DOCSLIB.ORG

Bruegel Still in the Spotlight in 2019 Brussels and Bruegel Are Inextricably Linked

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bruegel Still in the Spotlight in 2019 Brussels and Bruegel Are Inextricably Linked PRESS RELEASE Brussels, 17 September 2019 Bruegel still in the spotlight in 2019 Brussels and Bruegel are inextricably linked. A variety of original exhibitions and activities are on offer throughout the year to celebrate the 450th anniversary of the great Flemish master's death. This is the perfect occasion to (re)discover the monumental work of the greatest Flemish painter of the 16th century. Bruegel and Brussels Brussels and Bruegel are inextricably linked. The artist spent part of his life in Brussels and was also buried there. Several of his works are also on display in the capital's museums. Pieter Bruegel (+/-1525-1569) is widely regarded as the 16th century’s greatest Flemish painter. He is known for his landscapes and peasant scenes (so called genre painting). As early as the 16th century, the Habsburg, who were great collectors, recognised the exceptional quality and originality of Bruegel’s imagery and bought his works. The artist also owes his popularity to his incredible, often moralistic, compositions featuring large numbers of people. His works are captivating and invite spectators to reflect on their content and complexity. Paintings such as ’Netherlandish Proverbs’, ‘Children’s Games’, ‘Dull Gret' (also known as ‘Mad Meg'), ‘The Wedding Dance’ and ‘The Land of Cockaigne’ are famous all over the world. Bruegel moved to Brussels in 1563 to be closer to potential clients. He got married in the Chapel Church and settled in the Marolles district. In the 16th century, Brussels was one of the most important political centres in Europe. Charles V had one of his main residences in the Coudenberg Palace on the neighbouring Mont des Arts. Brussels was a real hub for artists and a new urban nobility. Brussels was a major source of inspiration for Bruegel; two thirds of his works were painted there. His most influential sponsors lived at the Mont des Arts, very close to his home. Today, it houses an important part of Bruegel’s work: after the Kunsthistorisches Museum (Art History Museum) in Vienna, the Royal Museums of Fine Arts of Belgium possesses the largest collection of paintings by Bruegel, and the Royal Library houses no fewer than 90 prints! All these treasures are on display in 2019. After his death, Bruegel was buried in the Chapel Church in the Marolles, where his epitaph can be found. Brussels felt a duty to devote a number of events to this world-famous artist to mark the 450th anniversary of his death. Since January 2019, several organisations have been organising guided visits based on Bruegel and all the sites linked to his history and his fascinating era. EXHIBITIONS Royal Museums of Fine Arts of Belgium To mark the 450th anniversary of the death of Pieter Bruegel the Elder, the Royal Museums of Fine Arts of Belgium are organising a number of projects to celebrate the great Flemish master: The permanent collection: visitors can (re)discover the second largest permanent collection in the world of works by Pieter Bruegel the Elder in the Old Masters Museum. 'Bruegel Unseen Masterpieces' allows the public to discover the hidden secrets of the works of Pieter Bruegel the Elder. With a wide range of experiences accessible online and in situ, this original initiative allows visitors to immerse themselves in Bruegel's paintings, accessing both the finest details of each painting and the knowledge of experts. The Royal Museums of Fine Arts of Belgium launched this event with the Google Cultural Institute, in view of the 450th anniversary of Bruegel's death, in 2019. This innovative project brings together prestigious international museums, most of them European, around the figure of Bruegel. It is the expression of in-depth deliberations on the changes underway in the field of museum studies in the digital era. Cultural and educational offer: • Cycle of conferences based around Bruegel the Elder • Visitor guide • Creative trail for children • Guided visits for all target groups (schools, cultural groups, families, vulnerable groups) • Workshops and internships Date: 2019-2020 More information: www.fine-arts-museum.be Red Cloister Art Centre BERNARD VAN ORLEY. RED CLOISTER AND THE SONIAN FOREST IN THE 16TH CENTURY The Art Centre puts the spotlight on Bernard van Orley, an artist inseparable from 16th century Brussels heritage and the creator of the cartoons for The Hunts of Maximilian tapestry. Their detailed representations of buildings, including Red Cloister, and hunting grounds are part of the richness of the decor, and the vegetation and flora are a direct testimony of what the Sonian Forest was once like. The exhibition also presents several previously unseen archaeological items from this historic