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margin-bottom: 5em;">PIETER BRUEGEL THE ELDER:<br> + <span class="xlarge">A STUDY OF HIS PAINTINGS</span></div> + <hr class="chap"> + + <figure class="figcenter illowp75" id="i_02"> + <img src="images/i_02.jpg" alt=""> + <figcaption>HUNTERS IN THE SNOW (DETAIL)</figcaption> + </figure> + + <hr class="chap"> + <div class="titlepage"> + <h1>PIETER BRUEGEL<br>THE ELDER</h1> + + <div class="xxlarge">A STUDY OF HIS PAINTINGS</div> + + <div class="large mt2 lh2">BY<br>VIRGIL BARKER</div> + + <div class="mt20 lh2">NEW YORK<br> + <span class="large">THE ARTS PUBLISHING CORPORATION</span><br> + 1926</div> + </div> + + <hr class="chap"> + <div class="center bold small mt10">COPYRIGHT, 1926<br> + BY THE ARTS PUBLISHING CORPORATION</div> + <div class="center xsmall bold mt20 mb10">PRINTED IN THE UNITED STATES OF AMERICA</div> + + <hr class="chap"> + <div class="center smcap xlarge bold mt10">Note</div> + + <p class="drop-cap"><span class="smcap1">Most</span> of the material included in this book was originally published + in a special Bruegel edition of <cite class="smcap">The Arts</cite>. Mr. Barker’s essay + met with such immediate success that in order to meet the demand the + editor decided to increase the number of illustrations and publish Mr. + Barker’s noteworthy essay in permanent form.</p> + + <p>Comparatively little has been written in English on Pieter Bruegel + the Elder, nothing in fact except a few passing magazine articles. At + the request of the artists <cite class="smcap">The Arts</cite> undertook to supply this + want. In selecting Mr. Barker to carry out this important work <span class="smcap">The + Arts</span> was particularly fortunate. Besides being an ardent student + of the genius of Bruegel, the author, in the course of his duties as + European correspondent of <cite class="smcap">The Arts</cite>, was able to carry on the + special research necessary to give permanent value to the following + essay.</p> + + <div class="right smcap mb10">Forbes Watson.</div> + + <hr class="chap"> + <figure class="figcenter illowp75" id="i_06"> + <img src="images/i_06.jpg" alt=""> + <figcaption>THE CONVERSION OF SAINT PAUL (DETAIL)</figcaption> + </figure> + + <hr class="chap x-ebookmaker-drop"> + <div class="chapter"> + <span class="pagenum" id="Page_7">7</span> + <h2 class="nobreak" id="STUDY">PIETER BRUEGEL THE ELDER<br> + <span class="large">A STUDY OF HIS PAINTINGS</span></h2> + </div> + + <p class="drop-cap"><span class="smcap2">Aside</span> from the evidence of the signed and frequently dated prints, + drawings and paintings, few things are certainly known about the life + and personality of Pieter Bruegel the Elder. Almost all of these, + such as they are, occur in a brief passage concerning him, written + about thirty years after his death, in “The Book of the Painters” by + Carel Van Mander. Herein is no mention of the date of Bruegel’s birth; + even the place of it, despite a seeming definiteness, remains in some + obscurity. His biographer says that the painter was born “not far from + Breda, in a village called Breughel,<a id="FNanchor_1" href="#Footnote_1" class="fnanchor">[1]</a> by which name he called himself + and left it to his descendants.” The village of that name nearest to + Breda is twenty-five miles away; and as distances went in the sixteenth + century, this seems hardly to be bridged by Van Mander’s easy phrase. + As for the year, the guesses of the scholars range all the way from + 1510 to 1530, the most widely accepted one being 1525. Any closer + determination of it is a matter of comparative unimportance in its + possible effect on the period of actual productiveness, since this is + very satisfactorily covered by trustworthy dates.</p> + + <div class="footnote"><a id="Footnote_1" href="#FNanchor_1" class="label">[1]</a> There are several different ways of spelling this name, + each having some degree of authority; but so far as concerns the + painter himself, the deciding fact is that the signatures now visible + on the paintings (about twenty in number) consistently adhere to + BRVEGEL.</div> + + <p>And whatever the exact year may have been, it had not been long before + when for Europeans the geographical world had been suddenly enlarged + as a sort of materialization of the immediately preceding enlargement + of mind. The succession of discoveries—of America; of India and the + true Indies; of Sumatra, Java and Borneo; and, two hundred and fifty + years after Marco Polo, of China—were only the working on another + plane of the essentially exploring spirit which had been previously + manifested by the scholars, scientists and artists of the Early + Renaissance. National unity on a fresh basis had been realized in Spain + through the expulsion of the Moors, and in both France and England + under absolute monarchies which were headed, at the time of Bruegel’s + birth, by Francis <abbr title="first">I</abbr> and Henry <abbr title="eighth">VIII</abbr>. About that time, also, Magellan + was circumnavigating the globe and Cortez was conquering Mexico; + Leonardo and Raphael were dying, and shortly after them went Carpaccio, + Leo <abbr title="tenth">X</abbr> and Signorelli. Martin Luther, preaching the Reformation in + Germany, was thus initiating a movement of ruinous significance for + Bruegel’s homeland; for there the cause of religious liberty, gradually + coalescing with that of political independence, was to meet with the + terrible repressions begun by the newly elected Emperor, Charles Quint, + who was already by inheritance lord of the Low Countries.</p> + + <p>During all this period of ferment and reorientation for the European + mind, Antwerp, where Bruegel was to spend most of his life, was one of + the most important of all ports. Situated in what was then the most + densely populated region of Europe, it had in its own houses a hundred + thousand persons; and of these more than a tenth were foreigners—German + merchants, Italian scholars, Portuguese Jews, French Huguenots, English + sailors and the soldiers of Spain. Far-journeyed vessels brought to + it the spices and rich stuffs, the metal-work and strange animals + of distant lands; and their seamen had tales to tell of things far + off towards the expanding horizons of the world. In this comfortable + and prosperous city, where the sharp demarcations between classes + prevalent in other countries were blurred almost into a real democracy + of the bourgeois, every fresh discovery and important event had its + repercussion in the general consciousness.</p> + + <p>Antwerp was thus a natural center of activity for the religious + propaganda and disputation which formed so large and so tragic an + <span class="pagenum" id="Page_8">8</span>element in the life of the sixteenth century; creeds of all sorts + readily found adherents among its varied and impressionable populace. + Lutheranism was so strongly advocated by the convent of Augustinian + monks that its inmates were dispersed, after the execution of two + among them, and its buildings razed. Though the terrorism of the + Inquisitor Van der Hulst and his priestly successors imposed silence + on many, there were open preachings as well as clandestine meetings, + and riots in which religion-frenzied women were among the boldest; and + with all the burnings of the books, with all the imprisonments and + the brandings, the full penalties of the imperial edicts could hardly + be enforced by those who were conscious that such enforcement would + destroy the principal source of the Emperor’s precarious revenue. + Even the anarchy of Anabaptism, persecuted by Catholic and Protestant + alike, made headway through the martyrdom of its believers; and from + 1544, almost the very year when the young Pieter Bruegel commenced his + apprenticeship, the new sectarianism of Calvin entered the city and + grew rapidly in strength.</p> + + <figure class="figcenter illowp90" id="i_08"> + <img src="images/i_08.jpg" alt=""> + <figcaption>BIG FISH EAT LITTLE ONES (DRAWING). 