A project initiated by the Royal Museums of Fine Arts of , with the Google Cultural Institute g.co/UnseenMasterpieces

04 FOREWORD INTRODUCTION THE ROYAL MUSEUMS THE GOOGLE CULTURAL OF FINE ARTS OF BELGIUM INSTITUTE

“Thanks to technology, a new dialogue “Today, we’ve taken Bruegel’s ideas The Bruegel / Unseen Masterpieces / The Royal Museums of Fine Arts of Home to some of the country’s most The aim of the Google Cultural is opening up between visitors and and methods a step further with project brings together major Belgium hold Belgium’s largest fine interesting sites including the most Institute is to create tools which in the museum. Through the 21st century digital technology. international museums, many of art collection. Some 20,000 works of visited museums in Belgium, help preserve and promote cultural interplay of screens and paintings, Using ultra-high resolution images, which are European, around the figure arts and six museums tell the story the second biggest Bruegel collection heritage, making it accessible to everyone can now virtually step into virtual reality, and other immersive of . It aims at of our history, from the 15th to the 21st in the world, the world’s largest internet users around the world. the artworks to gain knowledge and tools, we’re bringing viewers further celebrating the painter’s legacy and century, through , sculpture Magritte collection and various Google has formed partnerships learn new stories. into Bruegel’s strangely familiar share the diversity of his work with the and drawing. other stunning collections, the Royal with over 1000 cultural institutions, scenes. It’s as if we’ve been invited to a general public. Museums of Fine Arts of Belgium museums and archives to let all The encounter between art and Flemish wedding feast, a skating party, The Oldmasters, Magritte, Fin-de- strive to be a cultural, scientific and internet users discover or rediscover technology makes it possible to or a harvest festival 500 years ago. Through the medium of a wide range Siècle, Modern (selection) museums social centre at the service of society exceptional artefacts. reveal secrets as yet unknown to the We invite you to experience Bruegel’s of experiences both online and and the Wiertz and Meunier homes and social development. With the general public.” world online or inside on-site, this unique initiative offers and studios are part of our cultural advent of new technologies and Today, the Google Cultural Institute is , Director General, the Museum.” everyone the chance to immerse heritage and also provide a place increased accessibility for everyone, founded on two key pillars: Royal Museums of Fine Arts of Belgium themselves in Bruegel’s masterpieces, for exploring the future, reflecting museums are constantly offering a Amit Sood, Director of the Google Cultural Institute by accessing the finest details of each as a citizen, and forming our new take on masterpieces by Bruegel, An online platform, available at painting and expert knowledge. contemporary identities. Rubens, Jordaens, David, Rodin, www.google/culturalinstitute Ensor, Gauguin, Khnopff, Moore, which lets internet users see all of Initiated by the Royal Museums of Delvaux, Magritte, Broodthaers, the projects developed by Google Fine Arts of Belgium with the Google Fabre, and others. within the world of culture. Users can Cultural Institute, the project is a access thousands of works of art precursor to the Bruegel House, which from around the world, visit historical will open its doors to the public in and archaeological sites and browse 2019 in the heart of . online exhibitions.

The Cultural Institute Lab, a physical space inaugurated in 2013, situated in Google’s office, which aims to promote meetings, debates and creation.

