Word: bruegels
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FLEMISH PAINTING FROM BOSCH TO RUBENS (Skira; $25) has 112 eye-filling color reproductions, mostly good. Text contains a maximum of mere information and a minimum of thought, as is all too common with art books. The gigantic hero, overshadowing both Bosch and Rubens should of course be Bruegel, but he occupies only 22 pages out of 202, and his essential mysticism is barely hinted. But the pictures show the Bruegel, as Pliny said of Apelles, "painted many things that are really unpaintable...
...gathered together so many works that he was forced to hang Rembrandt drawings inside cupboard doors. Other artists in the collection included Rubens, Dürer. Michelangelo, Van Ruysdael. Goya. Titian, Van Gogh and Rodin; among the best works were Jan van Eyck's The Three Marias, Bruegel's Tower of Babel. Experts put the value at more than $25 million...
...doctoral dissertations ransack mightily obscure quarries for old stones to be turned. New-fledged Paris Pathologist Tony-Michel Torrilhon, who did his stone-turning in Europe's art libraries, last week turned in a thesis on the maimed, ailing creatures of the great, earthy 16th century painter, Pieter Bruegel the Elder. Torrilhon's hypothesis: in painting after painting, Bruegel reproduced the maladies of his Low Country peasants with a diagnostician's keen...
...Torrilhon interprets it, Bruegel's Mad Meg, in which a gaunt witch of a woman, clutching a variety of household objects, strides wildly under a flaming sky amid a hell's choir of monsters, is a painted description of "chronic hallucinatory psychosis due to menopause . . . The painting is full of obscene little monsters, and Meg seems obsessed by genital hallucinations. Two other symptoms are her careless and bizarre dress and her mania for collecting things. It is well known that old women suffering from this type of psychosis have a mania for carrying all their belongings...
...face the problem is Italy's Capodimonte National Museum (see color page), an 18th century palace outside Naples that was built for the Bourbon kings in 1738 and reopened only last year as a treasure-filled art museum-100 galleries lined with canvases by such old masters as Bruegel, Goya, Mantegna, Masaccio and Titian. In converting the palace, Naples' Art Director Bruno Molajoli faced not only the staggering task of cleaning and identifying some 600 stored paintings (including two Correggios found in a case marked "rubbish"), but also laying out a modern, well-lighted museum...