van Leyden. Nederlands Kunsthistorisch Jaarboek 11 (1960). R. 36-119.
• J. Bruyn. Een drieluik van Aertgen van Leyden. Jaarboek van het Koninklijk Museum voor Schone Kunsten Antwerpen 1961. P. 113-129.
• KG Boon. Rondom Aertgen. In: Miscellanea JQ van Regteren Altena, Amsterdam 1969. P. 55-60 en 271-276.
• F. Scholten. Technische aspecten van de Kerkprediking en twee andere werken uit de Aertgen van Leyden-groep. Nederlands Kunsthistorisch Jaarboek 37 (1986). P. 53-74.
• REO Ekkart. Twee onbekende luiken met stichtersportretten door Aertgen van Leyden. Oud Holland 114 (2000). P. 125-130.

• Works of Aertgen van Leyden on arcadja.com.