06 Unseen Bruegel Masterpieces? the Elder‘s legacy Bruegel / Unseen Masterpieces / allows BRIDGING THE GAP “[...] in the square in front of the Royal members of the public to delve into the BETWEEN CONSERVATION Palace, coaches as far as the eye can works of Pieter Bruegel the Elder AND DISSEMINATION see; a constant flow of French, Dutch, († Brussels, 1569). While the artist and Belgians from the provinces [...]. People his paintings are known worldwide, running, crossing the square, shouting, While Bruegel is one of the most every composition also depicts a before bravely joining the queue famous Flemish painters, a large whole host of characters - some which is slowly snaking its way to the exhibition has not been dedicated to surprising, others familiar - and entrance of the Palace of Fine Arts. [...] him in Belgium since 1980. vignettes that provide the subtext of the weather is mild and it is only a few This exhibition, entitled The Bruegel history, which are masterpieces worthy hours before the Bruegel exhibition Dynasty, was not a retrospective in the of exploration in their own right. closes. I’m going to join the crowds. true sense of the word as the majority Like everyone, I’m pushing a little! of the works on display were paintings In taking a closer look at Bruegel’s A large woman with the air of a retired carried out by the Bruegel sons. paintings, the audience will be teacher pushes me back with contempt. The exhibition, which took place as surprised and amazed to discover A foldable umbrella is sticking out of part of the Europalia festival, was a these often unknown details which are her bag and she blocks me to one side great public success as is shown in the most stunning expression of the with it. I’m sure she did it on purpose! this archive photograph. painter’s genius. “What chaos”, she says to someone Throughout the whole of Autumn 1980, else [...]” visitors hurried to see the Flemish master’s works. Colette Bertot, “Les dernières heures de Brueghel” [The Last Hours of Bruegel], in La Libre Belgique, 21 November 1980.

© Christian Carez 08 Why then, since 1980, has no one in his homeland organised another large-scale exhibition dedicated to the great master? There are two main reasons: exorbitant insurance costs, but, above all, the extremely fragile nature of the works themselves. As was customary at the time, most of Bruegel’s works are oil paintings on wooden panels – generally oak – and are therefore very sensitive to the slightest change in temperature or humidity. It has been difficult from Bruegel’s time onwards to organise a large touring retrospective of the Flemish painter’s work.

Detail from The Census at Bethleem, 1566 © Royal Museums of Fine Arts of Belgium, Brussels 10 The Royal Museums of Fine Arts of Belgium are home to the world’s second-largest collection of works by Bruegel the Elder. They started to reflect on these questions many At the crossroads years ago. (01) In 1969, the museum presented the of art and technology “Bruegel and his World” exhibition, 02 A UNIQUE DIGITAL marking the 400th anniversary of the EXPERIENCE painter’s death. (02)

As the 450th anniversary of Bruegel’s “Obvious security issues make it death approaches, the Royal Museums impossible to transport fragile works of Fine Arts of Belgium are preparing to which are dotted around in different open the Bruegel House to the public, locations. The aim of this exhibition a place where he is thought to have is to reunite all of Bruegel’s works for lived during his time in Brussels. the first time in an imaginary museum, through the juxtaposition of black and It is in this context that the museum white photographs in the format of the called upon Google’s expertise to think original works.” up digital solutions for this new cultural Philippe Roberts-Jones, hub, open to everyone. Bruegel and his World, Brussels, MRBAB, 1969 The Bruegel / Unseen Masterpieces / project was born from this exchange, Half a century after the “Bruegel © KIK-IRPA, Brussels © Royal Museums of Fine Arts of Belgium, at the crossroads of art and and his World” exhibition, the Brussels / photo: J. Geleyns / Ro scan technology. problem has yet to be solved. The technical resources available, however, have changed beyond recognition.

01 © Ilan Weiss / Daniel piaggio 12 As a partner of the museum since 2011, the Google Cultural Institute had already digitised The Fall of the Rebel Angels (1562) in ultra-high definition.

As part of the Bruegel / Unseen Masterpieces / project, all of Pieter Bruegel’s works held at the museum were digitised using Gigapixel technology. All these works are now available online providing a level of detail which is invisible to the naked eye.