site. Date: until 20/12/2019 More information: www.rouge-cloitre.be Palais de la Dynastie BEYOND BRUEGEL 'Beyond Bruegel' is an innovative artistic experience in which new technologies and classical works by Bruegel come together and raise the artistic experience to a higher level. In the first part of the exhibition, a multimedia installation immerses visitors in the painter's life and work. An animated 360-degree projection then takes visitors into the imaginary world of the master. They can admire and even walk through his works; visitors find themselves in the heart of Dull Gret's army, on a ship at the foot of the Tower of Babel and more. Figures from Bruegel's work come to life and enter visitors' imagination. Date: until 31/01/2020 More information: https://beyondbruegel.be Atomium BRUEGEL. A POETIC EXPERIENCE From 19 September 2019, to mark the 450th anniversary of the death of Pieter Bruegel the Elder, the Atomium presents an immersive, interactive exhibition on the famous Renaissance painter. Large reproductions of Bruegel's works plunge visitors into the heart of his world. The 'Bruegel, A Poetic Experience' exhibition presents both known and unexpected facets of his work and personality. Dates: 19 September 2019 to 20 September 2020 More information: www.atomium.be Royal Library of Belgium BRUEGEL IN BLACK AND WHITE The Royal Library owns a complete and unrivalled collection of Bruegel's work "on paper" (90 graphic works) and is preparing to take them out of its warehouse for a very special exhibition to mark this Bruegel year. The 'Bruegel in Black and White' exhibition promises to be a unique experience. The exhibition will take place at the Palace of Charles of Lorraine, one of the rare 18th century jewels in Brussels. Dates: 15/10/2019 to 16/02/2020 More information: www.kbr.be Halle Gate BACK TO BRUEGEL – EXPERIENCE THE 16TH CENTURY The legendary Halle Gate, a remnant of the mediaeval Brussels city wall, is opening up to the world of the painter Bruegel. Take a surprising leap into a virtual reality version of his internationally famous paintings. Four works by the master come to life and, just for a moment, immerse visitors in the day-to-day life of the time. This is a journey into the heart of the 16th century, with authentic treasures from the New World, arms and armour, musical instruments and other works from the Royal Museums of Art and History. At the top of the building, enjoy the magnificent panoramic views of Brussels and use the virtual telescopes to be transported back to the time of Bruegel. Dates: 18/10/2019 to 18/10/2020 More information: http://www.kmkg-mrah.be/expositions/back-bruegel Mini-Europe BRUEGEL ON THE GRAND PLACE On the (miniature) Grand Place in Brussels, visitors meet the painter Pieter Bruegel the Elder, who is working on one of his masterpieces, "The Fall of the Rebel Angels", a work in which the Archangel Michael is fighting six monsters. Date: until 31/12/2019 More information: www.minieurope.eu EVENTS The Chapel Church FLEMISH MASTER IN SITU The church is in the district where Bruegel lived and where his epitaph can be found. A copy of a work by Rubens adorns the epitaph. For this occasion, additional information and a video offer more information about the location, Bruegel and Rubens. Date: until 30/09/2019 More information: www.vlaamsemeestersinsitu.be BRUEGEL. THE GREAT ESCAPE The works of Pieter Bruegel the Elder have never been so alive. Ten characters have escaped from the Flemish master's paintings, 450 years after his death and have come together to pay tribute to the man who painted them. Date: until the end of 2019 More information: www.flemishmasters.be Bruegel Cultural Centre - The Dance of the Rebel Angels The Dance of the Rebel Angels will lead visitors through the Marolles, following in the footsteps of Pieter Bruegel. To mark the 450th anniversary of the Master's death, the company No Way Back, together with a Congolese delegation from the Goma Dance Festival and key dancers from the Royal Flemish Theatre (KVS), will give a new "urban" life to the painter's works, remastered by the Farm Prod collective. In a combination of tradition and modernity, visitors will meet angels who will encourage them to join in the dance and become an integral part of the living painting! Dates: - Friday 20 September from 7pm to 9pm - Saturday 21 September from 2pm to 7pm - Sunday 22 September from 2pm to 6pm More information: www.detoursfestival.be GUIDED VISITS Bruegel City Run (FR, NL or EN) In the city centre, find out Bruegel's legacy while running at your own pace. Date: throughout 2019 More information: www.cityruns.net Bruegel and his Marolles Come on this walking journey and discover the Marolles of the 16th century... and more specifically the protagonist of our artistic culture: Bruegel. Pieter Bruegel, who then lived in Antwerp, fell in love with the daughter of his master, Pieter Coecke van Aelst.
