Picture Study

Total Page：16

File Type：pdf, Size：1020Kb

Age of Triumph Picture Study www.agesofgrace.com Page 1 Age of Triumph Picture Study www.agesofgrace.com Page 2 Age of Triumph Picture Study Pieter Bruegel the Elder {Term 3} Study Notes: During Term 3 we will become familiar with the works of the Flemish painter and printmaker, Pieter Bruegel the Elder of the Dutch and Flemish Renaissance. Bruegel was born in the Netherlands in the year 1525 AD and was an apprentice of Pieter Coecke van Aelst. Bruegel the Elder was the father of the painters, Pieter Brueghel the Younger and Jan Brueghel the Elder. He died at the age of 44 in the year 1569 AD in Brussels. Ask your children to add Bruegel the Elder, his teacher, and his sons to their Book of Centuries and locate the Netherlands on a map. Spend Term 2 exploring these links together: Pieter Bruegel the Elder The Complete Works of Pieter Bruegel the Elder Pieter Brueghel the Younger Jan Brueghel the Elder Landscape with the Fall of Icarus The Tower of Babel The Hunters in the Snow The Peasant Wedding Picture Study Rotation {Term 3} Weeks Painting Year Location Weeks 25-26 Landscape with the Parable of the 1557 San Diego, California Sower Weeks 27-28 Children’s Games 1560 Vienna, Austria Weeks 29-30 Landscape with the Fall of Icarus ca. 1560’s Brussels, Belgium Weeks 31-32 Tower of Babel 1563 Rotterdam, Netherlands Weeks 33-34 Hunters in the Snow 1565 Vienna, Austria Weeks 35-36 Peasant Wedding 1567 Vienna, Austria www.agesofgrace.com Page 3 Age of Triumph Picture Study Recommended Reading {Term 3} Title Author Getting to Know the World’s Greatest Artists: Pieter Bruegel Mike Venezia What Makes a Bruegel a Bruegel? Richard Muhlberger The Fantastic Journey of Pieter Bruegel Anders C. Shafer The Tower of Babel, The Builder with the Red Hat Nils Jockel www.agesofgrace.com Page 4 Age of Triumph Picture Study www.agesofgrace.com Page 5 Age of Triumph Picture Study www.agesofgrace.com Page 6 Age of Triumph Picture Study www.agesofgrace.com Page 7 Age of Triumph Picture Study www.agesofgrace.com Page 8 Age of Triumph Picture Study www.agesofgrace.com Page 9 Age of Triumph Picture Study www.agesofgrace.com Page 10.

Copy Link

Recommended publications

JAN BRUEGHEL the YOUNGER (1601 – Antwerp – 1678))
VP4750 JAN BRUEGHEL THE YOUNGER (1601 – Antwerp – 1678)) Noli me tangere On copper, 9 ¼ x 14 ¾ ins. (23.5 x 37.5 cm) PROVENANCE Private collection, France, until 2015 The eldest son of Jan Brueghel the Elder, Jan the Younger followed closely in his father’s footsteps. After training with his father in Antwerp, he travelled to Italy in 1622, but his trip was cut short following the unexpected death of his father in 1625. He returned to Antwerp and took over the running of the family studio. From that time until 1651 he kept a journal (Dagboek) i detailing his activities which included selling pictures left by his father and completing half-finished works. His journal also shows that he maintained close relationships with many of his father’s patrons and collaborators. Jan the Younger adopted a similarly refined manner to that of his father, as well as many of his father’s most successful compositions. In time, he developed a more personal style and a repertoire of his own subjects. The episode known as Noli me tangere (touch me not) is found only in the Gospel according to St. John (20:14-18). After the Resurrection, Christ appeared to Mary Magdelene as she stood weeping by the empty tomb. At first, she did not recognise him, but supposing him to be a gardener, asked if he was the one who had removed Jesus’s body. Jesus then called her by name, whereupon she recognised him, exclaiming “Rabboni!” (Master), but Jesus responded, saying “Touch me not; for I am not yet ascended to my father” and bade her go to the disciples with the message that he was now risen.
