PIETER BRUEGEL PDF, EPUB, EBOOK

Larry Silver | 464 pages | 17 Nov 2011 | Abbeville Press Inc.,U.S. | 9780789211040 | English | New York, United States Bruegel Biography, Life & Quotes | TheArtStory

There exist 19 signed and dated versions of this work from between —22 out of some 25 originals and 35 questionable versions. Another original composition of Pieter Brueghel the Younger is the Whitsun Bride , which is known in at least five autograph versions. The picture depicts a Flemish springtime custom of choosing and crowning a queen at Whitsuntide. The festival is focused around a flower gathered in the fields by children. This painting distinguishes itself in style and colour clearly from his father's work. The painting uses bright colours, with much vermilion and a rich blue- green in the figures and blue for the sky. The colours display a unity of tone distinctive of the 17th century. The picture also displays a unity in drawing and composition. As his style never evolved from the manner of his early career it is difficult to date his work. In several cases, it is not clear whether a composition is an original composition by Pieter Brueghel the Younger or a copy after a lost work by his father. Apart from these paintings of his own invention, Pieter Brueghel the Younger also copied the famous compositions of his father through a technique called pouncing. This large scale activity was only possible thanks to his large, well-organized workshop. Comparison of some copies with the originals reveals differences, both in terms of colour as well as the omission or addition of certain details. This may indicate that the copyist re- drafted some sections, or possibly based the copies on prints after original works, rather than on the originals themselves. As Pieter Brueghel the Younger did not always have access to the original paintings of his father he would in fact often rely on prints of his father's work to create his derived compositions. The subjects of the copied works cover the entire range of themes and works by Pieter the Elder, including specific religious compositions on both the grand and the small scale. The principal subjects are proverb and peasant scenes of his father. One of the most frequently copied works of his father was the Winter Landscape with Skaters and a Bird-trap. This work was reproduced by Pieter Brueghel the Younger and his workshop at least 60 times. Of these copies 10 are signed and 4 are dated , , and Another popular work of Pieter the Elder was the Adoration of the Magi in the Snow of which Pieter Brueghel the Younger and his workshop produced about 30 copies. The workshop also produced no less than 25 copies of Pieter Brueghel the Elder's St John the Baptist Preaching , the original of which is widely believed to be the picture dated , in the Museum of Fine Arts in Budapest. Some of the copies are signed and dated. Scholars have contended that Brueghel the Elder's original picture offered a coded comment on the religious debates that raged in the Low Countries during the s and that it represented a clandestine sermon as held by the Protestant reformers of that time. For instance, some versions omit an unidentified figure of a bearded man in black, who is turned towards the spectator. The omission appears to confirm speculation that his prominent presence in the original composition was not accidental. The figure of Christ has often been identified either as the man in grey behind the left arm of the Baptist or the bearded man further to the left with his arms crossed. The continued popularity of the picture a generation after Pieter Brueghel the Elder's death when the subject had not only lost its political implications but ran contrary to the religious current of the time, shows there was a more aesthetic appreciation of the subject. The composition was then likely enjoyed more for its representation of humanity in all its diversity of race, class, temperament and attitude. The Preaching of St. John the Baptist after , Groeningemuseum in Bruges , omitting the bearded man in black, turned towards the spectator in the original. The large-scale production of copies of his father's oeuvre demonstrates that there was a significant demand for Pieter the Elder's work. At the same time the copies contributed to the popularisation of Pieter the Elder's idiom. Without the son's copying work the public would not have had access to his father's work, which was mainly held in elite private collections, such as the imperial collection of Rudolf II in Prague or the Farnese collection in Parma. At the same time Pieter the Younger extended his father's repertoire through his own inventions and variations on themes by his father. From Wikipedia, the free encyclopedia. Flemish painter. Brueghel family tree. Netherlands Institute for Art History. Collins English Dictionary. Retrieved 10 August Lexico UK Dictionary. Oxford University Press. Boston: Houghton Mifflin Harcourt. Pieter Brueghel the Elder was an innovative Flemish Renaissance painter and printmaker, known for his sweeping landscapes and peasant scenes. He also fathered two other prominent Flemish painters, Pieter Brueghel the Younger and Jan Brueghel the Elder, although it is thought that they were not taught by their father, as he died when they were young children. As a pioneer in Netherlandish genre painting, he portrayed social aspects of 16th century life, many of which were paintings of peasants, with a large landscape element. Many of his works show the influence of Hieronymus Bosch, the Dutch master painter. He also created some of the earliest form of social commentary in his paintings, and reportedly asked while laying on his deathbed to have the most subversive of the paintings burned, in order for his family to avoid political persecution. 