Load more

Recommended publications
  • Children's Games, by Pieter Bruegel
    Art Masterpiece: Children’s Games, by Pieter Bruegel (the Elder) Keywords: Pattern Grade(s): First – Second Grade Activity: Two options. Project #1:Making a Checker Board OR Project #2 Drawing a scene of children playing a game. About the Artist: • Pieter Bruegel (Pee-ter Broy-gull) is an artist from the Renaissance period. His actual birthdate is not known but believed to be around 1525. • Many of his paintings show his great interest in the poor people, or peasants, who lived, in the countryside. He would paint people doing common everyday things. • He received the nickname "Peasant Bruegel" or "Bruegel the Peasant" because he would dress up like a peasant in order to socialize at weddings and other celebrations. Making the life and manners of peasants the main focus of a work was rare in painting in Bruegel's time, and he was a pioneer of this style of “genre painting.” His earthy, unsentimental but vivid depiction of the rituals of village life. • Quite often his paintings are pictured from a high vantage-point to give the viewers a bird’s eye view of the scene. • There is usually a lot going on in a Bruegel painting. When people look at a Pieter Bruegel painting, they often think he used very few colors. At first glance, his pictures seem to be an overall brown, gray, or dark yellow. But if you look closely, you’ll be surprised to see he used some bright colors Chandler Unified School District Art Masterpiece Program, Chandler, Arizona, USA too. At the time, red pigment was made from scraping bricks and the most famous “reds” were from Antwerp, where Bruegel painted.
    [Show full text]
  • Be Accessible Be .Brussels
    EN DE be accessible be .brussels BarrierefreieAccessible museums Museen undand tourist Touristenattraktionenattractions in Brussels in Brüssel Welcome to Brussels! You will feel the buzz of a different kind of energy as soon as you arrive in Brussels! You will feel quite at home and in a brand new land of discovery at the same time. Brussels is a cosmopolitan city on a human scale; its legendary hospitality is sincere and it loves sharing its emotions. To discover the treasures of Brussels, you need to lose yourself in its districts, take a break on its bistro terraces, stroll through its museums, discover nature in its parks and gardens and enjoy its excellent food. But the city has a very specific layout. If you have reduced mobility, it can be difficult to discover our beautiful capital city, with its upper town and lower town areas, its cobblestones and its irregular borders. Don't worry, visit.brussels has created this brochure to make your visit easier. Brussels has an exceptional cultural life, with more than 120 museums and attractions for you to discover. The activities listed here allow everyone to discover the accessible attractions and enjoy our museum collections in a dynamic, creative way. Enjoy your visits! Contents ADAM - BRUSSELS DESIGN MUSEUM P.11 ART & MARGES MUSEUM P.13 ATOMIUM P.15 AUTOWORLD BRUSSELS P.17 BEL EXPO P.19 BELGIAN CHOCOLATE VILLAGE P.21 BOZAR - CENTRE FOR FINE ARTS P.23 CENTRALE FOR CONTEMPORARY ART P.25 RED CLOISTER ABBEY ART CENTRE P.27 CITY SIGHTSEEING BRUSSELS P.29 D’IETEREN GALLERY P.31 EXPERIENCE.BRUSSELS
    [Show full text]
  • The Fall of the Blind Leading the Blind by Pieter Bruegel the Elder and the Esthetics of Subversion*
    OF CHURCHES, HERETICS, AND OTHER GUIDES OF THE BLIND: THE FALL OF THE BLIND LEADING THE BLIND BY PIETER BRUEGEL THE ELDER AND THE ESTHETICS OF SUBVERSION* Jürgen Müller Heresy in Pictures Pictures are a medium of biblical exegesis. By illustrating biblical sub­ jects, they provide a specific interpretation of selected passages, clarifying and disambiguating by means of images, even where Scripture is vague or obscure. This is due first of all to the nature of the texts in the Old and New Testaments: one rarely encounters descriptions of persons and events vivid enough to function as precise templates for pictorial compo­ sitions. Pictures, on the other hand, are subject to the necessity of putting something in concrete form; as such, they require legitimization and are potentially instruments of codification.1 During the Reformation pictures were used to canonize religious view­ points and to give expression to various orthodoxies, but also to denounce the heterodoxy of the opposing side. But whatever their function in reli­ gious practice may have been, as a rule they operated as vehicles of dis­ ambiguation. Luther, in particular, valued pictures as a pedagogical tool and took a critical stance against the iconoclasts.2 For him, their essential purpose was to teach, simply and clearly.3 * Translated from German to English by Rosemarie Greenman and edited by Walter Melion. 1 Cf. Scribner R.W., “Reformatorische Bildpropaganda”, Historische Bildkunde 12 (1991) 83–106. 2 Cf. Berns J.J., “Die Macht der äußeren und der inneren Bilder. Momente des innerpro­ testantischen Bilderstreits während der Reformation”, in Battafarano I.M.