[Show full text]
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,
[Show full text]
Antwerp in 2 Days | the Rubens House
Antwerp in 2 days | The Rubens House Rubens was a man of many talents. Besides being the gifted painter we all know, he was also a diplomat, a devoted family man, an art collector and an architect. Where better to begin this immersion in Rubens’s city than the house in which he lived and worked? Rubens as an architect Rubens was talented in many areas of life. Besides being the gifted painter we all know, he was also a diplomat, a devoted family man, an art collector and architect. Where better to begin this immersion in Rubens’s city than the house in which he lived and worked? When Rubens returned from Italy in 1608, at the age of 31, he came back with a case full of sketches and a head full of ideas. He purchased a plot of land with a house near his grandfather’s home (Meir 54) and converted it into his own Palazzetto. Take an hour to visit the Rubens House and to breathe in the atmosphere in the master’s house before setting off to explore his city. Rubens’s palazzetto on the Wapper was not yet complete when the artist was commissioned to work on the Baroque Jesuit church some distance away, at Hendrik Conscienceplein. On your way to Hendrik Conscienceplein, we would suggest you make a brief stop at another church: St James’s Church (St Jacobskerk) in Lange Nieuwstraat. This robust building dooms up rather unexpectedly among the houses, but its interior presents a perfect harmony between Gothic and Baroque: the elegant Middle Ages and the flamboyant style of the 17th century go hand-in-hand here.
[Show full text]
Fire, Smoke and Vapour. Jan Brueghel's 'Poetic Hells
FIRE, SMOKE AND VAPOUR. JAN BRUEGHEL’S ‘POETIC HELLS’: ‘GHESPOOCK’ IN EARLY MODERN EUROPEAN ART Christine Göttler Karel van Mander, in the ‘Life of Jeronimus Bos’ in his Schilder-Boeck of 1604, speaks of the ‘wondrous or strange fancies’ (wonderlijcke oft seldsaem versieringhen), which this artist ‘had in his head and expressed with his brush’ – the ‘phantoms and monsters of hell ( ghespoock en ghe- drochten der Hellen) which are usually not so much kindly as ghastly to look upon’.1 Taking one of Bosch’s depictions of the Descent of Christ into the Limbo of the Fathers as an example, van Mander further notes that ‘it’s a wonder what can be seen there of odd spooks (oubolligh ghespoock); also, how subtle and natural (aerdigh en natuerlijck) he was with ames, \ res, smoke and vapours’.2 In the Schilder-Boeck, van Mander frequently uses the word ‘aerdigh’ to describe the aesthetically pleasing quality of small works or small details;3 here, ‘aerdigh’ refers to the natural and lively depiction of res. As it has been observed, van Mander’s list of Bosch’s painterly expres- sions echoes Erasmus’s often-cited eulogy on Dürer in the Dialogus de recta Latini Graecique sermonis pronuntiatione (Dialogue About the Correct Pro- nunciation of Latin and Greek), published in Basel in 1528. According to 1 Mander K. van, The Lives of the Illustrious Netherlandish and German Painters, from the \ rst edition of the Schilder-boeck (1603–1604), ed. H. Miedema, 6 vols. (Davaco: 1994–99) I 124f. (f. 216v): ‘Wie sal verhalen al de wonderlijcke oft seldsaem versieringhen/die Ieronimus Bos in’t hooft heeft ghehadt/en met den Pinceel uytghedruckt/van ghe- spoock en ghedrochten der Hellen/dickwils niet alsoo vriendlijck als grouwlijck aen te sien.’ Here and in the following, my translation is largely based on the one given in Miedema’s edition of The Lives; I use, however, a more literal translation of van Mander’s expressions.
[Show full text]
Nonsuch Palace
MARTIN BIDDLE who excavated Nonsuch ONSUCH, ‘this which no equal has and its Banqueting House while still an N in Art or Fame’, was built by Henry undergraduate at Pembroke College, * Palace Nonsuch * VIII to celebrate the birth in 1537 of Cambridge, is now Emeritus Professor of Prince Edward, the longed-for heir to the Medieval Archaeology at Oxford and an English throne. Nine hundred feet of the Emeritus Fellow of Hertford College. His external walls of the palace were excavations and other investigations, all NONSUCH PALACE decorated in stucco with scenes from with his wife, the Danish archaeologist classical mythology and history, the Birthe Kjølbye-Biddle, include Winchester Gods and Goddesses, the Labours of (1961–71), the Anglo-Saxon church and Hercules, the Arts and Virtues, the Viking winter camp at Repton in The Material Culture heads of many of the Roman emperors, Derbyshire (1974–93), St Albans Abbey and Henry VIII himself looking on with and Cathedral Church (1978, 1982–4, the young Edward by his side. The 1991, 1994–5), the Tomb of Christ in of a Noble Restoration Household largest scheme of political propaganda the Church of the Holy Sepulchre (since ever created for the English crown, the 1989), and the Church on the Point at stuccoes were a mirror to show Edward Qasr Ibrim in Nubia (1989 and later). He the virtues and duties of a prince. is a Fellow of the British Academy. Edward visited Nonsuch only once as king and Mary sold it to the Earl of Martin Biddle Arundel. Nonsuch returned to the crown in 1592 and remained a royal house until 1670 when Charles II gave the palace and its park to his former mistress, Barbara Palmer, Duchess of Cleveland.
