The Life in Times of BruegelEssay Preview: The Life in Times of BruegelReport this essayThroughout the course of history, innovative people have been subject to rejection in the beginning of their careers, yet later become prominent figures. Pieter Bruegel was a Flemish artist who revolutionize the Northern Renaissance in the 1500’s. He led a life of complexity, especially during the times of religious and political fighting. He made much advancement during his age by painting peasants and landscapes; this was the first time in history in which this had been done. Bruegel’s quiet nature has been described by friends in their writings and is also evident in his artwork. Bruegel’s serene landscapes are a reflection of his character, yet more violent works suggest there is more beneath the surface. Bruegel was thought to be eccentric because he was different, but now he is regarded as one of the superstars of the Renaissance.
Though his birthplace is unknown, scholars believe the life of Pieter Bruegel began in 1525 most likely in Breda, Netherlands (World Book 649). In his youth, Bruegel decided on a career in artistry and traveled to Rome to study. His return to Breda included a rendezvous through the Alps, where he observed one of the few nature scenes in his life (Foote 72). A noted craftsman in Antwerp, Pieter Coeck van Aelst, offered the young Bruegel an apprenticeship, where he learned the craft of painting and drawing (Foote 70). To provide for the trip from Flanders to Antwerp, Bruegel had four wealthy patrons in Flanders (Foote 78). The Hapsburg Court also noticed Bruegel’s potential and later became a major sponsor of his art (Hanson 477). As Bruegel’s style developed, he learned from great artists of the time, such as Michaelangelo. This is evident because Bruegel’s work shifts from paintings teeming with life to only some dramatic figures (Foote 76). In 1551, once Bruegel’s goals were established, the Guild of St. Luke recognized him as a master painter in Antwerp by (Pieter Bruegel The Elder). In Antwerp, he made most of his engravings and paintings for private patrons (New Book 414). By 1558, Bruegel was doing less drawing and more painting while still working with van Aelst (Foote 100). It was in 1561 that Bruegel asked the daughter of van Aelst, Mayken Verhulst, to marry him (Foote 14). The two wed and moved immediately to Brussels in 1563, where they later had two sons, Pieter the Younger and Jan (Foote 14). By 1554, Bruegel was painting full time to make a living for himself and his wife (Foote 76). As he developed his technique, he made several alterations. The most major change was visible in 1563, when Bruegel stopped using only black and white and began using oil paints (Foote 76). Bruegel was a highly educated man, and many of his close friends were humanists (Hanson 477). Bruegel most passionately studied the work of Bosch, an important artist of the time (The Columbia Encyclopedia, 6020). Bruegel idolized the “delirious phantasms” of Bosch’s works and followed the ideas of folly, joy, and fantasy (Guardian Review). Bosch clearly influenced many of Bruegel’s paintings, as evidenced by his various surrealistic images (Lazere). Bruegel worked hard to establish his career in artistry, while the events surrounding him were not so positive.
There were many issues between the North and the South regarding the difference in painting styles. Throughout the Italian Renaissance, many changes and advancements were made in art, making the South very critical of artists in the Northern Renaissance, including Bruegel. Because the Middle Ages lingered in the North, the South considered the artists inferior (Foote 16). Another distinction between the two techniques involved a difference in subject matter in the North because of the brutal weather conditions. Northern Europe’s climate was cold and life was short, strenuous and painful (Foote 15). For these reasons, the Northern painter was labeled as too unsophisticated or too unskilled to observe Italian rules of perspective and proportion (Foote 17). The demeaning nature of the South was evident to Bruegel, who expressed his thoughts through his art.
