Lucas De Leyde Entourage E (1494-1533) The Kiss Of Judas And The Arrest Of Christ

Workshop of Lucas of Leiden (1494–1533) The Kiss of Judas and the Arrest of Christ Circa 1520 Oil on oak panel, 72 x 55.5 cm (Old restorations, repainted, some losses; yellowed varnish) Work attributed to an anonymous Dutch painter of the 16th century, workshop or circle of Lucas of Leiden Iconographic context The Kiss of Judas illustrates one of the most poignant episodes of the New Testament: the betrayal of Christ by one of his twelve apostles, Judas Iscariot. In order to allow the guards of the Temple of Jerusalem to identify Jesus—whom they did not know—Judas designates him with a kiss. This act marks the beginning of the Passion of Christ. Previously, Judas had made an agreement with the priests of the Temple, members of the Sanhedrin, in exchange for thirty pieces of silver. This pact underlines his greed, often represented in Christian iconography by a purse visible in the hand or at the belt. About Lucas of Leiden Lucas Hugensz or Lucas Jacobsz, known as Lucas of Leiden, is one of the greatest Dutch engravers and painters of the Renaissance. Born in 1494 in Leiden, he worked there all his life. A precocious and virtuoso artist, he made his mark at the age of 14 with his exceptional mastery of burin engraving. His painted work, today reduced to around thirty paintings and altarpieces, contrasts with a particularly rich engraved output: around 200 prints, produced between 1508 and 1530. His early work was marked by the decisive influence of Albrecht Dürer, while his later works reveal a growing interest in Italian art, notably through Marcantonio Raimondi and the Italianate painter Jan Gossaert. Analysis of the work This painting, although by an anonymous artist, can be attributed to the workshop or close circle of Lucas of Leiden. Produced around 1520, it displays the typical characteristics of the Northern Renaissance: expressive figures, meticulous details, and a dramatic depiction of a sacred episode. Part of the tradition of devotional images, the scene invites meditation on the suffering of Christ. The composition, centered on the kiss of Judas, contrasts the serenity of Christ with the sly attitude of his traitor. The work presents repaints, losses, and a yellowed varnish that slightly alters the legibility of the original colors—visible traces of an earlier restoration. Comparison with the engraved work This painting bears strong similarities to an engraving by Lucas of Leiden, entitled The Passion: The Arrest of Christ, held at the Petit Palais, Musée des Beaux-Arts de la Ville de Paris (ref. GDUT5778). This iconographic and stylistic proximity reinforces the hypothesis of an attribution to an artist from the workshop or immediate circle of Lucas de Leyde.