[Show full text]
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]
Bruegel in Black and White Three Grisailles Reunited 2 Bruegel in Black and White Three Grisailles Reunited
Bruegel in Black and White Three Grisailles Reunited 2 Bruegel in Black and White Three Grisailles Reunited Karen Serres with contributions by Dominique Allart, Ruth Bubb, Aviva Burnstock, Christina Currie and Alice Tate-Harte First published to accompany Bruegel in Black and White: Three Grisailles Reunited The Courtauld Gallery, London, 4 February – 8 May 2016 The Courtauld Gallery is supported by the Higher Education Funding Council for England (hefce) Copyright © 2016 Texts copyright © the authors All rights reserved. No part of this publication may be transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any storage or retrieval system, without the prior permission in writing from the copyright holder and publisher. isbn 978 1 907372 94 0 British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Produced by Paul Holberton publishing 89 Borough High Street, London se1 1nl www.paul-holberton.net Designed by Laura Parker www.parkerinc.co.uk Printing by Gomer Press, Llandysul front cover and page 7: Christ and the Woman Taken in Adultery (cat. 3), detail frontispiece: Three Soldiers, 1568 (cat. 8), detail page 8: The Death of the Virgin, c. 1562–65 (cat. 1), detail contributors to the catalogue da Dominique Allart ab Aviva Burnstock rb Ruth Bubb cc Christina Currie ks Karen Serres at-h Alice Tate-Harte Foreword This focused exhibition brings together for the first At the National Trust, special thanks are due to David time Pieter Bruegel the Elder’s three surviving grisaille Taylor, Christine Sitwell, Fernanda Torrente and the staff paintings and considers them alongside closely related at Upton House.
[Show full text]
LARRY A. SILVER Curriculum Vitae Born
LARRY A. SILVER Curriculum Vitae Born: 14 October 1947. U. S. Citizen. married, two children. UNDERGRADUATE EDUCATION: University of Chicago, A. B., June 1969 Concentration: Art. Special Honors. General Honors GRADUATE EDUCATION Harvard University, Department of Fine Arts M. A., 1971; Ph. D., 1974 Dissertation: Quinten Massys (Director: Seymour Slive) ACADEMIC POSITIONS U. of California, Berkeley, 1974-1979 Lecturer in History of Art, 1974-1975 Assistant Professor of History of Art, 1975-1979 Northwestern University, 1979-1997 Associate Professor of Art History, 1979-1985 Professor of Art History, 1985-97 Chairman, Dept. of Art History, 1983-1986, 1997 Master, Chapin/Humanities Residential College, 1988-91, 1992-94, 1996-97 Martin J. and Patricia Koldyke Professor of Teaching Excellence, 1996-98 Smith College, Ruth and Clarence Kennedy Professor in the Renaissance, autumn 1994 Semester at Sea (University of Pittsburgh; University of Virginia; Colorado State) Fall 2001; Fall 2006; Summer 2008; Summer 2010; fall 2012; spring 2018 U. of Pennsylvania, 1997--2017 Farquhar Professor of the History of Art, emeritus 2017--present Chair of Graduate Group in History of Art, 1998-2000 Interim Chair, spring, 2005 Bogen Faculty Exchange Professor, The Hebrew University, fall 2007 Member, graduate group, German, 1999-- Member, graduate group, History, 2001— Director, University Scholars, 2010-17 President, Phi Beta Kappa, Delta Chapter, 2010-12 GRANTS and AWARDS: Woodrow Wilson Fellowship, 1969-1970 Danforth Graduate Fellowship, 1969-1974 Kress Foundation
[Show full text]
PIETER GYSELS (1621 – Antwerp – 1690) A
VP4090 PIETER GYSELS (1621 – Antwerp – 1690) A Townscape with Figures working in Bleaching Fields in the foreground On copper – 9⅞ x 12⅜ ins (22.6 x 31.6cm) PROVENANCE R. H. van Schaik, Wassenaar, 1934 (as Jan Brueghel I) Sale, Dorotheum, Vienna, 29-30 June 1939 (as Jan Brueghel I) Mossel Sale, Muller, Amsterdam 11-18 March, 1952 (as Jan Brueghel I) EXHIBITED P. de Boer, De Helsche en de Fluweelen Brueghel, Amsterdam, Feb-March 1934, no. 71 (as Jan Brueghel I) LITERATURE Peter Sutton, exh. cat. The Age of Rubens, Museum of Fine Arts, Boston, Sept 1993 to January 1994; Toledo Museum of Art, Feb 1994 to April 1994, p. 