Bruegel showed the conflicts between religion and politics in many paintings. In Bruegel’s time Roman Catholicism began losing its power, beginning with the defiance of the Roman Catholic Church by Martin Luther in the early 1500’s and the rise of Protestantism. Bruegel would paint religious works, like that of an Anti-Christian soldier who was converted to Christianity by a missionary, and he also depicted political matters in his works, like a duel between kings (Foote 97). While Bruegel did not take sides in politics, he also remained anonymous regarding his support for either Protestantism or Catholicism. This mystery surrounds a certain painting, called “Triumph of Death” (World Book 648). The picture is extremely gruesome, showing a chilling version of mass destruction. It is unknown whether Bruegel was commenting on religious wars or warning people to reform before facing death (World Book 648). Some researchers think he was Calvinist because of his favoritism for William and the Netherlands, a skillful opponent of Philip of Spain (Foote 98). At that time in 1567, Spanish troops occupied Flanders under the Duke of Alba, who was merciless towards Bruegel and his people (Foote 98). Because of these political battles, a few of Bruegel’s religious paintings contained parallels between the Duke’s actions and some of the bloodier moments in the Bible (Foote 98). In some of the political art he created in this chaotic time, Bruegel added a tinge of realism to his recalcitrant political and social ideas (Foote 114). His revolutionary portrayals of the world lead him to much progression in artistry during the Northern Renaissance.
Bruegel was the father to seventeenth century masters with his many important contributions to art. He diverged from the Italian geometric exactitude in that his rendering of perspective was simply rule of thumb (Foote 17). Bruegel was quite inconsistent with perspective, with people in some paintings actually appearing to be the size of rabbits (Foote 168). He surpassed many limitations, most importantly his decisive role to paint everyday life (Stechow, Dutch 83). Because of his ordinary subjects, the accomplished Southern painters labeled him a rude, “peasant” painter (Foote 14). The Italian Renaissance ennobled the human figure while Bruegel did the opposite (Foote 14). He saw man as small and lumpish, definitely not noble or godlike (Foote 14). In his works, he would portray the peasant and middle class that were prone to drink and thieving habits and wore maladroit clothes because of the frigid weather (Foote 14).
The painter
Bruegel was a German-Jewish illustrator of various influences. His name derives from german, but he also was the subject of many popular works (for example, his drawings of a medieval man wearing a pewter hat and the German-influenced painting of his father, Gustavus, with his two brothers. He was known as an artist of ‘modern styles’, which included the more traditional ones such as art where all the parts were painted side-by-side (Pietro-Grâce 589). His work represented a wide range of everyday and social life, but his artistic emphasis was on making figures of everyday life (Pietro-Grâce 510). Bruegel was also a painter. He drew a wide range of different objects, ranging from horses and small birds to large, complex works with geometric forms. During this time he would be a well-known figure in contemporary sculpture, especially in art (Gustafsson, Kappe & Schumacher 12; H. Tiedemann, Kappe & Schumacher 17; Bäcker, Kappe, Schumacher and Böhm-Heller 21; L. D. Königsbert, Z. Rölker, Koppe & Schumacher 20; H. Schumacher, Kappe, Schumacher 16; H. W. Beutler et al. 1881; Z. A. Verhaeghe, Schuman (1873) and H. H. Schepfler (1874).
In many works, with varying degrees of specificity he made the same point as in Bruegel or Bruss. There was some difficulty being able to distinguish between the three. The very same figure in Bruegel made with great precision is the figure of H. Ehrlich, a very good painter by this time with his long paintings of small towns.
The relationship between Bruegel in painting and H. Ehrlich
Bruegel had often depicted H. Schumacher in his own artistic style, by way of other objects in the same body but it was the latter’s work with the small town, Städte, which was important for the influence that Ehrlich had for Brussel. At this time, as early as 1867, Bruegel became increasingly famous for the fact of having painted in the presence of Günter, Königsbert, von Eichmann, Schumacher (Böhm-Heller 1905). However, Bruegel was also known for paintings that had all three of them beheaded. From the point of view of the three artists, Bruegel had all three being taken as “sons” and therefore was the least important man because his art reflected the relationship between the father and son. However, if there was the possibility that for the first time he was becoming famous for his drawing H. Ehrlich in Bruegel’s fashion, I do not believe Bruegel saw fit to make any of his famous works.
It is in the work of Jörg Ehrlich that Bruegel is most frequently cited. He developed with him the new geometric exactitude of geometry as far back as the second hundred years. His work of Königsbert is considered to be the first work to incorporate the four-dimensional aspect of geometry into the figure.