Czére Andrea szerk.: A Szépművészeti Múzeum közleményei (Budapest, 2008)

ANNUAL REPORT • A 2008. ÉV - ZSUZSANNA GILA: Renaissance and Mannerism in the Netherlands

CRISPIN VAN DEN BROECK. ABRAHAM AND THE THREE ANGELS follower Crispin van den Broeck's decorative Abraham and the Three Angels m 2001 (Christie's, London), which was included in the exhibition. Not all the leading sixteenth-century Netherlandish masters are represented in the Budapest collection: for example, Lucas van Leyden and Bartholomäus Spranger are not included; thus, the selection did not provide a complete historical overview of the Netherlandish drawing of the period, but it did portray its stylistic and thematic diversity. The Louvre placed three halls and one smaller room at the disposal of the Budapest museum. The early Dutch drawings, those dating from the first half of the sixteenth century, were exhibited in the first, relatively small hall. Some of the drawings by the five masters included in this section already outline the main problem sixteenth-century Netherlandish art had to face, namely the growing trend of Italianism. The study of a tronie by Engebrechtsz. (one of his two drawings that have survived), who founded a workshop in Leiden, represents the late Gothic tradition of painting in the north of the Netherlands, as do the medieval-like types on the scene entitled The Wedding at Cana of a tapestry design made by an unknown master. The