Word: brueghels
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Reigning spirit of the museum, as of the Northern Renaissance, is Pieter Brueghel the Elder, represented by two paintings: Mad Margaret and Flemish Proverbs. The first represents a giant housewife on what appears to be a militant invasion of hell. It has been widely reproduced. The second-Flemish Proverbs-may well be Brueghel's earliest extant painting, consists of twelve separate wooden "platters" framed as a unit. (One is reproduced life-size opposite, nine of the rest overleaf.) Pieter Brueghel the Younger framed the platters, but only the elder Brueghel could have done the actual painting. Only his hand...
Almost nothing is known of Brueghel's life. He became a member of the Antwerp artists' guild in 1551, traveled through Italy the next year. He first supported himself by making sketches for popular engravings, blossomed into genius in the last decade of his life, and died in 1569, before his 45th birthday. He left a wife and two sons. He was self-possessed, a habitual stroller and something of a practical joker; that about completes the record. Brueghel doubtless kept off the center of the stage on purpose: one sees better from the wings...
American Romance. Wyeth is limited. Compared with such a robust realist as Velásquez, he seems hardly to believe in reality. Compared with such a profound explorer-in-imagination as Pieter Brueghel, he sits by the stove cozily sketching. In context, his art has eminence. But the context is a shallow sea, shored by the book illustrations of his father, N. C. (for Newell Convers) Wyeth, and bounded at the horizon by the craggy islands of Thomas Eakins and Winslow Homer...
...judgment of a man whose love for collecting per se began in his teens with the pursuit of autographs. The drawings include one of the few fourteenth century drawings to be found in this country, and a superb one at that. Here are works by Rembrandt, Van Dyck, Rubens, Brueghel, Durer, and a little gem by Poussin, all of which are exquisite draughtsmanship in the highest sense of the word...
Catherine's Church, Barlach sculpted The Crippled Beggar, face raised as he rests on crutches, feet barely touching the ground, in a gesture that echoes back to the works of Brueghel. Singing Man shows Barlach at his most joyous. The figure, despite the ecclesiastical appearance of his garb, could as well be yodeling as singing God's praise...