1556. VIENNA, ALBERTINA</figcaption> + </figure> + + <p>While he was growing up, the English and the French were subduing + the North American continent and in the Andes Pizarro was rifling + the wealth of Peru; Rome was being pillaged by the Germans; Henry + <abbr title="eighth">VIII</abbr> was finally repudiating Catholicism and Ignatius of Loyola was + in a way belatedly replying to Luther by organizing the Society of + Jesuits; Hampton Court Palace, the French chateaux and the palaces of + Venice were being built; Erasmus, Dürer, Machiavelli, Luini, Ariosto, + Correggio died. As yet unconscious <span class="pagenum" id="Page_9">9</span>of such events and such personages, + perhaps ignorant of the nearer deaths of Quentin Matsys and Lucas + van Leyden, the youth of nameless family was living a peasant among + peasants—and a genius in the making—sharing to full their laborious, + roistering life. Hard drinkers and heavy eaters, they were much given + to feasts and fairs; marriages, baptisms, even deaths were for them + occasions for celebrations as excessive as the labor from which they + thus escaped. Their animal frankness and coarse gaiety blew like a + gale of rude health over all their activities. From life itself, from + the small events in a remote village of the <em>Campine</em>, Bruegel + absorbed the great sane grossness which now seems buried in the books + of his day. Bringing with him the peasant vitality which was to develop + into a lofty philosophic humaneness, he came to Antwerp and, a youth + approaching his twentieth year, became an apprentice to the celebrated + Pieter Coeck. Paracelsus, Copernicus and Holbein had just died; Bruegel + had hardly learned to grind his colors when French Francis and English + Henry followed them, even as their sometime enemy, sometime ally, + Charles, was bloodily but only temporarily settling religious questions + at Mühlberg.</p> + + <figure class="figcenter illowp90" id="i_09"> + <img src="images/i_09.jpg" alt=""> + <figcaption>THE LAST JUDGMENT (DRAWING). 1558. VIENNA, ALBERTINA</figcaption> + </figure> + + <p>From his first master Bruegel must have received somewhat more than a + merely technical training, good as that probably was. Coeck had been + for four years the pupil of Bernard van Orley and had later studied + in Rome; in his own work afterwards he relied to such an extent upon + the formulas then worked out that all of it now seems borrowed; but + the precepts that he would pass <span class="pagenum" id="Page_10">10</span>on to an apprentice could not dull or + conventionalize so forceful a nature as Bruegel’s. Of more significance + in the development of such a nature must have been the stories of far + countries that were told, adding to his knowledge and stimulating his + imagination; for Coeck had spent the year of 1533 in the Constantinople + of Suleiman the Magnificent and had been one of the <em>entourage</em> + of Charles on his expedition to Tunis in 1538. Painter to the Emperor + and Dean of the Guild of Saint Luke, Pieter Coeck died in 1550. Then or + before Bruegel passed over to the work-shop of Jerome Cock, who was not + so much a painter as a dealer in pictures and a publisher of popular + prints. His establishment “was certainly the rendezvous of all the + artists and all the amateurs of Antwerp and even from abroad. Rendered + in engraving, the greater number of existing masterpieces would pass + under the eyes of the attentive Bruegel.” (Bernard: <abbr title="page">p.</abbr> 58.) The very + shop-name, “At the Sign of the Four Winds,” symbolized the range of + influences that played over him, the sights and tales that passed into + his consciousness; and for Bruegel these things could be only so many + more incitements to journey into the world and see it all for himself.</p> + + <figure class="figcenter illowp90" id="i_10"> + <img src="images/i_10.jpg" alt=""> + <figcaption>A VILLAGE WEDDING. PHILADELPHIA, JOHNSON COLLECTION</figcaption> + </figure> + + <figure class="figright illowp60" id="i_11"> + <img src="images/i_11.jpg" alt=""> + <figcaption>DANCING PEASANT. THE HAGUE, VAN VALKENBURG COLLECTION</figcaption> + </figure> + + <p>Therefore it is not surprising that, after he had completed his + apprenticeship and been received into the painter’s guild, in 1551, + he should set out upon his travels. Such a trip in those days was no + light undertaking. All <span class="pagenum" id="Page_11">11</span>frontiers were insecure since the wars between + Charles and Francis for continental domination; for little or nothing + soldiers turned into robbers. Van Mander mentions neither routes nor + places, writing only that Bruegel “went into France and from there into + Italy.” Even the drawings now preserved afford no positive information + as to the way he went—a circumstance which might be interpreted to + mean that already he was interested less in telling what a specific + place looked like than in rendering the emotional effect of nature + upon himself. But two designs now preserved as etchings are signed + and dated at Rome in 1553, and there is a drawing of the Ripa Grande + which appears to have been done on the spot. The print of a naval + battle engraved by Huys and published by Cock after Bruegel’s return to + Antwerp indicates that he went as far south as Messina.</p> + + <p>When he passed through France, François Clouet and Germain Pilon were + practising their art of tepid grace; when he reached Rome, the Sistine + Chapel paintings had been completed, but not the church of Saint Peter. + At the height of their working powers were Michelangelo, Titian, + Palestrina, Palladio; and Benvenuto Cellini was doubling in the roles + of artist and bandit. There is no proof that Bruegel had any contact + with these men; that he even saw their works is recorded neither in + words nor in the paintings by which he lives today in their company. + It is certainly reasonable, however, to suppose that the fame of his + contemporaries had not only reached him but actually played a part in + persuading him to his long wayfaring. Though still in his twenties, he + even then had sufficiently a mind of his own to avoid the mistake of + his predecessors, who had gone south specifically to copy and imitate + the styles of the Italian painters. In their journeying they were + following a fashion, doing something because others were doing it; + Bruegel’s urge was both deeper and broader, as his genius was.</p> + + <p>Yes, the artistic, the professional, motive must have had much to do + with sending him to Italy, but the only way of expressing the sum total + of the desires that undoubtedly <span class="pagenum" id="Page_12">12</span>animated him is to say that he must + have craved more life.</p> + + <div class="center-container"> + <div class="poetry"> + <div class="stanza"> + <div class="i0">“For to admire an’ for to see,</div> + <div class="i1">For to be’old this world so wide”—</div> + </div> + </div> + </div> + + <p class="noindent">no motive less comprehensive than this could have moved him. He was a + great artist in the making, but he was even more a man than an artist; + for him the art of other men could be only a part, and not the most + important part, of the all-inclusive experience of which he was in + search. Only such a conception of his personality can account for the + failure of the Italian masterpieces to influence him then or thereafter + and his own immediate and life-long preoccupation with the entire range + of nature and of human life. Moreover, so much can be inferred from Van + Mander’s only other reference to this momentous trip, a reference which + takes the form of reporting somebody else’s remark that “... in the + Alps he swallowed all the rocks and mountains, to return home and vomit + them out on painting-board and canvas....”</p> + + <h3>2.</h3> + + <p class="drop-cap-s"><span class="smcap1">Towards</span> the end of 1553, not long after the deaths of Rabelais and + Lucas Cranach, Bruegel was back in Antwerp. He again became affiliated + with the shop of Jerome Cock, but now as a sort of collaborator, making + drawings for many plates to be engraved by others and published by the + shop. As a successful business man with an eye to the market, Cock’s + specialties were landscapes of all types and grotesqueries in the + manner of Jerome Bosch, dead thirty-five years before, whose works were + a mine of motives for exploitation. The former apprentice proved to be + an even greater source of revenue and popularity for “The Four Winds”; + he shared completely in the contemporary taste served by the shop and + for several years devoted himself entirely to new and increasingly + inventive compositions in each <em>genre</em>.