Who painted Title Page for Leonard Lessius, De Ivstitia et Ivre?

Title Page for Leonard Lessius, De Ivstitia et Ivre was painted by Cornelis Galle I in 1632.

Where can I see Title Page for Leonard Lessius, De Ivstitia et Ivre?

Title Page for Leonard Lessius, De Ivstitia et Ivre is held by National Gallery of Art.

What movement is Title Page for Leonard Lessius, De Ivstitia et Ivre?

Title Page for Leonard Lessius, De Ivstitia et Ivre is associated with Baroque.

Artwork

Title Page for Leonard Lessius, De Ivstitia et Ivre

Cornelis Galle I , 1632

Title Page for Leonard Lessius, De Ivstitia et Ivre is an ink print by the Baroque artist Cornelis Galle I. It dates from 1632 and is held in the collection of the National Gallery of Art. The Title Page for Leonard Lessius’s *De Ivstitia et Ivre*, created by Cornelis Galle the Elder in 1632, is an engraving on laid paper.

About this work

Overview

The Title Page for Leonard Lessius’s *De Ivstitia et Ivre*, created by Cornelis Galle the Elder in 1632, is an engraving on laid paper. It showcases a complex scene with allegorical figures, framed by a Latin banner, highlighting Galle’s technical proficiency and stylistic evolution.

Subject & Meaning

The engraving depicts a winged woman (likely Justice) standing on a rocky base with scales, overseeing a dramatic scene of two men wrestling, observed by a lion and other figures. This composition symbolizes the themes of justice and law explored in Lessius’s text.

Technique & Style

Characterized by intricate linework and detailed shading, the engraving exemplifies the refined, fluid style Galle developed after his time in Rome, distinguishing his work from his family’s and reflecting early 17th-century engraving techniques.

History & Provenance

Created in 1632 for *De Ivstitia et Ivre*, this work is part of Cornelis Galle the Elder’s output as a prolific engraver and printseller in Antwerp, contributing to the dissemination of Flemish and Italian artistic influences.

Context

Galle’s practice often involved reproducing or adapting designs by other artists, situating this title page within the broader context of 17th-century Antwerp’s vibrant print culture and the circulation of artistic ideas between Flemish and Italian schools.