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 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 manuscripts, and the calendar scenes of agricultural labours set in landscape 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. He is sometimes referred to as "Peasant Bruegel", to distinguish him from the many later painters in his family, including his son Pieter Brueghel the Younger From , he dropped the 'h' from his name and signed his paintings as Bruegel; his relatives continued to use "Brueghel" or "Breughel". The two main early sources for Bruegel's biography are Lodovico Guicciardini's account of the Low Countries and Karel van Mander's Schilder- boeck. Guicciardini recorded that Bruegel was born in Breda, but van Mander specified that Bruegel was born in a village near Breda called "Brueghel", which does not fit any known place. Nothing at all is known of his family background. Van Mander seems to assume he came from a peasant background, in keeping with the over-emphasis on Bruegel's peasant genre scenes given by van Mander and many early art historians and critics. In contrast, scholars of the last 60 years have emphasized the intellectual content of his work, and conclude: "There is, in fact, every reason to think that Pieter Bruegel was a townsman and a highly educated one, on friendly terms with the humanists of his time", ignoring van Mander's dorf and just placing his childhood in Breda itself. However, this reversal can be taken to excess; although Bruegel moved in highly educated humanist circles, it seems "he had not mastered Latin", and had others add the Latin captions in some of his drawings. Article Wikipedia article References Wikipedia article. Wikipedia: en. Pieter Bruegel the Elder Famous works. Netherlandish Proverbs Pieter Bruegel the Elder Hunters in the Snow Pieter Bruegel the Elder Parable of the Blind Pieter Bruegel the Elder Pieter Bruegel the Elder Featured. Pieter Bruegel Paintings, Prints & Artwork

The mercenary Cock capitalized on this reputation, selling a relatively unknown Bruegel engravings, Big Fish Eat Little Fish , as a Bosch original in order to fetch a better price Bosch had in fact died 40 years before the work was created. While he is best known for his paintings, Bruegel did not embrace this medium until relatively late in his career, from around onwards. It was at this point that he developed his unmistakable compositional style, allowing him to shed comparisons with older Norther Masters such as Bosch, and to secure his status as a significant and in- demand artist. Numerous commissions were forthcoming, mainly from wealthy merchants and members of the church. In , the artist changed the spelling of his name from "Peeter Brueghel" to "Pieter Bruegel. There was a significant age difference between the two, the artist in his thirties and his bride - whom he had known since she was a child - only eighteen years old. Some controversy surrounded the couple's relocation to Brussels in the year of their marriage, with speculation that it might have been at the request of Mayken's mother, in an attempt to stop Bruegel's flirtatious relationship with a maid. The extent of the relationship between artist and servant remains a mystery, though there are accounts of humorous interactions between them, such as the story that Bruegel marked a stick with a notch every time the maid told a lie. She was so deceitful, it was said, that Bruegel ran out of room on his stick. Despite its rocky beginnings, Bruegel's marriage marked the beginning of an artistic dynasty that incorporated the couple's two artist-sons, Pieter, later known as Pieter Brueghel the Younger, born in , and Jan Brueghel the Elder, born in The young Pieter would go on to create many copies of his father's paintings, helping to ensure their international reputation long after the elder Bruegel's death, but also resulting in doubt over whether particular compositions were the work of father or son. Late in his career, in addition to his many landscape paintings, Bruegel created various works depicting religious stories and scenes from everyday life. The latter proved to be more significant and enduringly influential, generating centuries of art-historical debate around the intended message of certain works. Some of the earliest writers on Bruegel, including Van Mander, took his paintings at face-value, as humorous expositions of the lascivious behavior of the serf class. More recent interpretation, however, has emphasized Bruegel's attempts to elevate that class through celebratory representation. As the art historians Rose-Marie and Rainer Hagen put it, "the fact that he should consider such a thing at all worthy of depiction distinguishes him from almost all of his contemporaries [ Bruegel, in contrast emphasized their similarities, the nature, 'begotten, not made' element in man. The fact that Bruegel lived during