    [Show full text]
  • Iconoclasm: Beeldenstorm and Beyond (Amsterdam, 9-10 Dec 2016)
    Iconoclasm: Beeldenstorm and Beyond (Amsterdam, 9-10 Dec 2016) Amsterdam, Dec 9–10, 2016 Annelien Krul, Utrecht ICONOCLASM: BEELDENSTORM AND BEYOND SYMPOSIUM, AMSTERDAM, 9-10 DECEMBER 2016 This year marks the 450th anniversary of the Beeldenstorm, the wave of iconoclasm that swept over the Low Countries in 1566. This defining moment in Netherlandish history will be commemo- rated with a two-day symposium ICONOCLASM: BEELDENSTORM AND BEYOND, which will con- sider the Beeldenstorm in relation to iconoclasm as a global phenomenon. The symposium will be held on 9 and 10 December 2016, in the auditorium of the Rijksmuseum and the aula of the University of Amsterdam. The program and registration are now online: https://www.rijksmuseum.nl/nl/iconoclasm ICONOCLASM: BEELDENSTORM AND BEYOND will seek to deepen our understanding of the ideo- logical and systematic destruction of art under different historical and cultural configurations. The symposium will bring together an international group of scholars who will offer the latest insights on the hostility towards images in the Habsburg Netherlands, the Byzantine world, Islam, Colonial America, China, (Early) Modern Europe and, presently, in the Middle East, and on icono- clasm in contemporary art. PROGRAM Friday, 9 December 2016 Auditorium, Rijksmuseum 09.00 – 09.30 registration and welcome 09.30 – 10.00 Hugo van der Velden, University of Amsterdam, Image-Breaking and the Survival of Art 10.00 – 10.30 Geert Janssen, University of Amsterdam, Iconoclasms and the History of the two Netherlands 10.30
    [Show full text]
  • University of Cincinnati
    UNIVERSITY OF CINCINNATI Date:___________________ I, _________________________________________________________, hereby submit this work as part of the requirements for the degree of: in: It is entitled: This work and its defense approved by: Chair: _______________________________ _______________________________ _______________________________ _______________________________ _______________________________ Making Them Laugh: Elements of the Comic in the Peasant Revel Scenes of Pieter Bruegel the Elder, 1550-1580 A thesis submitted to the Graduate School of the University of Cincinnati In partial fulfillment of the requirements for the degree of MASTER OF ARTS In the Department of Art History of the School of Art of the College of Design, Architecture, Art and Planning May 2008 by Daniela Langusi BA, Academy of Economic Studies Bucharest, Romania, 1993 Committee Chair: Dr. Diane Mankin Abstract The peasant scenes of Pieter Bruegel the Elder have triggered a scholarly debate that relies on two different approaches. One view attaches to these images a primary moralizing message, while the other places them within the cultural context of the contemporary art of laughter. In my thesis I will argue that the peasant revel scenes are primarily comic in nature, without diminishing the moralizing message. My argument relies on two main theories developed by Henri Bergson and Mikhail Bakhtin, as well as on the similarity between the visual elements employed by Pieter Bruegel and the comic practices and techniques employed in the theatrical art of commedia dell’arte. I discuss the role of the peasant as a comic type and the use of grotesque realism in the visual representation of the body and the lower material bodily stratum as indicators that artists chose their visual vocabulary with a comic intent.