</p> + + <figure class="figcenter illowp75" id="i_12"> + <img src="images/i_12.jpg" alt=""> + <figcaption>STUDY FOR A “BATTLE BETWEEN FAT AND LEAN.” 1558? COPENHAGEN, ROYAL COLLECTION</figcaption> + </figure> + + <p>The pure landscapes of this period fall into two very distinct + divisions—the small, intimate ones and the large, composite ones. + <span class="pagenum"><a id="Page_13"></a><a id="Page_14"></a><a id="Page_15"></a>15</span>Among the first sort those of such obviously picturesque things as + ruins are less interesting, seem less realized, than those depicting + the homely commonplaces characteristic of the Low Countries. An + indefinite and puddled village street, a church set among trees, + the hybrid ruralness where town and country meet—the buildings + and small figures rendered in a clean, unwavering line and the + massed multitude of leaves given without a superfluous or unmeaning + scribble—these things, conveyed with such immediacy by the free and + sensitive pen-work, become sharp-edged and lose their bloom through + the interposition of the engraver’s hand. Though his return gave him + to see all the littlenesses about him with the freshness of a first + encounter, it did not make him forget the mountains which had struck + so deeply into his mind; and he composed a whole series of large, + Latin-titled designs in which the far and low horizons of home were + fabulously combined with Alpine steeps. In these plates, deeper than + the romanticism of their composite character, is an immense and sober + poetry which transpires even through the hardness of the engraving.</p> + + <figure class="figcenter illowp100" id="i_13"> + <img src="images/i_13.jpg" alt=""> + <figcaption>BATTLE BETWEEN CARNIVAL AND LENT. 1559. VIENNA, MUSEUM</figcaption> + </figure> + + <figure class="figcenter illowp75" id="i_14"> + <img src="images/i_14.jpg" alt=""> + <figcaption>BATTLE BETWEEN CARNIVAL AND LENT (DETAIL)</figcaption> + </figure> + + <figure class="figcenter illowp90" id="i_15"> + <img src="images/i_15.jpg" alt=""> + <figcaption>THE DESCENT OF CHRIST INTO LIMBO (DRAWING). 1561? VIENNA, ALBERTINA</figcaption> + </figure> + + <p>One print, dated the very year of his return, a composition of many + people skating just outside a city wall, is obviously based on direct + observation and is Bruegel’s first essay in the realistic rendering + of the life of crowds which was later to play so large a part in his + painting; but yet awhile the greater part of his labor went into a long + succession of drolleries and diabolisms.</p> + + <figure class="figcenter illowp100" id="i_16"> + <img src="images/i_16.jpg" alt=""> + <figcaption>FLEMISH PROVERBS. 1559. BERLIN, KAISER FRIEDRICH MUSEUM</figcaption> + </figure> + + <figure class="figcenter illowp100" id="i_17"> + <img src="images/i_17.jpg" alt=""> + <figcaption>CHILDREN’S GAMES. 1560. VIENNA, MUSEUM</figcaption> + </figure> + + <p>It is in connection with this part, and this part only, of his + life-work that there arises any necessity of discussing the influence + of another painter on Bruegel. Van Mander <span class="pagenum"><a id="Page_16"></a><a id="Page_17"></a><a id="Page_18"></a>18</span>treats the matter thus: + “He practised much in the manner of Jerome Bosch and used to make many + such goblin pictures and drolleries, for which he was called by many + <em>Pieter the Droll</em>.” The biographer here recorded the general + contemporary estimate which, though it is now seen to fall far short + of the truth, was surely natural enough, since in his own day Bruegel + was popularly known by the widely circulated prints rather than by + the unreproduced paintings. The <a href="#i_08"><cite>Big and Little Fish</cite></a> of 1556 + is directly from Bosch, and that his spirit and his manner did have + an influence upon Bruegel is not to be denied. But such influence as + Bosch did exert upon the man who had returned from Italy uninfluenced + was possible only because they shared in a racial streak which can be + traced back of them into the Middle Ages. The quality that allowed + Bruegel to be influenced by Bosch at all would have manifested + itself in Bruegel’s art even if Bosch had never lived. Moreover, + Bosch’s art was limited almost to this one type of subject-matter, + whereas Bruegel’s art soon developed other and far more important + characteristics which overshadowed without obliterating this element of + grotesquerie.</p> + + <figure class="figcenter illowp90" id="i_18"> + <img src="images/i_18.jpg" alt=""> + <figcaption>THE FALL OF THE REBEL ANGELS. 1562. BRUSSELS, MUSEUM</figcaption> + </figure> + + <p>For the time being, however, it had free rein in a series of + <cite>Vices</cite> and numerous separate plates such as <cite>The Ass + at School</cite>, <cite>The Sorcerer</cite>, <cite>The Merchant Robbed by + Monkeys</cite>. In these prints there are, in addition, a mastery of + design, an inventiveness of detail and a convincingness of outlandish + imagination that far surpass Bosch’s most ambitious efforts. A little + of these qualities is to be discerned in the two drawings of <a href="#i_09"><cite>The + Last Judgment</cite></a> and <a href="#i_15"><cite>Christ in Limbo</cite></a>; and they also display + Bruegel’s entire lack of any mystical <span class="pagenum" id="Page_19">19</span>fervor, which would have + imparted some sort of impressiveness to his Christs. This negative + trait in Bruegel, which is the exact obverse of the sort of humaneness + which made him great, is further shown in the series of <cite>Virtues</cite>, + also of this period; although these occasionally exhibit a high degree + of skill in handling complex groupings, they are what professionalized + virtues are apt to be—tedious.</p> + + <figure class="figcenter illowp90" id="i_19"> + <img src="images/i_19.jpg" alt=""> + <figcaption>BATTLE BETWEEN THE ISRAELITES AND THE PHILISTINES. 1562 OR 1563. VIENNA, MUSEUM</figcaption> + </figure> + + <p>Midway in this prosperous and fertile time of development the Emperor + Charles, taken with the notion of enjoying all the benefits of being + dead while yet alive, partitioned the empire between his brother and + his son, and himself retired in state to a monastery in Spain. From + this haven, free of governmental responsibilities, he was able, through + his dutiful son Philip, to instigate increasingly severe measures of + religious and political repression for the people of the northern + lowlands. Yet such things did not affect the personal liberty of + Bruegel, who was maintaining an irregular establishment described by + Van Mander in the following anecdote: “As long as he lived in Antwerp, + he kept house with a servant-girl, whom he might have married had it + not misfortuned him that she was always telling lies, a thing repugnant + to his love of truth. He made an agreement or contract with her that he + should mark all her lies on a stick—and he took a pretty long one—and + when the stick should be full of marks the marriage should be off; + which then happened before much time had passed.”</p> + + <figure class="figleft illowp60" id="i_20"> + <img src="images/i_20.jpg" alt=""> + <figcaption>HEAD OF AN OLD PEASANT WOMAN. 1564? MUNICH. ALTE PINAKOTHEK</figcaption> + </figure> + + <p>More important is what Van Mander tells us of a friendship: “He worked + much for a merchant named Hans Frankert, an admirable and excellent + man, who found pleasure in knowing Bruegel and was with him whole + days at a time. With this man Frankert, Bruegel often went among the + peasants, to fairs and marriages, both dressed like peasants; and they + took presents like the others, just as if they belonged to the family + or acquaintance of the bride or the bridegroom. Here Bruegel found his + pleasure in observing the manners of the peasants in eating, drinking, + <span class="pagenum" id="Page_20">20</span>dancing, jumping, loving and other fun-making; which things he then + very skilfully and carefully rendered again in colors, in water-color + as well as in oil, in both which mediums he was extraordinarily + talented.” Then Van Mander proceeds to stress the faithfulness and + accuracy of Bruegel’s peasant pictures in the details of costumes and + movements. In short, Bruegel had begun to paint.