politically troubling times has also compounded speculation over the interpretation of his work. In the mids, the modern-day Netherlands, along with Belgium and Luxembourg - collectively known as the Low or Netherlandish Countries - consisted of a series of provinces under the rule of the Hapsburg dynasty. In , possession of the territories passed to King Phillip II of Spain, who attempted to impose a stricter form of Catholic rule, sending the Duke of Alba to lead a brutal military campaign in Brussels to suppress Protestant rebellion. According to art historians Rose-Marie and Rainer Hagen, Bruegel's consistent eschewal of the iconography of Catholic saints and martyrs, in spite of the religious focus of much of his work, can be seen as a coded rejection of the philosophy and bloodthirsty campaigns of the Counter- reformation. One story which suggests that Bruegel was quite conscious of the political significance of his work is told by Van Mander: not long before the artist's death, his biographer states, Bruegel asked his wife to burn certain works, believing that their content might put her in danger. Little is known about the circumstances of Bruegel's death, though in , the final year of his life, the city council of Brussels released him from the obligation of working with a guard of Spanish soldiers stationed in his home, suggesting that the politically subversive content of his work was well understood. Many believe this painting to be the best depiction of the well known Tower of Babel and this has helped to keep it as a significant work within their overall careers. The main aesthetic beauty of this painting is the detail offered upon both the tower but also the surroundings imaginary cityscape. There is also a skillful use of lighting which adds to the impression of depth and size to the tower and it's imposing pose over the surrounding people. The magic of this topic is expertly captured by the artist and it makes an excellent visual representation of the concept of the Tower of Babel. Peasant's Dance again offers up the Bruegel's preferred method of putting lively depictions of the lives of the poorest people into their paintings. They would always be of relatively local scenes as they would not travel far for their art and Peasant's Dance features greater detail than many of the others with the foreground taking almost all the focus of the painting with a fewer number of people included within this one. It is a good alternative to some of the Bruegel's other works as the larger figures here offer opportunities for the artist to include facial expressions and a greater amount of visual information on the lives of these people which makes for a highly intriguing painting. Triumph of Death features an apocalyptic scene which is immediately shocking and displays a far darker, more negative landscape painting than was common for any of the Brueghel family's group of painters. It is interesting to see these artists taking a new approach having stuck to more positive depictions throughout the rest of their careers. It is indeed hard to find other traditional styles such as portraits or even self-portraits which makes their work consistent and immediately recognisable. Triumph of Death is an impressive work despite it's negative outlook and would have taken the artist a long time to construct all this imaginative detail stretching right across the foreground and relatively complex background scene. Wedding Dance captures peasant life perfectly with a friendly but manic scene spread across this particular canvas. The reds used by the artist really stand out against an otherwise dark background. The seemingly random nature of the celebrations help to get across an impression of great excitement and fun, certainly without the usual pompesity of others who lived around this traditional time. The painting suggests that the artist himself was enjoying the atmosphere at the time and this is likely when considering how many times he covered these types of situations across his career. Children's Games is another detailed landscape painting featuring incredible numbers of animated characters covering the full width of this large canvas. Sometimes in Bruegel paintings it can be hard to work out the intended focus of the painting with so much activity going on across the background as well as the foreground. Artists will normally keep backgrounds reasonably neutral to help lead the viewer's eyes to their message or central object but the Bruegels would often simply offer up a canvas detailed right across and allow the viewer to peruse all of the detail at their leisure, allowing a high level of longevity to exist in paintings of this style. Census at Bethlehem offers up another wintery scene as Hunters in the Snow had also done so famously. Such seasonal paintings are always exceptionally popular with snow itself always offering an artist new challenges with brushwork but also new rewards with a different finish completed. Wisse, Jacob. Orenstein, Nadine, ed. Pieter Bruegel the Elder: Drawings and Prints. Exhibition catalogue. New York: Metropolitan Museum of Art, See on MetPublications. Jerome in the Wilderness S. The Harvesters Pieter Bruegel the Elder. Bruegel - Once In A Lifetime

