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Bruegel Notes Writing of the Novel Began October 20, 1998
Rudy Rucker, Notes for Ortelius and Bruegel, June 17, 2011 The Life of Bruegel Notes Writing of the novel began October 20, 1998. Finished first fully proofed draft on May 20, 2000 at 107,353 words. Did nothing for a year and seven months. Did revisions January 9, 2002 - March 1, 2002. Did additional revisions March 18, 2002. Latest update of the notes, September 7, 2002 64,353 Words. Table of Contents Table of Contents .................................................................................................... 1 Timeline .................................................................................................................. 9 Painting List .......................................................................................................... 10 Word Count ........................................................................................................... 12 Title ....................................................................................................................... 13 Chapter Ideas ......................................................................................................... 13 Chapter 1. Bruegel. Alps. May, 1552. Mountain Landscape. ....................... 13 Chapter 2. Bruegel. Rome. July, 1553. The Tower of Babel. ....................... 14 Chapter 3. Ortelius. Antwerp. February, 1556. The Battle Between Carnival and Lent......................................................................................................................... 14 Chapter 4. Bruegel. Antwerp. February, -
Metonymy and Its Manifestation in Visual Artworks: Case Study of Late Paintings by Bruegel the Elder
Metonymy and its manifestation in visual artworks: Case study of late paintings by Bruegel the Elder GEORGIJ YU. SOMOV Postprint* v1.0 *Somov, G. (2009). Metonymy and its manifestation in visual artworks: Case study of late paintings by Bruegel the Elder. Semiotica, 2009(174), pp. 309-366. Retrieved 6 Oct. 2017, from doi:10.1515/semi.2009.037 Abstract Being the object of semiotic studies, metonymy demands investigation in the non-verbal domain, i.e., visual sign systems. When analyzing the metony- mies of visual artworks, they prove to have di¤erent sources: verbal and visual sources refer to codes, languages, contexts, and sign forms of a work (denotations, connotations, and organizing sign structures). Di¤erent particular metonymies promote incarnation of a general metonymy of work. In the work structure (or coding), particular metonymies are joined and organized on the basis of this general metonymy. The metonymies in- terrelated in a complex way on the basis of general metonymy are revealed in the course of semiotic analysis of the paintings by Bruegel the Elder. The sign structures of his works underlie the philosophic generalizations of the great painter and philosopher. Keywords: semiotics; metonymy; connotation; organizing form; struc- tures; sign systems; metaphor; Bruegel the Elder. 1. Metonymy as the object of semiotic studies Metonymy is one of the central sign structures of human communication. According to semiotic ideas, the metonymy is formed transversely to met- aphor. The metaphor relates objects of the same level of commonality, while metonymy links a concrete object to a class of objects or interpre- tants (Eco 1976; Chandler 1994). -
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. -
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. -
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. -
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. -
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. -
Still Looking for Pieter Bruegel the Elder
