human
in all its brightness of life and colour. And whilst as a colourist he was bent upon avoiding uniformity of tone and giving everything its natural character, as a draughtsman, too, he set up, in opposition to the more patrician fluency of others, the citizen-like angularity of an art uninfluenced by the Cinquecento. As in Cranach, Dürer, and Holbein, one finds in his pictures profiles that are vividly true; harsh and often unwieldy heads, wrinkled faces, and heavy, massive shoulders resting on stunted bodies. The human form, with fat stomach and great horny hands, seems almost deformed. Everything which the struggle for existence has made of the image of God is expressed in the works of Leys for the first time since David. Even his
gpt
Massacre of the Löwen Magistrates showed sharp, naturalistic physiognomies in the midst of its confused composition, and his
human
Barthel de Haze, fifteen years after, fully exemplified this striving after characteristic and truthful expression. None of his contemporaries has shown himself more cool and indifferent to conventional and graceful profile and