Some controversy surrounded the couple's relocation to Brussels in the year of their marriage, with speculation that it might have been at the request of Mayken's mother, in an attempt to stop Bruegel's flirtatious relationship with a maid. The extent of the relationship between artist and servant remains a mystery, though there are accounts of humorous interactions between them, such as the story that Bruegel marked a stick with a notch every time the maid told a lie. She was so deceitful, it was said, that Bruegel ran out of room on his stick. Despite its rocky beginnings, Bruegel's marriage marked the beginning of an artistic dynasty that incorporated the couple's two artist-sons, Pieter, later known as Pieter Brueghel the Younger, born in , and Jan Brueghel the Elder, born in The young Pieter would go on to create many copies of his father's paintings, helping to ensure their international reputation long after the elder Bruegel's death, but also resulting in doubt over whether particular compositions were the work of father or son. Late in his career, in addition to his many landscape paintings, Bruegel created various works depicting religious stories and scenes from everyday life. The latter proved to be more significant and enduringly influential, generating centuries of art-historical debate around the intended message of certain works. Some of the earliest writers on Bruegel, including Van Mander, took his paintings at face-value, as humorous expositions of the lascivious behavior of the serf class. More recent interpretation, however, has emphasized Bruegel's attempts to elevate that class through celebratory representation. As the art historians Rose-Marie and Rainer Hagen put it, "the fact that he should consider such a thing at all worthy of depiction distinguishes him from almost all of his contemporaries [ Bruegel, in contrast emphasized their similarities, the nature, 'begotten, not made' element in man. The fact that Bruegel lived during politically troubling times has also compounded speculation over the interpretation of his work. In the mids, the modern-day Netherlands, along with Belgium and Luxembourg - collectively known as the Low or Netherlandish Countries - consisted of a series of provinces under the rule of the Hapsburg dynasty. In , possession of the territories passed to King Phillip II of Spain, who attempted to impose a stricter form of Catholic rule, sending the Duke of Alba to lead a brutal military campaign in Brussels to suppress Protestant rebellion. According to art historians Rose-Marie and Rainer Hagen, Bruegel's consistent eschewal of the iconography of Catholic saints and martyrs, in spite of the religious focus of much of his work, can be seen as a coded rejection of the philosophy and bloodthirsty campaigns of the Counter- reformation. One story which suggests that Bruegel was quite conscious of the political significance of his work is told by Van Mander: not long before the artist's death, his biographer states, Bruegel asked his wife to burn certain works, believing that their content might put her in danger. Little is known about the circumstances of Bruegel's death, though in , the final year of his life, the city council of Brussels released him from the obligation of working with a guard of Spanish soldiers stationed in his home, suggesting that the politically subversive content of his work was well understood. No paintings exist from this year, implying that Bruegel died from illness, but there is no way of ruling out a more sinister explanation. In any case, Bruegel's relatively early demise, even for the period in which he lived, must be viewed as one of the tragedies of Renaissance art history. During his lifetime, Pieter Bruegel was seen to have made a significant break from the popular Italian Renaissance style, creating works that focused on landscape and contemporary life rather than the grand narratives favored by the Mediterranean masters of the past century. In so doing, he helped to ensure that Renaissance art in Northern Europe would unfold in its own, unique direction, contributing to a Northern Renaissance style that inspired subsequent artists such as Peter Paul Rubens and Rembrandt. Bruegel's paintings have influenced a range of developments in modern art. The contemporary critic Wilfried Seipel writes that "[b]eyond all psychological and iconological interpretation and independent of biographical and contemporary historical preconditions, Bruegel's surviving paintings form a cycle, indeed an epic of human existence in its helplessness not only in the face of nature but also when confronted with the apparently immutable course of world history. Many of his works show the influence of Hieronymus Bosch, the Dutch master painter. He also created some of the earliest form of social commentary in his paintings, and reportedly asked while laying on his deathbed to have the most subversive of the paintings burned, in order for his family to avoid political persecution. 