Detail from The Fall of the Rebel Angels, 1562 © Royal Museums of Fine Arts of Belgium, © Royal Museums of Fine Arts of Belgium, Brussels Brussels 14 The resulting images, together with Three works are available in the 03 “From the beginning of the Google iconographic resources provided by Bruegel Box in March 2016: The Fall of Cultural Institute, five years ago, the museum and its international the Rebel Angels (1562), The Sermon partners, have helped design innovative of St. (1566) and the Bruegel has been a hero on the platform. experiences which enhance the visitor Proverbs (1559), on display in Brussels, experience and let every internet user Budapest and , respectively. (03) He is a painter with so many details view a vast array of details and stories. When supplemented with cultural invisible to the naked eye.” Twelve exhibitions created by the Royal content, virtual reality provides Museums of Fine Arts of Belgium an experience which delights the 01 Laurent Gaveau, Director of the Lab, can be viewed online, exploring artistic senses and encourages the painter’s masterpieces and new relationships with the works. Google Cultural Institute documenting his life, influences and Combining excitement and wonder, legacy. They are accessible using the it stimulates a sense of curiosity for interactive stations, letting visitors gain people of all ages. more in-depth knowledge and a better Cardboard is one of the best examples view of the real-life artworks. (01) (02) of this potential. Dreamed up in 2014 by two engineers from the Google With Engie’s support, the Royal Cultural Institute, these virtual reality Museums of Fine Arts of Belgium goggles are made simply from have come up with the unique cardboard, glass lenses and a magnet. concept of the Bruegel Box, an artistic You put a smartphone in it and it immersion project. projects a stereoscopic image. A system of sophisticated And so the adventure begins... projectors has been set up in one of the museum’s rooms, projecting Accessible and easy to use, Cardboard immersive, high-definition videos plunges us into a 360 degree universe. onto three walls of the room, plunging Over the last two years, numerous visitors into the master’s works to developers, engineers and artists reveal their secrets. have been infatuated with Cardboard 04 These immersive projections will and have already made this open- successively highlight the great source technology their own. Nearly a masterpieces in their collections. thousand cardboard applications have been created in two years. (04)

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16 As part of the Bruegel / Unseen Masterpieces / project, the Google Cultural Institute has designed an immersive experience which lets you explore The Fall of the Rebel Angels as you have never seen it before. Detail by detail, the painting comes to life in front of your eyes, in the light of explanations given during the virtual guided visit.

This experience is available to all via the YouTube channel of the Royal Museums of Fine Arts of Belgium, in English, French and Dutch.

From virtual reality to interactive terminals, these different technological experiments are all designed to stimulate the interest of every member of the general public, in preparation for the 2019 celebrations.

© Royal Museums of Fine Arts of Belgium, Brussels 18 02

Massacre of the Innocents (around The Three soldiers (1568) is part of 1566) is part of the British Royal the permanent collection at The Frick Collection. It can be admired at Collection in New York. The artwork is Windsor Castle, one of the three official now accessible in high definition on the A project with residences of Her Majesty Queen Google Cultural Institute platform. Elizabeth II. Through a virtual exhibition, the Frick 01 An online exhibition is dedicated to the shares with the public the painting’s international reach artwork. This exhibition describes how hidden details and stories. (06) BRINGING TOGETHER to join this unique project marking The Preaching of Saint John the Baptist the painting was altered in the years © Michael Bodycomb THE WORLD’S BIGGEST the birth of a new type of scientific (1566) is shown at the Szépmüvészeti following its creation and how certain COLLECTIONS partnership for the museums involved. Múzeum in Budapest. This work now details were concealed due to their Christ Driving the Traders from the is featured on the platform of the subversive nature. The title of the work Temple (after 1569) was formerly Museum Boijmans Van Beuningen in Approximately 40 painted works by Google Cultural Institute in Gigapixel was also changed several times for the attributed to Pieter Bruegel the Elder. holds in its collections The Bruegel the Elder still exist today format. In the virtual exhibition same reasons. (04) In the virtual exhibition dedicated to Tower of Babel (c. 1565), available in and those that remain are dotted dedicated to the artwork, the reader will Trust / © Her Majesty Queen the artwork, the Statens Museum for Gigapixel format since 2014. A virtual across the world. The Bruegel / discover how the artist, updating the Elizabeth II 2016 / Photographer: John Freeman Kunst of Copenhagen explores the exhibition is dedicated to the artwork Unseen Masterpieces / project scene of the sermon, hid in his painting reasons why experts have seen the on the platform of the Google Cultural therefore has an international aim multiple elements of daily life from the The Metropolitan Museum of Art, trademark of the Flemish master in it, Institute, exploring the secrets of this 03 to use technology to bring together 16th century. (03) located in New York City, holds in its and how a recent study of this painting, world famous masterpiece. (01) the known and preserved paintings © Museum of Fine Arts Budapest collection The Harvesters, painted by and three others with the exact same © Museum Boijmans Van Beuningen and by the Flemish master with a view to Pieter Bruegel in 1565. museum garden, studio Hans Wilschut motif, have revealed new insights into its 04 putting together a digital retrospective An online exhibition is dedicated to origins and multilayered meanings. (07) which is accessible to all. Through the The Proverbs (1559) and the artwork on the Google Cultural © Magnus Kaslov/SMK Google Cultural Institute’s help and (1562) are part of the collections of the Institute platform, where it can be seen the involvement of eight big museum Gemäldegalerie, Staatliche Museen in Gigapixel. This exhibition guides the institutions, in 2016, the initiative viewer’s eyes through the many scenes reached the first stage towards zu Berlin. They now exist in ultra high 05 resolution on the platform of the Google represented in this masterpiece, achieving its objective by bringing from the surprised look on a peasant’s together a quarter of the Flemish Cultural Institute. A virtual exhibition is face to merchant ships, sailing on master’s works in ultra high resolution. dedicated to the Proverbs (1559). About 120 proverbs are hidden in this picture, the horizon. (05) Like the project’s first contributors, full of incongruous scenes inspired by The Metropolitan Museum of Art, Fifth Avenue Facade / Image © The Metropolitan Museum of Art every museum which holds one or the beliefs of the time. (02) 06 more of Bruegel’s paintings is invited © Staatliche Museen zu Berlin / Achim Kleuker 07

