Word: bruegels
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...observed the revolving seasons more intently than the painter known to posterity as Pieter Bruegel the Elder. He died just 400 years ago in Brussels. His death was attended by due ceremony and the admiration of his peers. But few of them recognized that the world had lost its first major, and arguably the best, landscape painter in all history. Artists before him, in other centuries and other countries, came out of the countryside to paint vignettes of their memories, almost obsequiously, in the background of their portraits of princes or courtiers, martyrs or saints. Bruegel made the unprideful countryside...
...mounted, for the simple reason that few if any curators cared to risk the loan and shipping of such irreplaceable treasures. Among the best are a series of The Seasons, originally commissioned by a Brussels merchant. Only five survive, and these have been dispersed. As a memorial to Bruegel -and to year's end and year's beginning-TIME here presents four of these paintings. The originals are each roughly 4 ft. by 5 ft. But Bruegel's fabulous command of scale made every small part a picture in itself. In the following pages half a dozen...
Fused Concerns. They step forth hesitantly, to look about them at a world which has come a long way from the crystalline vision celebrated by the icon makers. Yet Giacometti, however attenuated the impulse, is still in the lineage that reaches back to Bruegel's exuberant vision, Rembrandt's passionate introspection, the language of humanism. Across town at the Biennale, the young propose that the visual concerns of seven centuries have been mined out, exhausted. The argument is none too convincing among the melted statues and faltering gadgetry. It suggests that their alternative is itself running...
...Helsinki-Meister Francke's earliest known work. Its eight richly painted panels sum up the characteristic ambiguities of Meister Francke's style. In The Flagellation of St. Barbara, the brutal, peasant faces and awkward, potbellied figures of Barbara's tormentors foreshadow the popular style of Bruegel or Bosch-though neither painter had been born when they were painted. By contrast, nothing could be more courtly than the boneless sinuosity of Barbara's figure, the vapid sweetness of her untroubled expression or the richly brocaded gowns and hierarchic formality of the aristocratic spectators...
...which may partly explain his remarkable success at supporting raving fantasy and very real suspense in a single story. With painterly sleight of hand, he recreates the fabulous landscape of a deranged artist's mind. It is a terrain at once fearful and frolicsome-as if Bruegel's earthy dancing peasantry had been set down in a demon-filled scene by Hieronymus Bosch...