476, illustr. NARRATIVE In a large green meadow, bordered by a canal, men and women are occupied in various activities connected with washing and bleaching linen. A woman draws water from a well, while washerwomen labour in an open washhouse, or rinse items of laundry in narrow tanks of water. Some hang out garments to dry on a line and others lay them on the grass to bleach in the sun. Over to the right, small pieces of linen and articles of clothing are spread out in neat patterns and, in the foreground, women peg out long strips of uncut cloth in parallel lines. A cow and two sheep graze nearby, while children play in the spring sunshine. On the far side of the field, a tall thatch-roofed farmhouse can be seen and, beyond it, a cluster of village houses. A shaft of sunlight illuminates the mellow, red brickwork and highlights the fresh green foliage of trees.
[Show full text]
Exhibition Checklist
Updated Monday, October 2, 2017 | 2:29:55 PM Bosch to Bloemaert: Early Netherlandish Drawings from the Museum Boijmans Van Beuningen, Rotterdam October 8, 2017 - January 7, 2018 To order publicity images: Publicity images are available only for those objects accompanied by a thumbnail image below. Please email [email protected] or fax (202) 789-3044 and designate your desired images, using the “File Name” on this list. Please include your name and contact information, press affiliation, deadline for receiving images, the date of publication, and a brief description of the kind of press coverage planned. Links to download the digital image files will be sent via e-mail. Usage: Images are provided exclusively to the press, and only for purposes of publicity for the duration of the exhibition at the National Gallery of Art. All published images must be accompanied by the credit line provided and with copyright information, as noted. Important: The images displayed on this page are for reference only and are not to be reproduced in any media. Cat. No. 1 / File Name: 3957-001.jpg Workshop of Rogier van der Weyden Virgin and Child, c. 1440/1450 silverpoint on white prepared paper, cut out and laid down overall: 21.4 × 13 cm (8 7/16 × 5 1/8 in.) framed: 57.5 × 43.5 cm (22 5/8 × 17 1/8 in.) Museum Boijmans Van Beuningen, Rotterdam Cat. No. 2 / File Name: 3957-002.jpg Petrus Christus Portrait of a Young Woman, c. 1450 silverpoint on gray prepared paper overall: 13.2 × 8.9 cm (5 3/16 × 3 1/2 in.) framed: 57.5 × 43.5 cm (22 5/8 × 17 1/8 in.) Museum Boijmans Van Beuningen, Rotterdam Cat.
[Show full text]
Antwerp in 3 Days | the Rubens House
Antwerp in 3 days | The Rubens House Rubens was a man of many talents. Besides being the gifted painter we all know, he was also a diplomat, a devoted family man, an art collector and an architect. Where better to begin this immersion in Rubens’s city than the house in which he lived and worked? Rubens as an architect When Rubens returned from Italy in 1608, at the age of 31, he came back with a case full of sketches and a head full of ideas. He purchased a plot of land with a house near his grandfather’s home (Meir 54) and converted it into his own Palazzetto. Take an hour to visit the Rubens House and to breathe in the atmosphere in the master’s house before setting off to explore his city. Rubens’s palazzetto on the Wapper was not yet complete when the artist was commissioned to work on the Baroque Jesuit church some distance away, at Hendrik Conscienceplein. The St Carolus Borromeus Church at Hendrik Conscienceplein is the epitome of Italian grandeur. With his knowledge of Italian architecture, Rubens undoubtedly contributed ideas for the façade, but his greatest achievements here are to be seen in the interior. Rubens designed the richly decorated chapel and its impressive marble high altar. Sadly, all that remains of the master’s 39 ceiling paintings are the sketches that are preserved in the church. The paintings themselves perished in a huge fire in 1718. The high altar merits particular attention: behind the enormous painting – it measures 4.0 x 5.35 metres – other works are concealed.
[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]