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the guild membership of female artists. For instance, the entry on the free master
Lysbeth Laureys in 1509 did not indicate her craft specialization but her relationship to a male artist, which in this case was her father identified as Jan. Female artists commonly became members of the guild by inheriting guild rights from their husbands or male relatives.
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This important archive is used as a source of biographical information on
Flemish artists. For instance, it contained the names of all the harpsichord makers in Antwerp. It also included the dates when artists became masters as well as commissioned works. The archive also provided insights concerning
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listing archives from 1453 to 1615, by Ph. Rombouts and Th. van Lerius, Antwerp, 1872, on
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Various aspects of the
Liggeren have been published, most notably in the 19th century.
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De liggeren en andere historische archieven der
Antwerpsche sint Lucasgilde
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Dictionary of Women
Artists: Introductory surveys ; Artists, A-I
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Gaze, Delia; Mihajlovic, Maja; Shrimpton, Leanda (1997).
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62:. Cambridge, MA: Harvard University Press. pp.
20:Page representing the year 1558 from the Liggeren.
123:. Chicago: Fitzroy Dearborn Publishers. pp.
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91:. Koln: Böhlau Verlag Köln Weimar. p. 98.
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87:Macsotay, Tomas; Myssok, Johannes (2016).
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