    [Show full text]
  • Bruegel's Via Crucis
    BRUEGEL’S VIA CRUCIS: (VISUAL) EXPERIENCE AND THE PROBLEM OF INTERPRETATION Geoff Lehman Conference: What is Liberal Education For? St. John’s College, Santa Fe, New Mexico October 18, 2014 Introduction: Visual Pedagogy This talk will focus on the close reading of a painting, Pieter Bruegel the Elder’s Via Crucis, or, Carrying of the Cross (figure 1), with the idea of suggesting how such sustained engagement with a single work of art over the course of one or several class sessions in a seminar, or even as the basis for an entire course, poses similar challenges and has a similar pedagogical value as the close reading of texts. I will also briefly indicate the rich dialogue between Bruegel’s picture and a number of major Renaissance texts. My simple mention of these texts can in no way do justice to them, but I merely hope to suggest ways that a work of visual art can function meaningfully as part of an interdisciplinary course built around close reading and discussion of texts. In addition, as an image that is self-reflexive in a characteristically Renaissance fashion, the picture explicitly directs the viewer towards the problem of interpretation and suggests the framework within which that interpretive process operates. In other words, I would like to argue that the picture itself teaches. And I will mainly do this (due to lack of time) simply by going through some of the problems of interpretation to which the picture calls our attention. This interpretative problem, as Bruegel’s Via Crucis presents it, is 2 effectively that of finding a middle way between absolute truth and complete absence of determinate meaning; it is an understanding of the interpretive act as directed by, and actively responsive to, its object, in a way that for that very reason is also open and multivalent in its mode of address.
    [Show full text]
  • Bruegel's Later Peasant Paintings Take Heart…
    Chapter Three: “Feast your eyes, Feast your mind”: Bruegel’s later Peasant Paintings Take heart…do your best, that we may reach our target: that they (Italians) may no longer say in their speech that Flemish painters can make no figures. -Karel van Mander, Den Grondt der Edel Vry Schilder-const215 [I]n this mortal life, wandering from God, if we wish to return to our native country where we can be blessed we should use this world and not enjoy it, so that the “invisible things” of God “being understood by the things that are made” may be seen, that is, that by means of corporal and temporal things we may comprehend the eternal and spiritual. -St. Augustine, De Doctrina Christiana I. In the following, I examine three paintings by Bruegel made in the last years of his life,1568-1569, all of which are now in Vienna: Peasant Wedding Banquet, Peasant Dance, and Peasant and Nest Robber. Comparable to the way in which members of the Pléiade program or rederijkers, such as Jan van der Noot and Lucas de Heere, advocated the cultivation of the vernacular language by incorporating the style and form of Latin, French or Italian literature, as well as translating texts from classical Antiquity, I show how Bruegel’s monumental paintings of peasants reveal a similar agenda for what I have termed a “visual vernacular.” Rather than this mode of painting being dependent on the resolute imitation of nature, rejecting any idealization of figures, I will show how Bruegel advocates for the incorporation of classicist, Italianate visual concepts and pictorial elements into detailed images of local custom.