</p> + + <p>The earliest dated painting, <a href="#i_16"><cite>Twelve Flemish Proverbs</cite></a>, is + interesting only because of its connection with Bruegel; its relative + clumsiness of execution and utterly unpictorial conception as a whole + render it very likely the first of his attempts in a new medium. + However, this picture and the others that must be grouped immediately + with it mark the definite emergence of what was thenceforward to be his + predominant interest—the life of the peasants, between whom and himself + there existed the unbreakable bonds of a common origin and a common + destiny. Thus he began at once to paint in accordance with the dictates + of his essentially realistic genius, but the first works of capital + importance still retain a large admixture of the fantastic spirit + which had been running riot in his recent designs for the engravings. + These two pictures are the <a href="#i_13"><cite>Carnival and Lent</cite></a> and the <a href="#i_16"><cite>Flemish + Proverbs</cite></a> in Berlin, both of the year 1559; in both fantasy is made + convincing through realistic treatment, just as the Van Eycks and Roger + Van der Weyden had made convincing their religious idealism, Bruegel’s + difference from them being simply a difference of subject-matter and + a still greater reliance upon realistic skill for its own sake. In + the <a href="#i_17"><cite>Children’s Games</cite></a> of the next year there occurs the first + complete union on a great scale of realism in both matter and manner; + and two years later, with the <a href="#i_18"><cite>Fall of the Rebel Angels</cite></a>, a + recurrence in greatly intensified form of the combination between + fantastic idea and realistic treatment. This last painting, credited + to Jerome Bosch himself until the discovery of Bruegel’s signature, + is infinitely superior in conception and execution to anything by the + earlier man, and would alone rank its creator as a great painter; yet + the greatness it confers upon its maker is not the kind that is most + truly Bruegel’s. Through <span class="pagenum" id="Page_21">21</span>all these paintings of the Antwerp period + there runs a rapidly increasing technical skill—in drawing, color and + design—until the last picture that could possibly have been done before + his removal to Brussels, the <a href="#i_19"><cite>Israelites and Philistines</cite></a>, is for + minute workmanship a world’s wonder. On a small panel about thirteen + by twenty-two inches Bruegel has put several hundred human beings, the + largest of whom is less than two and one-half inches, in a landscape + setting of great beauty, all done in such detail that one can count + the spots on the giraffes far away across the river—and all seen with + so careful a regard for values and design that it is a satisfactory + picture from whatever distance it is regarded, its details merging into + the larger relations as one views it from further off. Craftsmanship of + this type in painting can go no farther.</p> + + <figure class="figcenter illowp90" id="i_21"> + <img src="images/i_21.jpg" alt=""> + <figcaption>“DULLE GRIET.” 1564. ANTWERP, VAN DEN BERGH COLLECTION</figcaption> + </figure> + + <h3>3.</h3> + + <p class="drop-cap"><span class="smcap1">The</span> cause of his leaving Antwerp was his marriage, which took place + in 1563. His choice had fallen upon the daughter of his first master, + Pieter Coeck. Twice during his brief notice on Bruegel, Van Mander + refers to the fact that “he had, while she was still small, often + carried her in his arms.” Her mother, after the father’s death, + had removed to Brussels and there successfully engaged in her own + profession of miniature painting; in consenting to the marriage she + “stipulated that Bruegel should leave Antwerp and settle down in + Brussels, in order that he might efface former love-affairs from his + eyes and his mind.” In this marriage was the beginning of what has + been well called the Bruegel dynasty. The two sons produced copies and + variations of their father’s paintings in such abundance that it is an + exceptional<span class="pagenum"><a id="Page_22"></a><a id="Page_23"></a><a id="Page_24"></a><a id="Page_25"></a><a id="Page_26"></a><a id="Page_27"></a>27</span> + picture gallery in Europe which does not boast its + “<i lang="fr">Breughel le Vieux</i>”; and these sons in their turn fathered a + dozen more painters.</p> + + <figure class="figcenter illowp100" id="i_22"> + <img src="images/i_22.jpg" alt=""> + <figcaption>THE TOWER OF BABEL. 1563. VIENNA, MUSEUM</figcaption> + </figure> + + <figure class="figcenter illowp100" id="i_23"> + <img src="images/i_23.jpg" alt=""> + <figcaption>THE CARRYING OF THE CROSS. 1564. VIENNA, MUSEUM</figcaption> + </figure> + + <figure class="figcenter illowp75" id="i_24"> + <img src="images/i_24.jpg" alt=""> + <figcaption>THE CARRYING OF THE CROSS (DETAIL)</figcaption> + </figure> + + <figure class="figcenter illowp75" id="i_25"> + <img src="images/i_25.jpg" alt=""> + <figcaption>THE CARRYING OF THE CROSS (DETAIL)</figcaption> + </figure> + + <figure class="figcenter illowp75" id="i_26"> + <img src="images/i_26.jpg" alt=""> + <figcaption>THE ADORATION OF THE KINGS. 1564. LONDON, NATIONAL + GALLERY</figcaption> + </figure> + + <p>But of them all, none approached the greatness of their original, + whose six years of married life were filled by the creation of + masterpieces—of realistic observation in the <a href="#i_42"><cite>Wedding Feast</cite></a> + and the <a href="#i_44"><cite>Peasant Dance</cite></a>; of sheer imagination in the <a href="#i_21"><cite>Dulle + Griet</cite></a> and the <a href="#i_29"><cite>Triumph of Death</cite></a>; of narrative power in + the <a href="#i_33"><cite>Massacre of the Innocents</cite></a>; of the purest pictorialism in + the <a href="#i_37"><cite>Conversion of Paul</cite></a>; of the indescribable <a href="#i_23"><cite>Carrying of + the Cross</cite></a>; of realism, imagination, emotion and thought merged + into the large harmonies of that great series of five paintings, the + <a href="#i_48"><cite>Months</cite></a>.</p> + + <figure class="figcenter illowp75" id="i_27"> + <img src="images/i_27.jpg" alt=""> + <figcaption>THE MISANTHROPE. 1565. NAPLES, NATIONAL MUSEUM</figcaption> + </figure> + + <p>While he was achieving all this ordered beauty of art, the disorders of + the life around him were increasing at a fatally rapid pace. In Ghent + a mob sacked the Abbey of Saint Peter and, made drunk by the wine of + its cellars and the intoxication of destructiveness, ran smashingly + at large through the city. In Antwerp another mob totally destroyed + the rich and famous church of <em>Notre Dame</em>. Conflicts multiplied + between Catholics and Protestants, between civilians and soldiers; + bands of foreign mercenaries coursed through the country and open + towns. The Duke of Alva’s execution fires cast lurid lights upon the + ruin and decimation of what had once <span class="pagenum" id="Page_28">28</span>been the most prosperous region + of Europe.</p> + + <p>Of Bruegel’s own reactions to all this his biographer, writing at a + time when it was almost a well-forgotten nightmare, makes no mention. + Van Mander’s single sentence of direct characterization is this: “He + was a very quiet and skilful man, who spoke little but was sociable + in society, and loved to frighten his companions, often also his own + pupils, with all kinds of goblin noises....” This does little to round + out the portrait of Bruegel the man, for once more the emphasis is + thrown upon that droll and amusing side of his nature which seems to + have appealed most to his own circle and thence been transmitted to Van + Mander. But that Bruegel was intensely aware of the tragedies about + him is evident enough in his works. The things he saw for himself are + set down in such pictures as the <a href="#i_33"><cite>Massacre of the Innocents</cite></a>, yet + with such an all-sufficing objectiveness that it requires an effort of + mind to realize that that very convincingness comes from his having + felt the tragic reality he records. But it is impossible to escape + from the overwhelmingly personal quality of the thoughts set forth in + the hell-mouth horrors of the <a href="#i_21"><cite>Dulle Griet</cite></a> and the apocalyptic + terrors of the <a href="#i_29"><cite>Triumph of Death</cite></a>. Moreover, Van Mander writes + that Bruegel had made many other “inventions” which were “so satirical + and mordant that on his death-bed he ordered them burnt by his wife, + either from repentance or from fear that his wife would get into + trouble on account of them.”</p> + + <figure class="figcenter illowp80" id="i_28"> + <img src="images/i_28.jpg" alt=""> + <figcaption>THE PROVERB OF THE BIRD-NESTER. 