Bruegel

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Bruegel (or Brueghel, Pieter) (c.1525–69). Netherlandish painter, draughtsman, and printmaker, the greatest artist of his time in northern Europe. There is little documentary evidence concerning his career, but van Mander's laudatory biography, published in 1604, is a useful source of information, even though it misleadingly projects an image of Bruegel as above all else a comic painter. Far from being the yokel of popular tradition—‘Peasant’ Bruegel—he seems to have been a man of some culture: his work includes memorable scenes of village life, but he spent his career in major cities rather than the countryside, he had distinguished patrons, and he was a friend of the eminent geographer Abraham Ortelius (who described him as ‘the most perfect painter of his century’). It is not known where Bruegel was born and there is no documentation on his life until 1550/1, when he is recorded in Malines, working on an altarpiece that is now lost. In 1551/2 he became a master in the painters' guild in Antwerp, where according to van Mander he had been the pupil of Pieter Coecke van Aelst (who died in 1550); there is no stylistic affinity between their work, but Bruegel later married Coecke's daughter, so it is likely that he had links with her father. Soon after becoming a master, Bruegel made a lengthy visit to Italy, travelling as far south as Sicily. In Rome he met the miniaturist Giulio Clovio, who bought several of his paintings. By 1555 he was back in Antwerp, designing engravings for the print publisher Jerome Cock, who was his main source of employment for the next few years. The experience of crossing the Alps affected Bruegel much more than the example of any art he had seen in Italy, as was acknowledged by van Mander, who wrote that he ‘swallowed all the mountains and rocks and spat them out again, after his return, on to his canvases and panels’. His work for Cock included a series of prints now known as the Twelve Large Landscapes (c.1555–8), featuring wonderfully spacious mountain views. (Most of the drawings of Alpine scenery associated with Bruegel's visit to Italy—as well as many other drawings traditionally given to him—have recently been reattributed to Jacob and Roelandt Savery, who perhaps made some of them as deliberate forgeries.) Bruegel's work for Cock also included figure compositions of various subjects, including parables like ‘Big Fish Eat Little Fish’. The engraving after Bruegel's drawing of this subject (published in 1557), bears the inscription ‘Hieronymus Bos Inventor’, an attempt by Cock to cash in on the continued popularity of Bosch, whose moralistic outlook and sense of the grotesque influenced Bruegel considerably (he was indeed referred to in his lifetime as ‘a second Bosch’).

In 1563 Bruegel moved to Brussels and married there in that year. The move coincided with a change of direction in his career, for although he still made designs for engravings, he now worked primarily as a painter, and in the remaining six years of his short life he produced his best-known works. His patrons included Cardinal Granvelle, chief counsellor to Margaret of Parma (half-sister of Philip II (see Habsburg) and his regent in the Netherlands), and the wealthy banker Niclaes Jonghelinck, who in 1565 commissioned the series of The Months, of which five survive today. Three of these (including the celebrated Hunters in the Snow) are in the remarkable collection of fourteen pictures by Bruegel in the Kunsthistorisches Museum, Vienna, which comprises nearly one-third of his surviving output as a painter; the other two are in the Metropolitan Museum, New York, and the National Gallery, Prague. His style changed during this final period: he abandoned the crowded panoramas of his earlier years, making his figures bigger and bolder, as is seen most notably in his novel treatment of proverbs, a genre that had previously been of minor account (The Blind Leading the Blind, 1568, Mus. di Capodimonte, Naples). Bruegel enjoyed a considerable reputation in his lifetime (he is mentioned by Vasari and slightly later by Lomazzo), and—through his original works and the many prints after them—he had an enormous influence on later Flemish painting, particularly landscape and genre. It was not until the 20th century, however, that he was recognized also as a profound religious painter and an artist whose human sympathy and understanding have hardly been excelled. His two painter sons were infants when he died and so they had no training from him (they were reputedly taught by their grandmother—the widow of Pieter Coecke—Mayken Verhulst). Both sons spelled their surname ‘Brueghel’, retaining the letter ‘h’ that their father had dropped in about 1559.

Bruegel   Brueghel, or Breughel , outstanding family of Flemish genre and landscape painters. The foremost, Pieter Bruegel, the Elder, c.1525-1569, called Peasant Bruegel, studied in Antwerp with his future father-in-law, Pieter Coeck van Aelst, but was influenced primarily by Bosch . In 1551 he became a member of the Antwerp Guild. Bruegel visited Italy in the early 1550s. He remained close, however, to the Flemish tradition and employed his native powers of minute observation in depicting the whole living world of field and forest and of sturdy peasants at work and play. He was, himself, a learned city-dweller and friend of humanists. His paintings of genre subjects have allegorical or moralizing significance. In his tremendous range of invention, Bruegel approached Bosch in creating nightmarish fantasies in such works as The Fall of the Rebel Angels (Brussels). He also painted cheerful, acutely perceived scenes of daily life, e.g., Peasant Wedding (Vienna), for which he is best known. In the Fall of Icarus (versions in Brussels and New York), his only mythological subject, the title character is reduced to a tiny figure barely noticeable in a large genre scene.

Bruegel's range of subjects includes religious histories— Numbering at Bethlehem (Brussels), Way to Calvary (Vienna), with figures clothed in contemporary Flemish dress; parables— The Sower (Antwerp), The Blind Leading the Blind (Naples); genre scenes— Children's Games, Peasant Dance (both: Vienna); landscapes showing the activities of the months—(several in Vienna, Harvesters in the Metropolitan Mus.); and other works. A skilled draftsman and etcher, he used a delicate line to define his figures. His people are stubby in proportion, but lively and solid. His color is remarkably sensitive, as is his feeling for landscape. His compositions are often based on diagonal lines and S-curves, creating gentle rhythms and allowing planes of landscape to unfold into the distance.

Bibliography: See studies by L. Münz (1961), W. Stechow (1971), F. Grossmann (3d ed. 1973), and N. M. Orenstein, ed. (2001).

His son, Pieter Bruegel, the Younger, 1564-1637, often copied his father's works. Two of his paintings are in the Metropolitan Museum. His brother, Jan Bruegel, 1568-1625, called Velvet Bruegel, specialized in still life, rendered with extreme smoothness and finesse. He was a friend of Rubens, and occasionally supplied floral ornaments for works from Rubens's shop. He was also adept at landscape. Representative works are in Brussels and Berlin.

Bruegel the name of a family of Flemish artists, Pieter Bruegel the Elder (1525–69), who produced landscapes, religious allegories, and satires of peasant life, Pieter Bruegel the Younger (1564–1638), known as Hell Bruegel, who is noted for his paintings of devils, and Jan Bruegel (1568–1623), son of Pieter Bruegel the Elder, known as Velvet Bruegel, who was a celebrated painter of flowers, landscapes, and mythological scenes.

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