    [Show full text]
  • Bruegel the Hand of the Master
    BRUEGEL THE HAND OF THE MASTER The 450th Anniversary Edition BRUEGEL THE HAND OF THE MASTER Essays in Context Edited by Alice Hoppe-Harnoncourt, Elke Oberthaler, Sabine Pénot, Manfred Sellink and Ron Spronk CONTENTS 8 Introduction: 96 Pieter Bruegel the Elder and 210 Dendroarchaeology of the Panels ESSAYS FROM THE VIENNA EXHIBITION E-BOOK (2018) Bruegel between 2019 and 2069 Flemish Book Illumination by Pieter Bruegel the Elder in the Stefan Weppelmann Till-Holger Borchert Kunsthistorisches Museum, Vienna Pascale Fraiture 336 Leading the Eye and Staging the Composition. Some Remarks 12 Pieter Bruegel: A Preliminary 114 Traces of Lost Pieter Bruegel on Pieter Bruegel the Elder’s Reconstruction of his Network Paintings Revealed through 228 Bruegel’s Panel Paintings in Vienna: Compositional Techniques Jan Van der Stock Derivative Paintings, Phantom Some Remarks on their Research, Manfred Sellink Copies and Dealer Practices Construction and Condition 30 ‘Die 4. Jahrs Zeiten, fecit der alte Ingrid Hopfner and Georg Prast Hans J. van Miegroet 358 The Rediscovery of Pieter Bruegel Brueghel.’ The Changing Story the Elder. The Pioneers of Bruegel of Bruegel’s Cycle of the Seasons 124 Observations on the Genesis of 248 Survey of the Bruegel Paintings Scholarship in Belgium and Vienna in the Imperial Collection Pieter Bruegel the Elder’s of the Kunsthistorisches Museum Sabine Pénot Alice Hoppe-Harnoncourt The Conversion of Saul and the from a Technological Point of View Sabine Stanek, Václav Pitthard, Katharina Uhlir, Examination of Two Copies Martina Griesser and Elke Oberthaler 372 Antwerp – Brussels – Prague – 46 Functions of Drawings Christina Currie and Dominique Allart Vienna.
    [Show full text]
  • Welkom in Het — Bienvenue En – Welcome to the Sonian Forest Vertrek Op De
    © Frédéric Demeuse Frédéric Welkom in het Dit prachtige woud, op een boogscheut van het centrum van Brussel, vormt het ideale kader om even te ontsnappen aan het jachtige stadsleven. U kunt er picknicken aan de Verdronkenkinderenvijver, kuieren over kronkelende wandelpaadjes, met familie of vrienden het park van het kasteel van La Hulpe bezoeken of met de kinderen ravotten in de speeltuin van het Rood Klooster. Als u graag sport, dan kunt u zich wagen aan een intensieve fietstocht langs de Lorreinedreef of gaan joggen op een van de joggingcircuits. Liefhebbers van geschiedenis kunnen de abdij van het Rood Klooster, de priorijsite van Groenendaal of het Museum van Tervuren bezoeken. Of misschien houdt u wel van ontdekkingen en wilt u een pedagogische uitstap maken in het wereldvermaarde arboretum van Tervuren? ? E H © Frédéric Demeuse © Frédéric Demeuse ©Pascal Mannaerts Enkele weetjes... • De naam ‘Zoniën’ zou komen van ‘Zenne’, een plaatselijke rivier die de drie landsgewesten doorkruist. Bienvenue en Welcome to the +E M E #D))) groot en is verspreid over de drie Gewesten: 56% in Vlaanderen, 6% in Wallonië en 38% in het Brussels Hoofdstedelijk Gewest. de Sonian Forest • Dit woud staat bekend voor zijn prachtige beukenbos dat 2/3 van de gehele oppervlakte beslaat. A un jet de pierre du centre de Bruxelles, cette magnifique forêt constitue le cadre idéal pour A stone’s throw from the centre of Brussels, this magnificent forest is the ideal spot in which to • Het volledige woud wordt als Natura 2000-site en als natuurerfgoed se ressourcer. Le temps d’une pause à l’écart de la vie urbaine, vous pouvez par exemple pique- revitalise yourself.