20 THE FALL OF THE REBEL ANGELS (1562) ROYAL MUSEUMS OF FINE At the heart of Pieter Bruegel ARTS OF BELGIUM, BRUSSELS In The Fall of the Rebel Angels, Pieter Bruegel shows us both the beginning the Elder‘s works and end of time, representing the “In a unique way Bruegel, like Leonardo, A THOUSAND DETAILS punishment of Lucifer and the killing of REVEALED the apocalyptic dragon by Archangel Arcimboldo, or Rabelais, visualizes Michael. This rich and diverse piece André Lhote on The Census presents a multitude of marvellous and the fascination for metamorphosis and at Bethlehem (1566): monstrous creatures, showing evolving “You can use a mount of any format techniques in the 16th century as well change that were so characteristic of you like to cover parts of this as the curiosity for the New World. the sixteenth century – but at the same extraordinary painting: it will always appear composed. Each element is set The detail in a plume of feathers or time so timeless.” out in such a way that, together with ruby red of an insect shell reflect the the adjacent element, it constitutes fascination and fear provoked by the a scintillating composition [...] These Americas, which at the time were very Tine Meganck, PhD, Art Historian seemingly scattered elements could popular in cabinets of curiosities. not be more ordered.”

André Lhote, Treatise on , 1939

Detail. © Royal Museums of Fine Arts of Belgium, Brussels

22 LANDSCAPE WITH THE FALL YAWNING MAN (UNDATED) OF (UNDATED) ROYAL MUSEUMS OF FINE ROYAL MUSEUMS OF FINE ARTS OF BELGIUM, BRUSSELS ARTS OF BELGIUM, BRUSSELS This portrait of a yawning man, in small The Landscape with the Fall of Icarus, format, was first interpreted as being a true masterpiece, is neither signed a satire of peasants and other country nor dated. It appeared on the art folk, judged to be pretenders by the market in 1912 and became part of the emerging middle classes. collection at the Royal Museums of In reality, it is more likely to be a study Fine Arts of Belgium in the same year. aimed at analysing facial expressions. The painting has been shrouded in mystery ever since. The composition This type of representation was very is so dazzling that numerous curators common during the , identify it as one of the famous as knowing how to render facial painter’s creations. However, to date, expressions was an artistic none of the technical tests carried out requirement. on the piece, including the most recent ones, have been able to confirm the piece’s attribution.

In the composition, the presence of Icarus himself is but a mere detail. Only the legs of the mythic hero can be seen desperately flailing in the air, surrounded by a fine shower of feathers. Around him, the rest of the world remains unperturbed, as if unaffected by his demise.