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 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 manuscripts, and the calendar scenes of agricultural labours set in landscape 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. He is sometimes referred to as "Peasant Bruegel", to distinguish him from the many later painters in his family, including his son Pieter Brueghel the Younger From , he dropped the 'h' from his name and signed his paintings as Bruegel; his relatives continued to use "Brueghel" or "Breughel". The two main early sources for Bruegel's biography are Lodovico Guicciardini's account of the Low Countries and Karel van Mander's Schilder- boeck. Guicciardini recorded that Bruegel was born in Breda, but van Mander specified that Bruegel was born in a village near Breda called "Brueghel", which does not fit any known place. Nothing at all is known of his family background. Van Mander seems to assume he came from a peasant background, in keeping with the over-emphasis on Bruegel's peasant genre scenes given by van Mander and many early art historians and critics. In contrast, scholars of the last 60 years have emphasized the intellectual content of his work, and conclude: "There is, in fact, every reason to think that Pieter Bruegel was a townsman and a highly educated one, on friendly terms with the humanists of his time", ignoring van Mander's dorf and just placing his childhood in Breda itself. However, this reversal can be taken to excess; although Bruegel moved in highly educated humanist circles, it seems "he had not mastered Latin", and had others add the Latin captions in some of his drawings. Article Wikipedia article References Wikipedia article. In one of his more lurid and chaotic paintings, Bruegel offers us a dense allegorical representation of the competing drives underpinning human character by showing the customs associated with two festivals closely aligned in the early-modern calendar. To the left, the figure of the Carnival holds sway: a fat man astride a beer barrel with a pork chop pinned to its front, spit- roasting a pig and wearing a meat pie as a helmet. He presides over a scene populated by jesters, revelers, musicians, thieves, and beggars. To the right, the gaunt figure of Lent, in the habit of a nun, extends a platter of fish, in defiance of his richer offerings. Behind her, hooded figures emerge from the archway of a church, in which the artworks are shrouded in the custom of the season of abstinence. To the other side of the canvas, the tavern provides an equivalent backdrop, standing for the sins and pleasures of the flesh. Bruegel's complex symbolic representation of contrasting states of sin and piety, pleasure and pain, judgement and redemption, finds its most obvious precedent in the work of an older Netherlandish master, Hieronymus Bosch. What is notable, however, is the lack of any implied supernatural subtext to Bruegel's scene: where Bosch shows us the dire consequences of human error, Bruegel presents the spirit of the Carnival as a force of rebellion and subversion without seemingly offering any positive judgement either way. The battle between Carnival and Lent stood partly for a contemporary struggle unfolding in Bruegel's home country. In the Low Countries, in possession of the vastly powerful Habpburg dynasty, passed to King Philip II of Spain, who sought to bring it under a more direct and stricter form of Catholic rule. At the same time, the Netherlandish countries were close to the heart of the unfolding Reformation movement, which viewed Catholic festivities such as Lent with profound suspicion. The carnivalesque energy of the left-hand side of the painting stands not so much for the emergent spirit of Protestantism - which tended to be more repressive of the traditional festive calendar than Catholicism - but for the obdurate pagan customs and rebellious character of an oppressed culture. This painting shows Bruegel's mastery of complex composition, often based on strong diagonal lines bringing overall cohesion to a large number of intersecting focal points. In The Netherlandish Proverbs , a village setting is chosen as the location for a variety of eccentric and superstitious rituals. The actions undertaken by the villagers represent approximately different Netherlandish proverbs, all related to the oddities of human behavior. In the left foreground a man bangs his head against a brick wall, representing the tendency of a fool to continue attempting the impossible; to the right, a figure leans distraught over a pot of spilt porridge, reminding the viewer that completed actions cannot be undone. Bruegel is noted for his busy compositions, involving many groups of figures engaged in small interactions. These individual compositions in turn establish an overall theme, often satirical or didactic, a compositional approach which has had a profound impact on art history. The influence of Bruegel's allegorical tableaux can be sensed, for example, in the work of the Dutch Symbolist and Expressionist James Ensor, who uses a similar compositional style in Christ's Entry into Brussels and The Baths at Ostend Bruegel's significance as a forerunner of modern art lies not only in his breaking away from the ordered vanishing-point perspectives and carefully-managed figurative arrangements of the Italian Renaissance, but also from the idealized moral style and grandiose subject-matter which those features implied. By depicting the foibles of everyday human life, Bruegel expanded the range of subjects available to the Renaissance painter with characteristic, irreverent wit. Content compiled and written by Jessica DiPalma. Edited and revised, with Summary and Accomplishments added by Greg Thomas. The Art Story. Ways to support us. Movements and Styles: Northern Renaissance.