1564–65? VIENNA, MUSEUM</figcaption> + </figure> + + <p>Not many months before this happened <span class="pagenum"><a id="Page_29"></a><a id="Page_30"></a>30</span>the people of the Low Countries + commenced their final effort of revolt which was to establish their + freedom not until eleven years later. Bruegel left a world that was + hardly less black than the death into which he descended with open + eyes. At that very moment Montaigne was setting about to depict one + entire man with a vision as veracious as that of Bruegel; Cervantes was + soon to rival in words Bruegel’s power of making the fantastic real; + and only forty years later Shakespeare was to accomplish a re-creation + of human life that is more complete than Bruegel’s simply because the + medium of literature itself permits a more comprehensive embodiment + of the soul of man than is possible to the medium of paint. And the + painter who more than any other kept close to life belongs in the + company of these three.</p> + + <figure class="figcenter illowp100" id="i_29"> + <img src="images/i_29.jpg" alt=""> + <figcaption>THE TRIUMPH OF DEATH. 1565 OR 1566. MADRID, PRADO</figcaption> + </figure> + + <figure class="figcenter illowp90" id="i_30"> + <img src="images/i_30.jpg" alt=""> + <figcaption>THE TRIUMPH OF DEATH (DETAIL)</figcaption> + </figure> + + <h3>4.</h3> + + <p class="drop-cap-s"><span class="smcap1">The</span> subject-matter of Bruegel’s great paintings is limited only by the + world and life.<a id="FNanchor_2" href="#Footnote_2" class="fnanchor">[2]</a> The whole cycle of nature is in them—the seasons as + they pass over mountain, plain and moving waters; the dazzling beauty + of the southern sea, the northern cold. The entire range of human life + is in them; somewhere in these multitudes every emotion finds its + expressive gesture. Even all the animals that are intimately a part of + human life are given in their degrees of individuality. These pictures + seem to set before the eye every experience possible to man.</p> + + <div class="footnote"><a id="Footnote_2" href="#FNanchor_2" class="label">[2]</a> The succeeding remarks upon Bruegel’s art and mind, + disregarding both the minor and the debatable works, are based + specifically upon the paintings which are characteristically great.</div> + + <p>Always a tale is being told, but always it is story-telling of a + very definite kind. It is <span class="pagenum" id="Page_31">31</span>never a continuous narrative with a plot + involving the same characters in different circumstances. Thus Bruegel + was never obliged to arrange successive episodes of the same story + within one frame, as the older painters had done. All the things that + happen in his paintings could happen—do happen—just as he shows them, + at the same time and in just the relationship to each other that he + depicts. He always observes time unity and pulls together his wealth of + episode and by-play through unity of theme.</p> + + <figure class="figcenter illowp90" id="i_31"> + <img src="images/i_31.jpg" alt=""> + <figcaption>THE TRIUMPH OF DEATH (DETAIL)</figcaption> + </figure> + + <p>But on a given theme, at first, he attempted to say everything than + can be said about it. The picture in Berlin illustrates seventy + proverbs; the <a href="#i_17"><cite>Children’s Games</cite></a> is said to contain every one of + the one hundred and fifty-four varieties of play listed by Rabelais + as the games of Gargantua; the <a href="#i_22"><cite>Tower of Babel</cite></a> has been called + a builders’ handbook; the <a href="#i_33"><cite>Massacre of the Innocents</cite></a> apparently + depicts every possible attitude of parental grief and frenzy. This + exuberance of episode, this encyclopedic narrative utterance, had its + literary counterpart in the book just mentioned; it was in full accord + with the taste of the time, and Bruegel’s personal aptitude had been + fostered and disciplined by his long succession of drawings for the + plates published by Cock. For the paintings of this type he has thought + out every possible visual aspect of his story-matter and swept them all + into a unity of design not less remarkable than his unity of theme.</p> + + <figure class="figcenter illowp100" id="i_32"> + <img src="images/i_32.jpg" alt=""> + <figcaption>THE NUMBERING AT BETHLEHEM. 1566. BRUSSELS, MUSEUM</figcaption> + </figure> + + <figure class="figcenter illowp100" id="i_33"> + <img src="images/i_33.jpg" alt=""> + <figcaption>THE MASSACRE OF THE INNOCENTS. 1566? VIENNA, MUSEUM</figcaption> + </figure> + + <p>The astounding thing to be noted just here is the completeness with + which such an excessive<span class="pagenum"><a id="Page_32"></a><a id="Page_33"></a><a id="Page_34"></a>34</span> amount of anecdote is arranged into a + functioning organism of narrative. In the <a href="#i_23"><cite>Carrying of the Cross</cite></a> + the movement of every one of the five hundred figures, the very + expression of every face, is determined by a completely organized + story-action. All the figures, even the minutest ones, play their + parts in the whole design as such; but their momentary relations as + human beings, equally complex, have been thought out and set down with + equal thoroughness. Every episode is a bar, every gesture a note, in + Bruegel’s orchestrated narrative.</p> + + <figure class="figcenter illowp90" id="i_34"> + <img src="images/i_34.jpg" alt=""> + <figcaption>THE MASSACRE OF THE INNOCENTS (DETAIL)</figcaption> + </figure> + + <p>But other paintings show that Bruegel realized the fundamental weakness + of this—the weakness of diversity of visual motive, distraction from + the pictorial whole. He exhibited a tendency towards the elimination + of all side-play, towards the reduction of subject-matter to a single + motive and a reliance upon emotional unity for the abiding impression. + His picture-making is still story-telling in that something happens + in terms of human action; but it is a single and casual event, and + the main interest is shifted from events to design and color as the + expression of mood. In the <a href="#i_48"><cite>Months</cite></a> he forgot all about narrative + complexity for its own sake, fixed his attention on the pure pictorial + beauty of people and of nature, and sought only the emotional meaning + of his theme.</p> + + <h3>5.</h3> + + <p class="drop-cap-s"><span class="smcap1">The</span> nature of Bruegel’s work previous to taking up painting is written + at large and in detail over his early technical habits, but in these + also can be traced a development corresponding to the change just noted + in subject-matter.</p> + + <figure class="figcenter illowp75" id="i_35"> + <img src="images/i_35.jpg" alt=""> + <figcaption>THE MASSACRE OF THE INNOCENTS (DETAIL)</figcaption> + </figure> + + <figure class="figcenter illowp100" id="i_36"> + <img src="images/i_36.jpg" alt=""> + <figcaption>THE FALL OF ICARUS. BRUSSELS, MUSEUM</figcaption> + </figure> + + <figure class="figcenter illowp100" id="i_37"> + <img src="images/i_37.jpg" alt=""> + <figcaption>THE CONVERSION OF SAINT PAUL. 1567. VIENNA, MUSEUM</figcaption> + </figure> + + <p>In the earlier pictures color in general is <span class="pagenum"><a id="Page_35"></a><a id="Page_36"></a><a id="Page_37"></a><a id="Page_38"></a>38</span>conceived somewhat as + the worker in mosaic is compelled by his material to conceive it—as a + weaving-together of brilliant bits of pure color into a color design + which is itself thought out independently of other technical qualities. + There is harmony and richness, but there is not that melting tonality + which afterwards came to be looked upon as the last word in painting. + Above all else, there is an unbelievable brilliancy, especially where + Bruegel made a lavish use of vermilion. The chain of soldiers woven + through the multitude in the <a href="#i_23"><cite>Carrying of the Cross</cite></a> is one + of the most daring things to be found in painting; but for general + sumptuousness of color approaching to the fusion of later times there + is, outside of the <a href="#i_48"><cite>Months</cite></a>, no equal in Bruegel’s work to the + <a href="#i_37"><cite>Conversion of Paul</cite></a>. And always it is color used for its own + sake, with great sensuous delight. Yet always, again excepting the + <a href="#i_48"><cite>Months</cite></a>, it is color laid on to form which has already been + conceived as drawing; the color, superb in itself, follows the form + superbly; but the color and the drawing exist independently of one + another.