Detail. © Royal Museums of Fine Arts Detail. © Royal Museums of Fine Arts of Belgium, Brussels of Belgium, Brussels

24 THE ADORATION THE WINTER LANDSCAPE OF THE MAGI (UNDATED) WITH SKATERS AND BIRD ROYAL MUSEUMS OF FINE TRAP (1565) ARTS OF BELGIUM, BRUSSELS ROYAL MUSEUMS OF FINE ARTS OF BELGIUM, BRUSSELS In his Adoration of the Magi, Bruegel uses tempera painting, a common Winter holds a particularly important technique in the 15th and 16th place in Bruegel’s work, to such an centuries. The pigments are mixed not extent that Bruegel is considered to be with oil but with other binding agents the creator of a pictorial tradition which such as water, egg, starch, animal glue would become extremely popular in or even sugar. Holland over the following century: Furthermore, pieces carried out using the painting of winter landscapes. this technique are not varnished and These winter scenes are often thus retain a matt finish. These works accompanied by a litany of picturesque are extremely fragile and difficult to and anecdotal details depicted with preserve, something which makes the tenderness and humour by Bruegel, Adoration of the Magi such a rare and as is the case in the Winter Landscape precious piece. with Skaters and Bird Trap.

The composition is thought to be In this painting, hidden meanings inspired by a work by Raphael, seem to warn the viewer. In the created in Brussels between 1520 bottom right-hand corner of the and 1531. The border which frames painting, the bird trap warns of us the subject is, however, reminiscent against the dangers of living and that of tapestry art. life is as slippery and uncertain as the ice that the villagers are skating upon unconcernedly.

Detail. © Royal Museums of Fine Arts Detail. © Royal Museums of Fine Arts of Belgium, Brussels / photo: J. Geleyns / of Belgium, Brussels Ro scan

26 THE CENSUS THE TOWER OF BABEL AT BETHLEHEM (1566) (C. 1565) ROYAL MUSEUMS OF FINE MUSEUM BOIJMANS VAN ARTS OF BELGIUM, BRUSSELS BEUNINGEN, ROTTERDAM

Nothing is still in Bruegel’s The In this famous painting Bruegel Census at Bethlehem, the viewer is depicts the biblical story of man’s presented with a remarkable number hubris and their desire to build a of characters and situations. Despite tower that reached to the heavens: this, the work is dedicated to a very god punished them with a Babelonian specific biblical event, an event which confusion of tongues. is relegated to a minor detail in the composition. Joseph and Mary are Countless people are flocking around arriving in Bethlehem to register the structure, which reaches to the themselves, upon the orders of Cesar clouds. Ancient art scholars think Augustus. Bruegel set this scene in his Bruegel took inspiration for the native 16th century . architecture of his tower from the Colosseum in . One of the details which make this scene contemporary to Bruegel’s time is hidden on the façade of the inn in the foreground: an official message with the Habsburg coat of arms, the reigning family at the time.

Detail. © Royal Museums of Fine Arts of Belgium, Brussels Detail. © Studio Tromp, Rotterdam

28 THE PROVERBS (1559) THE SERMON OF SAINT JOHN GEMÄLDEGALERIE, THE BAPTIST (1566) STAATLICHE MUSEEN MUSEUM OF FINE ARTS, ZU BERLIN BUDAPEST

In this painting, Bruegel invites us to a In the Bible, Saint John the Baptist village populated by countless figures. preaches the following: “Repent, Each character is focused on their the kingdom of heaven is at hand.” tasks, most of which seem, on closer Many listen to his sermon: “People inspection, to be rather peculiar: went out to him from Jerusalem and the villagers are enacting more than all Judea and the whole region of the 120 proverbs, each metaphor turned Jordan. Confessing their sins, they into a literal depiction. were baptized by him in the Jordan River.” (Matthew 3, 2-4) Inside a house, two men pull each Among the audience, in this Bruegel other by their nose, expressing the painting, there are not two poses, saying “to lead one another by the gestures, faces or even clothing that nose”: the two are tricking each other. are the same. Expressions of alertness, A third man hanging backwards from devotion, ecstasy or indifference are all the window, is holding a deck of cards individually expressed. in his hands: he represents the saying “fools get the best cards”. Near the preacher’s pointing left, a man is listening to each word in an almost delirious state. He rests his head in his hand, with his mouth open, and eyes closed. Many faces near the preacher express “sacred simplicity” or bemusement close to hallucination.