STILL LOOKING FOR PIETER BRUEGEL THE ELDER By Jamie Lee Edwards A thesis submitted as part of the requirements for the degree of M.Phil(B) in the History of Art School of Languages, Cultures, Art History and Music University of Birmingham 2013 0 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT Pieter Bruegel the Elder (c.1526-69) is one of the most renowned sixteenth-century Netherlandish artists. Paradoxically, however, he is also one of the most mysterious and our dearth of known historical information about Bruegel has generated much debate about how his art relates to the religious and political conflicts raging in the Low Countries during the 1560s. Most previous scholarship has attempted to place Bruegel’s allegiances on one side or the other of a Catholic versus Protestant binary, and attempted to demonstrate that Bruegel’s art was conceived and understood as partisan propaganda. By taking a reception-focused approach, this thesis seeks to address this shortcoming in Bruegel scholarship. Chapter 1 is primarily concerned with the intended audience for Bruegel’s art, their beliefs and the ways in which they displayed and interpreted art. -
Jan Brueghel the Elder: the Entry of the Animals Into Noah's
GETTY MUSEUM STUDIES ON ART JAN BRUEGHEL THE ELDER The Entry of the Animals into Noah's Ark Arianne Faber Kolb THE J. PAUL GETTY MUSEUM, LOS ANGELES © 2005 J. Paul Getty Trust Library of Congress Cover and frontispiece: Cataloging-in-Publication Data Jan Brueghel the Elder (Flemish, Getty Publications 1568-1625), The Entry of the Animals 1200 Getty Center Drive, Suite 500 Kolb, Arianne Faber into Noah's Ark, 1613 [full painting Los Angeles, California 90049-1682 Jan Brueghel the Elder : The entry and detail]. Oil on panel, 54.6 x www.getty.edu of the animals into Noah's ark / 83.8 cm (21/2 x 33 in.). Los Angeles, Arianne Faber Kolb. J. Paul Getty Museum, 92.PB.82. Christopher Hudson, Publisher p. cm. — (Getty Museum Mark Greenberg, Editor in Chief studies on art) Page i: Includes bibliographical references Anthony van Dyck (Flemish, Mollie Holtman, Series Editor and index. 1599-1641) and an unknown Abby Sider, Copy Editor ISBN 0-89236-770-9 (pbk.) engraver, Portrait of Jan Brueghel Jeffrey Cohen, Designer 1. Brueghel, Jan 1568—1625. Noah's the Elder, before 1621. Etching and Suzanne Watson, Production ark (J. Paul Getty Museum) engraving, second state, 24.9 x Coordinator 2. Noah's ark in art. 3. Painting— 15.8 cm (9% x 6/4 in.). Amsterdam, Christopher Foster, Lou Meluso, California—Los Angeles. Rijksmuseum, Rijksprentenkabinet, Charles Passela, Jack Ross, 4. J. Paul Getty Museum. I. Title. RP-P-OP-II.II3. Photographers II. Series. ND673.B72A7 2004 Typesetting by Diane Franco 759.9493 dc22 Printed in China by Imago 2005014758 All photographs are copyrighted by the issuing institutions, unless other- wise indicated. -
Религия И Искусство В Межкультурной Коммуникации : Учебное Пособие По Перево- National Research Tomsk State University Ду И Практике Устной И Письменной Речи
МИНИСТЕРСТВО ОБРАЗОВАНИЯ И НАУКИ РОССИЙСКОЙ ФЕДЕРАЦИИ УДК 2+7]:811.111’25(075.8) НАЦИОНАЛЬНЫЙ ИССЛЕДОВАТЕЛЬСКИЙ ББК 86+85]:82.1 Англ. – 923 Рел368 ТОМСКИЙ ГОСУДАРСТВЕННЫЙ УНИВЕРСИТЕТ MINISTRY OF EDUCATION AND SCIENCE OF THE RUSSIAN FEDERATION Классен Е.В., Одегова О.В. Рел368 Религия и искусство в межкультурной коммуникации : учебное пособие по перево- NATIONAL RESEARCH TOMSK STATE UNIVERSITY ду и практике устной и письменной речи. – Томск : Издательский Дом ТГУ, 2017. – 214 с. ISBN 978-5-94621-643-2 Е.В. Классен, О.В. Одегова Цель пособия – познакомить учащихся с различными аспектами религии и ее отражением в E.V. Klassen, O.V. Odegova произведениях искусства, научить обсуждать эти темы по-английски, осуществлять устный и пись- менный перевод в рамках данной тематики и проводить экскурсии по храмам и картинным галереям. Все тексты пособия снабжены большим количеством упражнений на перевод и активизацию ре- лигиозной и общекультурной лексики. В конце пособия приводится обширный справочный материал. Для студентов высших учебных заведений, обучающихся по гуманитарным специальностям, РЕЛИГИЯ И ИСКУССТВО изучающих английский как первый или второй иностранный язык и достигших как минимум уров- ня Intermediate. В МЕЖКУЛЬТУРНОЙ УДК 2+7]:811.111’25(075.8) ББК 86+85]:82.1 Англ. – 923 КОММУНИКАЦИИ Р е ц е н з е н т ы: доктор философских наук, профессор кафедры культурологии и социальной коммуникации Томского политехнического университета О.