Biography Bruegel

This biography is still the main source of information regarding the great painter. It is generally accepted that Bruegel was born for about a year in a village of Bruegel, near Breda in Brabant. The artist was a student with the famous painter and publisher Peter Cook Van Alsta the first documentary evidence of the life of Bruegel dates back to the beginning of the 10ths when he was already in twenty.

At the end of the year, he became a member of the professional association of artists - the guild of St. Luke in Antwerp, by this time the period of study was completed. Soon Bruegel went to Italy. Such trips were made by many young artists of that time. The Italian "Practice" increased their chances of receiving further advantageous orders.

Apparently, he also visited Palermo - in favor of this, the rollback between the "triumph of death", written in the year, and created on the same plot in the Palemsky Palazzo Schlafani, speaks in favor of this. Here he met the famous. Klovio was delighted with the talent of the young Bruegel and acquired several of his works, including the type of Leon and the Babylonian Tower of the Babylonian miniature.

The only Brueghel’s early work that have reached us, indicating that in these years he was most occupied by landscape painting. The skill of the Bruegel-Layman brought him recognition in his homeland. After the artist’s return to Antwerp, the engraver and publisher Jerome Kock OK. He remained his main employer until Braigel move to Brussels, held in the year. Some work of Bruegel was created at the insistence of Coca, which clearly tracked the artistic conjuncture.

In particular, it was he who, noticing the growing popularity of Bosch’s work, advised Bruegel to write plot paintings filled with fantastic images. Engravings of this content according to Braigel's drawings continued to appear until the end of the 19ths. The most famous ones entered in two episodes: “Seven Mortal Sins” and “Seven Virtues” later the mystical and fantastic images migrated to the artist’s painting: “The battle of Shrovetide and Lent” and “Children's Games”, however, could draw new ideas not only from communication with Coca.

By that time, he got closer to the outstanding cartographer Abraham Orteliy Ortelius belonged to the religious society "Family of Love". Bruegel shared characteristic of the "family of love" views on the relationship between man with God. This is noticeable according to some of his religious paintings - such as the "Assumption of the Virgin" and "Jesus and the sinner." In the beginning of the 10ths, there were sharp changes in the personal life of Bruegel.

The couple settled in Brussels, which provided the artist with new opportunities. Brussels was the capital, crowned persons and rich nobles lived in it, which increased the chances of finding patrons. In Brussels, Brueghel began to write paintings in a new manner, moving away from the style and compositional principles of his engravings of the Antwerp period. It was 6 years to live to live, but it was during this short time that he managed to create a majority of his masterpieces.

Among the customers of Brueghel were such large and rich personalities as Cardinal Antoine Perrone de Granvela, who headed the State Council of the Netherlands, and Nicholas Yongelink, who ordered the painter his famous series of the Months of Times. The last period of Brueghel’s life coincided with stormy shocks in the life of the Netherlands. The renunciation of Charles V followed the brief rule of the Spanish king Philip II, who ended with all the Spanish King, which ended with an uprising in the year, which quickly unfolded into a civil war.

Of course, orders have become rare. All this was reflected in the well -being of Bruegel. His work of that time as a mirror shows in which direction the evolution of the artist was going on. Brueghel’s paintings were filled with bitterness and humility in the face of inexorable rock. Both in the beginning and at the end of his life path, Bruegel reflects on the born stupidity of man. In the picture, Misanthropus, Naples, the National Museum and the Capodimonte Gallery placed the inscription: “Since the world is so insidious, I go in mourning clothes” and a evil dwarf is depicted, a stealing wallet from a gloomy old man.

In the picture are blind, there are six Sleptsov, staggering, go to a chain to the stream, into which the first of them had already fallen. The picture is associated with the words of the gospel parable Matthew - "And if the blind man leads the blind, then both will fall into the hole." Brueghel is a diverse: he was simultaneously a medieval moralist and landscape painter in the modern sense of the word; He was a truly northern artist, and at the same time his painting was marked by Italian influence.