Detail. © Staatliche Museen zu Berlin, Gemäldegalerie Detail. © Museum of Fine Arts Budapest

30 THE HARVESTERS (1565) MASSACRE OF METROPOLITAN MUSEUM THE INNOCENTS OF ART, NEW YORK CITY (C. 1565-1567) ROYAL COLLECTION TRUST, The Harvesters, held at The LONDON Metropolitan Museum of Art in New York, belongs to a series Bruegel’s Massacre of the Innocents commissioned by the illustrates King Herod’s order, after merchant Niclaes Jongelinck for his Jesus’ birth, that all children in suburban home. The cycle originally Bethlehem under the age of two should included six paintings showing the be murdered. times of the year, five of which survive. Shortly after its creation, the painting Walking from the fields to the port, quickly came into the possession of these women accompany us into the the Holy Roman Emperor, Rudolph II, landscape. We wander through varied in Prague. The slaughtered babies scenes of rural life: from a pond with were then painted over with details bathing monks to a village gathering such as bundles, food and animals with children playing, passing by so that, instead of a massacre, apple thieves, run after by guards. it appeared to be a more general Outfits, occupations, food: scene of plunder. The shadow of the each detail contributes to immersing infants can be seen underneath the us in the scene. over-painted areas.

Pieter Bruegel the Elder. Detail from The Harvesters, 1565. Oil on panel. © The Metropolitan Museum Detail. © Royal Collection Trust / Her Majesty of Art, Rogers Fund, 1919.19.164 Queen Elizabeth II 2016

32 THREE SOLDIERS (1568) THE FRICK COLLECTION, NEW YORK Conclusion This small panel, once in the collection of Charles I of England, represents a trio of Landsknechte, the mercenary foot soldiers whose picturesque costumes and swashbuckling The advent of digital technologies Through the Bruegel / Unseen airs provided popular images for has had a profound impact on the Masterpieces / project, works spread printmakers in the sixteenth century. context in which museums operate over more than 20 collections in and evolve, changing the relationship Europe and North America are As is evident in this detail, this between the visitor and the work. gradually displayed and made painting is a , executed in While nothing can replace the accessible to all through innovative tones ranging from subdued whites experience of seeing the original work, experiences both virtual and on-site. in the highlights to blacks in the these changes offer new solutions The Royal Museums of Fine Arts of background and in the shadows on to tackle the fragility of old pieces. Belgium and their partners invite the figures. The brownish tones They offer a way of preserving this you to explore these works and their of the ground now show through invaluable and irreplaceable heritage secrets, to embark on the trail of one the thinly painted surface, giving and also provide a new opportunity to of the greatest painters in history. the grisaille a warmer tonality than experience seeing such works. it originally had. They help rethink the notion of access to culture, by reaching out to a wider spectrum of people and giving internet users of all ages access to art. Everyone has the opportunity to be surprised, inspired and appreciate the artist’s genius first on their screen and then in front of the work itself at the museum.

Detail. © The Frick Collection, New York

34 “Sharing their knowledge and passion for Bruegel, the museums contributing to this project aim to keep inspiring their audience with new and exclusive insights.”

Michel Draguet, Director General, Royal Museums of Fine Arts of Belgium

“Pieter Bruegel was fascinated with everyday life, and possessed an uncanny ability to capture human experience - from labor to laughter, and from brutality to revelry. Using masterful painting techniques to bring viewers into the 16th century world, the artist might be said to be the first to create ‘virtual reality’.”

Amit Sood, Director of the Google Cultural Institute

Cover: Pieter Bruegel the Elder. Detail from The Fall of the Rebel Angels, 1562. Oil on panel © Royal Museums of Fine Arts of Belgium, Brussels in partnership with with support from