Т. Лойко RELIGION AND ART доктор педагогики, доцент кафедры английской филологии Томского государственного университета П.Д. Митчелл IN CROSS-СULTURAL © Е.В. Классен, О.В. Одегова, 2017 COMMUNICATION ISBN 978-5-94621-643-2 © Томский государственный университет, 2017 Klassen E.V., Odegova O.V. -
An Intertextual and Intervisual Engagement with Pieter Bruegel the Elder’S Religious Paintings
CAUGHT BETWEEN THE FOLDS: AN INTERTEXTUAL AND INTERVISUAL ENGAGEMENT WITH PIETER BRUEGEL THE ELDER’S RELIGIOUS PAINTINGS A Thesis Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree of Master of Arts By Sophia Quach McCabe January, 2010 Approval(s): Ashley West, Thesis Advisor, Art History Department Marcia B. Hall, Committee Member, Art History Department TABLE OF CONTENTS PAGE LIST OF FIGURES........................................................................................................iii CHAPTER 1. INTRODUCTION ...............................................................................................1 2. AUDIENCE AND PATRONAGE.......................................................................9 3. SOCIAL, RELIGIOUS, AND POLITICAL CLIMATE IN SIXTEENTH- CENTURY NETHERLANDS...........................................................................19 4. BRUEGEL’S ‘SLOW FUSE’ ............................................................................32 5. CONCLUSIONS ............................................................................................... 56 BIBLIOGRAPHY .........................................................................................................69 ii LIST OF FIGURES Figure Page 1. Pieter Bruegel the Elder, Procession to Calvary....................................................60 2. Pieter Bruegel the Elder, Sermon of St. John the Baptist .......................................60 3. Pieter Bruegel the Elder, Conversion of St. Paul -
Folklore Krawczyk Wasilewska Fr24
Folklore in the Digital Age Violetta Krawczyk-Wasilewska Folklore in the Digital Age: Collected Essays Foreword by Andy Ross Łódź–Kraków 2016 Violetta Krawczyk-Wasilewska – University of Łódź, Institute of Ethnology and Cultural Anthropology Department of Folklore and Ethnology, 3/5 Lindleya St., 90-131 Łódź e-mail: [email protected] © Copyright by Violetta Krawczyk-Wasilewska, Łódź 2016 © Copyright for this edition by University of Łódź, Łódź 2016 © Copyright for this edition by Jagiellonian University Press All rights reserved No part of this book may be reprinted or utilised in any form or by any electronic, mechanical or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers Published by Łódź University Press & Jagiellonian University Press First edition, Łódź–Kraków 2016 ISBN 978-83-8088-258-4 – paperback Łódź University Press ISBN 978-83-233-4175-8 – paperback Jagiellonian University Press ISBN 978-83-8088-259-1 – electronic version Łódź University Press ISBN 978-83-233-9530-0 – electronic version Jagiellonian University Press Łódź University Press 8 Lindleya St., 90-131 Łódź www.wydawnictwo.uni.lodz.pl e-mail: [email protected] phone +48 (42) 665 58 63 Distribution outside Poland Jagiellonian University Press 9/2 Michałowskiego St., 31-126 Kraków phone +48 (12) 631 01 97, +48 (12) 663 23 81, fax +48 (12) 663 23 83 cell phone: +48 506 006 674, e-mail: [email protected] Bank: PEKAO SA, IBAN PL 80 1240 4722 1111 0000 4856 3325 www.wuj.pl Table of Contents Acknowledgements 7 Foreword (Andy Ross) 9 I.