Pieter Bruegel the Elder | artnet

Bruegel was, in fact, patronized mainly by scholars, wealthy businessmen, and connoisseurs, and was on friendly terms with some of the most prominent humanists of the Netherlands, including the cartographer Abraham Ortelius and the publisher Christoph Plantin. Working in the aftermath of the Reformation , Bruegel was able to separate his landscapes from long-standing iconographic tradition, and achieve a contemporary and palpable vision of the natural world. These panoramic compositions suggest an insightful and universal vision of the world—a vision that distinguishes all the work of their remarkable creator, Pieter Bruegel the Elder. Wisse, Jacob. Orenstein, Nadine, ed. Pieter Bruegel the Elder: Drawings and Prints. Exhibition catalogue. New York: Metropolitan Museum of Art, Late in his career, in addition to his many landscape paintings, Bruegel created various works depicting religious stories and scenes from everyday life. The latter proved to be more significant and enduringly influential, generating centuries of art-historical debate around the intended message of certain works. Some of the earliest writers on Bruegel, including Van Mander, took his paintings at face-value, as humorous expositions of the lascivious behavior of the serf class. More recent interpretation, however, has emphasized Bruegel's attempts to elevate that class through celebratory representation. As the art historians Rose-Marie and Rainer Hagen put it, "the fact that he should consider such a thing at all worthy of depiction distinguishes him from almost all of his contemporaries [ Bruegel, in contrast emphasized their similarities, the nature, 'begotten, not made' element in man. The fact that Bruegel lived during politically troubling times has also compounded speculation over the interpretation of his work. In the mids, the modern- day Netherlands, along with Belgium and Luxembourg - collectively known as the Low or Netherlandish Countries - consisted of a series of provinces under the rule of the Hapsburg dynasty. In , possession of the territories passed to King Phillip II of Spain, who attempted to impose a stricter form of Catholic rule, sending the Duke of Alba to lead a brutal military campaign in Brussels to suppress Protestant rebellion. According to art historians Rose-Marie and Rainer Hagen, Bruegel's consistent eschewal of the iconography of Catholic saints and martyrs, in spite of the religious focus of much of his work, can be seen as a coded rejection of the philosophy and bloodthirsty campaigns of the Counter-reformation. One story which suggests that Bruegel was quite conscious of the political significance of his work is told by Van Mander: not long before the artist's death, his biographer states, Bruegel asked his wife to burn certain works, believing that their content might put her in danger. Little is known about the circumstances of Bruegel's death, though in , the final year of his life, the city council of Brussels released him from the obligation of working with a guard of Spanish soldiers stationed in his home, suggesting that the politically subversive content of his work was well understood. No paintings exist from this year, implying that Bruegel died from illness, but there is no way of ruling out a more sinister explanation. In any case, Bruegel's relatively early demise, even for the period in which he lived, must be viewed as one of the tragedies of Renaissance art history. During his lifetime, Pieter Bruegel was seen to have made a significant break from the popular Italian Renaissance style, creating works that focused on landscape and contemporary life rather than the grand narratives favored by the Mediterranean masters of the past century. In so doing, he helped to ensure that Renaissance art in Northern Europe would unfold in its own, unique direction, contributing to a Northern Renaissance style that inspired subsequent artists such as Peter Paul Rubens and Rembrandt. Bruegel's paintings have influenced a range of developments in modern art. The contemporary critic Wilfried Seipel writes that "[b]eyond all psychological and iconological interpretation and independent of biographical and contemporary historical preconditions, Bruegel's surviving paintings form a cycle, indeed an epic of human existence in its helplessness not only in the face of nature but also when confronted with the apparently immutable course of world history. During the twentieth century, poets such as W. Auden and William Carlos Williams were equally inspired by Bruegel's egalitarian vision, the latter dedicating a ten-poem cycle to Bruegel in his final collection, Pictures from Brueghel and Other Poems Content compiled and written by Jessica DiPalma. Edited and revised, with Summary and Accomplishments added by Greg Thomas. The Art Story. The composition was then likely enjoyed more for its representation of humanity in all its diversity of race, class, temperament and attitude. The Preaching of St. John the Baptist after , Groeningemuseum in Bruges , omitting the bearded man in black, turned towards the spectator in the original. The large-scale production of copies of his father's oeuvre demonstrates that there was a significant demand for Pieter the Elder's work. At the same time the copies contributed to the popularisation of Pieter the Elder's idiom. Without the son's copying work the public would not have had access to his father's work, which was mainly held in elite private collections, such as the imperial collection of Rudolf II in Prague or the Farnese collection in Parma. At the same time Pieter the Younger extended his father's repertoire through his own inventions and variations on themes by his father. From Wikipedia, the free encyclopedia. Flemish painter. Brueghel family tree. Netherlands Institute for Art History. Collins English Dictionary. Retrieved 10 August Lexico UK Dictionary. Oxford University Press. Boston: Houghton Mifflin Harcourt. Merriam-Webster Dictionary. Van Miegroet. Oxford Art Online. ARTnews January : Jana Chrzciciela " ". Archived from the original on 14 July Retrieved 8 July Brussels: Royal Institute for Cultural Heritage, Pieter Bruegel the Elder. Namespaces Article Talk. Views Read Edit View history. Help Learn to edit Community portal Recent changes Upload file. 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