</p> + + <figure class="figleft illowp60" id="i_38"> + <img src="images/i_38.jpg" alt=""> + <figcaption>THE WINE OF SAINT MARTIN (FRAGMENT). VIENNA, MUSEUM</figcaption> + </figure> + + <p>At the beginning of his painting career it was his drawing especially + which was determined by his work for the engravers. For the masculine + style of engraving that prevailed in his day the preparatory drawings + had to show absolute precision of outline. The edges of everything + had to be clean and unmistakable in order that the engraver might + know what was intended; the artist of the first instance had to make + it impossible for the engraver to mistake his meaning as to this + contour or that shape. Drawing in this manner for years before he + began to paint, Bruegel necessarily continued to do so afterwards. + This accounts for the prevailingly silhouette character of his + multitudes of tiny figures. Often-times, even from the beginning, the + form that meets the eye within the shape is substantially filled out + without being accompanied by the feeling of all-aroundness; but a + full three-dimensional quality is more and more often attained until + in the <a href="#i_37"></a>Paul</cite><cite>, again, it fills the picture to a degree elsewhere + unequalled in Bruegel’s work.</p> + + <p><span class="pagenum" id="Page_39">39</span></p> + + <figure class="figcenter illowp90" id="i_39a"> + <img src="images/i_39a.jpg" alt=""> + <figcaption>THE PARABLE OF THE BLIND MEN. 1568. NAPLES, NATIONAL MUSEUM</figcaption> + </figure> + + <figure class="figcenter illowp90" id="i_39b"> + <img src="images/i_39b.jpg" alt=""> + <figcaption>THE LAND OF COCKAIGNE. 1567. MUNICH, ALTE PINAKOTHEK</figcaption> + </figure> + + <p><span class="pagenum" id="Page_40">40</span></p> + <figure class="figcenter illowp75" id="i_40"> + <img src="images/i_40.jpg" alt=""> + <figcaption>THE CRIPPLES. 1568. PARIS, LOUVRE</figcaption> + </figure> + + <p>But another consequence of his early professional training—and a + consequence which enabled him to accomplish some of his most amazing + feats—was his skill in composition. His training in draftsmanship + gave him the power to render exactly all details that contribute + to individuality of character, and the simultaneous training in + composition taught him how to arrange immense numbers of such + individualized figures without loss of mass unity. Was it the Alpine + mountain-sides or merely the upper window of a house on a village + square that suggested to him the device of a slightly elevated + viewpoint? It is this more than anything else that enables him + to impose upon his multitudes that order of art by which may be + expressed the disorder of life; and it is this that gives him his long + perspectives of village streets or far horizons dominated by oblique + lines. These last, starkly visible at first and gradually becoming more + broken and concealed, constitute the characteristic mark of Bruegel the + designer.</p> + + <p>But it is in design that there is to be discerned the least amount + of technical advance on Bruegel’s part; what he learned before he + began to paint seems to have come nearer to sufficing him in design + than in drawing or in color. His composition scheme in the set of the + <a href="#i_48"><cite>Months</cite></a> is shockingly, though intentionally, repetitious; in the + hands of a less vigorous artist it must quickly have become the deadest + recipe. He divides his panel into two practically equal parts by a bold + diagonal from one upper corner to the opposite lower one; one of these + parts he fills with things and people seen close at hand, and the other + <span class="pagenum" id="Page_41">41</span>with a far-spreading panorama. And he does it five times over with + such freshness that doing it seven times more does not seem beyond his + powers. But the design remains a pattern, conceived in the same way as + the large composite landscapes done soon after his return from Rome.</p> + + <figure class="figcenter illowp75" id="i_41"> + <img src="images/i_41.jpg" alt=""> + <figcaption>THE MAGPIE ON THE GALLOWS. 1568. DARMSTADT, MUSEUM</figcaption> + </figure> + + <p>In drawing and color, on the other hand, the <a href="#i_48"><cite>Months</cite></a> show a + marked departure from earlier habits in the direction of an essentially + modern practice. In the drawing as such there is an increase in + looseness with no loss of surety; tightness is sacrificed, but not + precision. The figures are still silhouettes to a great extent, but + there is an approach to the coalescence of color and drawing. In color + by itself there is ever an opposition of large areas of some shade of + brown and some shade of green, and a weaving of these areas together + by bits of each color in the other and of other colors in both. Though + there is never the full impressionistic fusing of edges in atmosphere, + there is yet a decided approximation to the vision of a genuinely + naturalistic landscape painter, as distinguished from the vision of a + draftsman or a miniaturist.</p> + + <p>While this is true, and must be accounted to Bruegel as a merit, an + evidence of mental and technical growth, it is still in a measure + unfair to the never-failing largeness and unity of vision in the + earlier work. Whether the other qualities of this work be regarded as + merits or defects in themselves depends, of course, upon the technical + tenets or preferences of him who makes the judgment. But in Bruegel + they were neither merits nor defects; they were characteristics which + had to <span class="pagenum"><a id="Page_42"></a><a id="Page_43"></a>43</span>be present in his pictures if he painted at all. They were + necessitated by the time in which he lived and by his professional + practice previous to painting. They were as much a part of him as his + fondness for telling stories; and in the fluctuations of taste stranger + things have already happened than would be the return of even this + latter element to professional as well as popular favor.</p> + + <figure class="figcenter illowp100" id="i_42"> + <img src="images/i_42.jpg" alt=""> + <figcaption>WEDDING FEAST. 1568? VIENNA, MUSEUM</figcaption> + </figure> + + <figure class="figcenter illowp90" id="i_43"> + <img src="images/i_43.jpg" alt=""> + <figcaption>WEDDING FEAST (DETAIL)</figcaption> + </figure> + + <h3>6.</h3> + + <p class="drop-cap-s"><span class="smcap1">In</span> Bruegel’s time story-telling in pictures generally was still one + of the principal means of communicating ideas—even, perhaps mainly, + ideas that were not inherently pictorial; prints were still the nearest + things to books in popular circulation. Moreover, a nation living + under the necessity of never speaking out openly on either politics + or religion naturally resorted to symbol, the concrete proverb or the + image that said one thing and meant another. The print of the big and + little fish not only meant that the great oppressed the small but + carried an idea beyond the words of the proverb in showing the big fish + ripped up and disgorging; and upon a people so apt at interpreting + images the significance of that would not be lost. This people could + not only take a hearty enjoyment of the good things of life but they + could also face the whole of it without shrinking from any part of it, + whether of grossness or of terror. For the latter, indeed, they even + had a gusto and the former they laughed away with a saving healthiness. + The distinguishing mark of their living and their thinking was a robust + realism.</p> + + <p><span class="pagenum" id="Page_44">44</span></p> + + <figure class="figcenter illowp100" id="i_44"> + <img src="images/i_44.jpg" alt=""> + <figcaption>PEASANT DANCE. 1568? VIENNA, MUSEUM</figcaption> + </figure> + + <p><span class="pagenum" id="Page_45">45</span></p> + + <figure class="figcenter illowp75" id="i_45"> + <img src="images/i_45.jpg" alt=""> + <figcaption>PEASANT DANCE (DETAIL)</figcaption> + </figure> + + <p><span class="pagenum" id="Page_46">46</span></p> + + <p>In Pieter Bruegel there emerged from among them a man of genius in + complete sympathy with their realistic attitude towards life; knowing + it from childhood, he gave it in his art a more complete expression + than it had ever had before. The whole originality and fertility of + his mind were for long expended upon feeding the popular taste not + only for the familiar or exotic beauty of nature but also for a rough + philosophy, unorganized but none the less genuine; and a habit so well + established in him by years of labor would not vanish all at once + even when more purely painter-like interests assumed for him a major + importance. His predecessors in painting had been realistic in their + measure; in them, however, realism was largely confined to details of + execution and was more than counterbalanced by markedly idealistic + conceptions. Even in the grotesqueries of Bosch the older disparity + between idea and embodiment existed; the diabolism in them was only + the obverse of the conventional religious idealism, and its distance + from a true realism of content remained the same. When Bruegel came + to painting, he both carried the manner of realism farther than his + predecessors had done and informed that manner with its appropriately + realistic matter, bringing about a new harmony between the body and the + spirit of the art. He became the first complete realist in the history + of painting.