Some consider it an orthodox Catholic, others - a adherent of a heretical sect. However, these paradoxes are not irreconcilable. The greatness of Bruegel lies in the assertion of the inextricable connection between man and nature, as well as in a deeply human vision of Christian history as living reality.The earliest works of Bruegel are landscape drawings, some of which recorded subtle observations of nature, others are practiced and studied in the techniques of landscape painting by the Venetians and other northern masters of the older generation, such as the ioachim of OK.

It is this combination of direct, direct observation with conditional formulas that creates the effect of the inexplicable attractiveness of Bruegel's paintings. The artist considered the landscape not just as a decoration, but as an arena in which the human drama unfolds. One of its earliest paintings is the fall of Ikar approx. In this picture on a hill towering over a bay -down bay, a plowman, a shepherd and a fisherman are engaged in their daily work.

None of them notices Ikar beating on the water, drowning far from the shore. Brueghel interprets the sight of his death as an insignificant detail in the non -violated rhythm of the universe. One of the main topics in the work of Braigel is the image of human weakness and stupidity - the legacy of late medieval thinking. In his drawing, a large fish eats a small, Vienna, Alberthin depicts a small fish crawling out of a huge fish lying on the shore.

Again, a saying was taken as a name, clearly hinting at excesses and gluttony. In the paintings, the battle of post and Shrovetide is approx. Although the names of Brueghel’s paintings are accurate in their description, each of them, apparently, is also an ironic commentary on the aimlessness of human activity. Brueghel enriched the images of stupidity, resurrecting the monstrous and fantastic creatures of the hieronymus Bosch ok.

These creatures appear in the series of engravings of Coca according to Brueghel’s drawings seven mortal sins and seven virtues of the Boskhov spirit reappears in such later paintings by Bruegel as the fall of angels, Brussels of the Royal Museum of Elegant Arts and the Mad Greta, Antwerp, the Museum of Mayer Van Dan Berg. In many paintings, masters are characters, depicted with all the details and colorfully dressed, have deprived of personality persons resembling masks.

Brueghel was never interested in human individuality. He was occupied by an ordinary, average person from medieval mystery plays, and it is such anonymous humanity that inhabit the cosmic environment of outstanding religious paintings of the artist. In the triumph of death of approx. In the carrying of a cross, Vienna, the art-historical museum also shows endless expanses filled with faceless rude hordes.

In the middle of the procession, there is an unexplored figure of Christ, which fell under the weight of the cross and almost lost in an indifferent crowd. Bruegel wanted his viewer to see the gospel story in the light of the modern life of Flanders. In two paintings - the beating of babies approx. In the second of them, Joseph and Maria are barely distinguishable among the city people.

In the picture, the Babylonian tower, Vienna, the art-historical museum filled with Boschian characters, the tower itself is placed against the backdrop of a rural landscape, which is very similar to Flanders of the 16th century. Perhaps the most magnificent paintings by Bruegel are five landscapes called seasons, or months depicting the Flemish rural nature at different times of the year.

Only a few artists possessed the ability to catch the mood of one or another of the year so sensitively and express the internal connection of man with the rhythm of nature. In the picture, hunters in the snow, Vienna, the art-historical museum depicts a world constrained by a winter cold. In the composition of the picture, a technique typical of Brueghel’s painting was used - a high foreground, from which a view of the plain extending below opens.

The diagonals of the lines of trees, roofs and hills direct the viewer's gaze strictly into the space of the picture, to where people work and have fun. All their activity occurs in the silence of frosty air. Trees and figures are depicted as frozen silhouettes against the background of a gray winter landscape, and the peaks of spicy roofs are echoed by the grows of the mountains in the distance.

In the picture, the harvest, New York, the metro from the same series depicts the field filled with the sun; The group of peasants located on it interrupted their work for the midday meal. Van Mander characterizes Bruegel as a peasant artist; However, this assessment overlooks the undoubted complexity of the work of the master and rather comes from the plots of his enjoyed fame of paintings depicting the rude everyday life of the inhabitants of the Flemish village.

Bruegel died in Brussels on September 9 and was buried in the Church of Notre Dame de La Shapel, where he was married to Maria Cook. Design and programming of jully Alice !!! Scientific adviser-Yana Vladislavovna Laguzinskaya.