    [Show full text]
  • 44 the Pharos/Winter 2016
    Portrait of Hieronymus Bosch, 1570s. Cornelis Cort (1533–1578). Found in the collection of The Netherlands Institute for Art History, The Hague. Photo credit: HIP/Art Resource, NY. Pieter Bruegel the Elder. Painter and Patron (with Bruegel’s self portrait). Drawing. Pieter Bruegel the Elder (c. 1525–1569). Graphische Sammlung Albertina, Vienna, Austria. Photo credit: Erich Lessing/Art 44 Resource, NY. The Pharos/Winter 2016 Bosch and Bruegel Disability in sixteenth-century art Gregory W. Rutecki, MD The author (AΩA, University of Illinois, 1973) is a mem- depict ‘many things that cannot be depicted.’ ” 3p6 ber of the Department of General Internal Medicine at the In 1958, French physician Tony-Michel Torrillhon based Cleveland Clinic in Cleveland, Ohio. his doctoral thesis on the assertion that Bruegel’s accuracy in painting eye disease indicated that he was a physician,4 he Italian Renaissance reflected a best of all possible an inference that has never been proven. Torrilhon’s thesis worlds, an Elysian existence peopled by gods, angels, showed extensive examples of Bruegel’s uncanny anatomi- and men and women only a step below the angels.1 cal fidelity. That expertise also appears in both Bruegel’s and TThe Flemish school of art of the same period—ignored for Bosch’s depictions of other physical infirmities, illustrating the centuries—depicted less pleasant realities. Its paintings were artists’ sophisticated knowledge of anatomy.5 Further, their peopled by peasants and beggars. Originating in the Spanish work shows us in their details and settings how their subjects Netherlands, it was a culture soon to be embroiled in a bloody were treated in the sixteenth century.
    [Show full text]
  • Pieter Bruegel the Elder 1 Pieter Bruegel the Elder
    Pieter Bruegel the Elder 1 Pieter Bruegel the Elder Pieter Bruegel the Elder Bruegel's The Painter and The Connoisseur. drawn c. 1565 is thought to be a self-portrait. Birth name Pieter Bruegel Born c. 1525Breda, Duchy of Brabant, Habsburg Netherlands (now the Netherlands) Died 9 September 1569 (age 44)Brussels, Duchy of Brabant, Habsburg Netherlands (now Belgium) Field Painting, printmaking Movement Dutch and Flemish Renaissance Works Landscape with the Fall of Icarus, The Hunters in the Snow, The Peasant Wedding Pieter Bruegel the Elder (Dutch pronunciation: [ˈpitəɾ ˈbɾøːɣəl]; c. 1525 – 9 September 1569) was a Flemish Renaissance painter and printmaker known for his landscapes and peasant scenes (Genre Painting). He is sometimes referred to as "Peasant Bruegel" to distinguish him from other members of the Brueghel dynasty, but is also the one generally meant when the context does not make clear which "Bruegel" is being referred to. From 1559 he dropped the 'h' from his name and started signing his paintings as Bruegel. Life There are records that he was born in Breda, Netherlands, but it is uncertain whether the Dutch town of Breda or the Belgian town of Bree, called Breda in Latin, is meant. He was an apprentice of Pieter Coecke van Aelst, whose daughter Mayken he later married. He spent some time in France and Italy, and then went to Antwerp, where in 1551 he was accepted as a master in the painter's guild. He traveled to Italy soon after, and then returned to Antwerp before settling in Brussels permanently 10 years later. He received the nickname 'Peasant Bruegel' or 'Bruegel the Peasant' for his alleged practice of dressing up like a peasant in order to mingle at weddings and other celebrations, thereby gaining inspiration and authentic details for his genre paintings.
    [Show full text]
  • Peter Bruegel the Elder
    PETER BRUEGEL THE ELDER Pieter Bruegel the Elder 1525–1530) was the most significant artist of Dutch and Flemish Renaiss- ance painting, a painter and printmaker, known for his landscapes and peasant scenes; he was a pioneer in making both types of subject the focus in large paintings. He was a formative influence on Dutch Golden Age painting and later painting in general in his innovative choices of subject matter, as one of the first generation of artists to grow up when religious subjects had ceased to be the natural subject matter of painting. He also painted no portraits, the other mainstay of Netherlandish art. After his training and travels to Italy, he returned in 1555 to settle in Antwerp, where he worked mainly as a prolific designer of prints for the leading publisher of the day. Only towards the end of the decade did he switch to make painting his main medium, and all his famous paintings come from the following period of little more than a decade before his early death, when he was probably in his early forties, and at the height of his powers. As well as looking forwards, his art reinvigorates medieval subjects such as marginal drolleries of ordinary life in illuminated manu- scripts, and the calendar scenes of agricultural labours set in land- scape backgrounds, and puts these on a much larger scale than before, and in the expensive medium of oil painting. He does the same with the fantastic and anarchic world developed in Renaissance prints and book illustrations. Pieter Bruegel specialized in genre paintings populated by peasants, often with a landscape element, though he also painted religious works.
    [Show full text]