</p> + + <figure class="figcenter illowp90" id="i_46"> + <img src="images/i_46.jpg" alt=""> + <figcaption>MARINE. VIENNA, MUSEUM</figcaption> + </figure> + + <p>The <a href="#i_18"><cite>Fall of the Rebel Angels</cite></a> is the nearest thing to a + rule-proving exception among Bruegel’s great works, the single one + which exhibits any of the older disparity between container and + content; and this picture, great as it is, could vanish without + impairing in the least Bruegel’s essential greatness. To examine + the Berlin <a href="#i_16"><cite>Proverbs</cite></a> in detail is to <span class="pagenum" id="Page_47">47</span>get a feeling of being + among mad folks because so many of the sayings here illustrated turn + upon outlandish actions; but as a picture it is a piece of masterly + realistic sanity showing a whole village, in which some of the + inhabitants happen to be crazy, intensely busy about its own affairs. + The <a href="#i_29"><cite>Triumph of Death</cite></a>, so far from being a piece of wild and + gross fancy, is actually the lucid statement of an idea as true as + any gesture in the picture; it is precisely the relentlessness of its + realism in thought as well as in embodiment which frightens people into + calling it untrue. The latter two paintings only show that if an artist + is realist enough, if he penetrates sufficiently into the actual, he + necessarily becomes imaginative; they only reiterate and strengthen + Bruegel’s right to be considered the supreme realist in painting.</p> + + <figure class="figcenter illowp90" id="i_47"> + <img src="images/i_47.jpg" alt=""> + <figcaption>FLEEING SHEPHERD. 1569? PHILADELPHIA, JOHNSON COLLECTION</figcaption> + </figure> + + <p>Part of his realism is his refusal to depict what he did not feel. + Only once did he venture upon any of the religious emotionalism that + had played so large a part in the work of his predecessors, and then + he found the emotion so foreign to his own feelings that he openly + borrowed the imagery of it; in relation to the great panoramic realism + of the <a href="#i_23"><cite>Carrying of the Cross</cite></a>, the group of mourning women + remains a mere formalism, dissociated in spirit and in manner from + all about it. Jesus himself is simply an unfortunate creature whose + approaching execution is the pretext for this holiday. What passes for + the conversion of Paul might be the delusion of a man knocked in the + head on falling from a shying horse; there is about the event none of + the conventional supernaturalism because for Bruegel that sort of thing + was not real. The religious subject as such disappears from his work; + and this, coming after <span class="pagenum"><a id="Page_48"></a><a id="Page_49"></a>49</span>the ecstatic idealisms of his predecessors, + amounts to the expression of an idea concerning the significance—or + lack of it—inherent in the churchly religion. He will have nothing + to do with what is not human; not even nature enters into the great + paintings except as a setting that enhances, by sympathy or contrast, + the emotional life of human beings. To these, whom he knows and loves, + Bruegel gives himself wholly, to share in their sorrows and their joys. + His religion is that of the great humanists in all ages, and his faith + is given only to life itself.</p> + + <figure class="figcenter illowp100" id="i_48"> + <img src="images/i_48.jpg" alt=""> + <figcaption>DARK DAY (JANUARY?). VIENNA, MUSEUM</figcaption> + </figure> + + <figure class="figcenter illowp90" id="i_49"> + <img src="images/i_49.jpg" alt=""> + <figcaption>DARK DAY (DETAIL)</figcaption> + </figure> + + <p>Part of his realism is the robust laughter which is the only solution + for the fix in which human beings find themselves. It is the spirit + that animated Rabelais in describing the birth of his hero and + Shakespeare in creating Falstaff. To come closer home to Bruegel, + perhaps, it is the spirit of <cite>Till Eulenspiegel</cite>, whose gross + pleasanteries were probably relished by the painter along with the + rest of his generation. Bruegel’s passion for completeness in his + realism abolishes privacy, and the state of affairs brought to pass by + this slicing away of all walls is saved only by humor. Humor is the + safety-valve for a spirit resolute to probe life to its last refuge—to + probe life, but not to break through by main force, as attempted by + later realists so-called.</p> + + <figure class="figcenter illowp100" id="i_50"> + <img src="images/i_50.jpg" alt=""> + <figcaption>HUNTERS IN THE SNOW (FEBRUARY?). VIENNA, MUSEUM</figcaption> + </figure> + + <p>Another element in Bruegel’s realism is the objectivity of his work. + Van Mander’s anecdote already quoted shows that Bruegel went <span class="pagenum"><a id="Page_50"></a><a id="Page_51"></a>51</span>among + the peasants, not as a professional artist in search of material, but + as a participator in their life; and the great pictures themselves + strikingly bear this out. This is not to say that Bruegel never worked + directly from life, for there are many drawings which could not have + been done otherwise—a team of horses resting, soldiers standing in the + way, old market-women squatting beside their wares. But when he came to + paint the great pictures, Bruegel worked from a memory stocked with the + gestures and actions of people who are unconscious of being watched. + Bruegel’s mind was centered upon their life and he was concerned with + technic hardly beyond the point where it would enable him to crowd + all their life into his given space and shape. His concentration upon + the story he was telling, from the encyclopedic narrative of the + early works to the simple and straightforward emotionalism of the + <a href="#i_48"><cite>Months</cite></a>, put him on the crest of a wave of energy which carried + him through many an undertaking that would have been impossible for a + more self-conscious man. We who see the pictures now are unconscious + of the painter because he was himself lost in his subject; and because + of this, also, we are unconscious of ourselves. “No glance ever strays + across the footlights to the audience,” wrote Meier-Graefe of Hogarth’s + scenes. In Bruegel’s work there are no actors, no footlights and no + audience. There is only life and participation in life by painter and + by us.</p> + + <p>And everywhere in these pictures it is the life of Bruegel’s own + time. His predecessors had clothed religious themes in contemporary + dress, but the outer and the inner remained separate things; Bruegel, + retaining the outer, put into it its own proper content. He ousted + religious stories by contemporary stories. These he painted so + completely that a thorough sociological knowledge of the age might be + founded upon or tested by his pictures. The whole life of the time is + set down by a hand that never falsifies, that swerves neither to the + right of idealization nor to the left of caricature.</p> + + <p>Yet to leave him as a painter of contemporary manners only would be + almost as false to his greatness as to consider him only as Bruegel the + Droll. For he penetrates below the temporary appearances of his time to + the permanent in human nature. His pictures can be a means of access + to the life of his age, to be sure; but no lover of them would think + of using them in this fashion. The important thing is that they give + access to a life that is of more than one age; under the costume of the + time exists the same humanity that now wears another dress.</p> + + <p>In giving himself over so unreservedly to the impermanent, Bruegel took + what was for him the only way to the permanent. This cannot be captured + by going out after a vague and unlocalized something called life in + general; what is presented to the artist for his use is always life in + particular. There is an all-life in the steady and swelling succession + of human generations; but the only means of access to that is the + now-life. The great artist’s major accomplishment lies in revealing the + universal through the particular, the permanent through the transitory, + the inevitable through the accidental.</p> + + <p>This Bruegel does; and how well he does it is to be found by analyzing + the thought behind his varied rendering of events and people. Even in + his early pictures each creature has his own individuality and yet is + part of the crowd, which remains a crowd in spite of all detail; each + individual retains his own value of personality and yet is integrated + into a collective being. Bruegel’s minute accuracy of drawing expresses + his love for the individual as such; his great masses of people express + his desire to see life largely and as an interwoven whole. Moreover, + the device of making the ostensible subject of a picture an almost + invisible incident in it is an expression of an idea as to the relative + importance of the individual and what happens to him. Though the + actions of the <a href="#i_23"><cite>Carrying of the Cross</cite></a> and the <a href="#i_37"><cite>Conversion of + Paul</cite></a> do actually center around the subject-incident, the incident + itself is reduced almost to the vanishing-point; so that the story + emphasis is thrown entirely upon the larger life of which the incident + is only the temporary focus. The <a href="#i_36"><cite>Fall of Icarus</cite></a> likewise + expresses this heresy <span class="pagenum"><a id="Page_52"></a><a id="Page_53"></a>53</span>against conventional thinking as to what is + truly sublime; only here the unimportance of a particular event is made + more emphatic by such a detail as the position of the shepherd as well + as by the large indifference of this great luminous calm expanse of + land and sea and sky.</p> + + <figure class="figcenter illowp75" id="i_52"> + <img src="images/i_52.jpg" alt=""> + <figcaption>HUNTERS IN THE SNOW (DETAIL)</figcaption> + </figure> + + <figure class="figcenter illowp90" id="i_53"> + <img src="images/i_53.jpg" alt=""> + <figcaption>HAYMAKING (JUNE?). RAUDNITZ, COLLECTION OF PRINCE LOBKOWITZ</figcaption> + </figure> + + <p>Moreover, the sequence of changes in the relative importance of the + human figures in the paintings is but the story of Bruegel’s developing + conception of the relative importance of man in the scheme of things. + In one group of pictures the individual, though fully personalized, is + a part of the crowd and the crowd a mass of insects swarming over the + landscape. In another group of large-figured peasant subjects man is + all-important, filling the whole and shutting nature out. The former + are amazing, and one can hardly get too much of them; the latter are + interesting and one likes them long. But for the final expression of + his mind one must turn to the set of the <a href="#i_48"><cite>Months</cite></a>; these five, + with the addition of the <a href="#i_37"><cite>Paul</cite></a> and the <a href="#i_36"><cite>Icarus</cite></a>, form the + summit of Bruegel’s art. In them Bruegel reached the solution of the + two problems of his life, the life of nature and the life of man; and + the solution was the life of man in nature.</p> + + <p>The <a href="#i_48"><cite>Months</cite></a> sum up his life’s endeavor both in the material + he had all along been dealing with and in the conceptions between + which all along he had been alternating. They are full of motives and + incidents taken from his earlier works—the church he drew so often, + children at their games, the great stretches of landscape that he + loved. But all things are adjusted to one another in a new way; the + people are seen neither too large nor too small, but in a perfect + relationship to <span class="pagenum"><a id="Page_54"></a><a id="Page_55"></a><a id="Page_56"></a>56</span>an immensely embracing nature; and each picture is + pervaded by an unbroken harmony of mood. This set marks the attainment + of final insight into everything that had concerned him; they + constitute his acceptance and affirmation of life.</p> + + <figure class="figcenter illowp100" id="i_54"> + <img src="images/i_54.jpg" alt=""> + <div class="attl"><i>Courtesy of the Metropolitan Museum of Art.</i></div> + <figcaption class="clear">THE HARVESTERS (AUGUST?). NEW YORK, METROPOLITAN MUSEUM OF ART</figcaption> + </figure> + + <figure class="figcenter illowp75" id="i_55"> + <img src="images/i_55.jpg" alt=""> + <figcaption>THE RETURN OF THE HERDS (NOVEMBER?). VIENNA, MUSEUM</figcaption> + </figure> + + <figure class="figcenter illowp90" id="i_56"> + <img src="images/i_56.jpg" alt=""> + <div class="attl"><i>Courtesy of the Metropolitan Museum of Art.</i></div> + <figcaption class="clear">THE HARVESTERS (DETAIL)</figcaption> + </figure> + + <h3>7.</h3> + + <p class="drop-cap-s"><span class="smcap1">The</span> more Bruegel’s work is studied the stronger grows the feeling that + almost everything may be attributed to him. To go to Vienna and through + that group of fifteen pictures to come into direct contact with his + mind across three hundred and fifty years is to be convinced that his + is one of the inexhaustible minds of the world. The material brilliancy + of the painting is more than matched by the brilliancy of the creative + soul behind them. Whether he himself was conscious of all that can now + be perceived in his work does not much matter; whether it came there + with him aware or unaware, it is enough to make him superbly great. But + this much is true: the more his mind is apprehended, the more vast and + purposeful it appears.</p> + + <p>He was fortunate in finding his means of expression in what was then + a popular art; everything about that art was so alive that it drew + to itself some of the greatest minds of the time. There existed a + tremendous amount of give-and-take between the artist and his age, and + this degree of interaction it was which had most to do with endowing + both art and artist with vitality; they were fed from sources outside + of and larger than themselves. Thus it was that Bruegel attained to so + comprehensive an expression of himself and his age together that his + work has become one of the permanent things of art.</p> + + <p>Each picture is a completely functioning organism with several + different aspects. There is the aspect of story-telling, that of + technical picture-making and that of philosophic thought. Each aspect + functions harmoniously with the others. Not only can one analyze out at + will the elements proper to each aspect, but one can move from one to + <span class="pagenum"><a id="Page_57"></a><a id="Page_58"></a>58</span>another without any feeling of shifting gear or changing speed. (The + one exception is the group of mourning women in the <a href="#i_23"><cite>Carrying of the + Cross</cite></a>.) All these aspects function at the same mental rate. They + are all interwoven into powerful wholes. Every picture is a world in + itself, and coming to know them is one of the completest experiences + that can be found anywhere in the art of painting.</p> + + <figure class="figcenter illowp75" id="i_57"> + <img src="images/i_57.jpg" alt=""> + <figcaption>THE RETURN OF THE HERDS (DETAIL)</figcaption> + </figure> + + <p>Yet even with this completeness of expression attained, one has before + Bruegel’s work a feeling of still more behind, an immensity of mind + larger than any art can be. It is the feeling one has before Michelangelo, + but not before Raphael; before Shakespeare, but not before + Marlowe. The greater ones are not only greater in their art, but they + have something left over in themselves which their art suggests but + does not directly express. Of this greater company is Pieter Bruegel.</p> + + <p>There are purer painters, but for the purity of their art they pay + the price of going without something of importance to a complete + life. And even their gain in intensity seems hardly a gain in the + face of Bruegel’s intensity on all the levels of his completeness. + He transposes all life into his pictures in a scale of relative + relationship that preserves the values of human life itself. Every + other painter lacks something or has something in excess. Bruegel is + the most comprehensive and the best balanced, the most energetic and + the mellowest. Of all painters he is the greatest realist, and of them + all the most humane.</p> + + <figure class="figcenter illowp90" id="i_58"> + <img src="images/i_58.jpg" alt=""> + <figcaption>THE RETURN OF THE HERDS (DETAIL)</figcaption> + </figure> + + <hr class="chap x-ebookmaker-drop"> + <div class="chapter"> + <span class="pagenum" id="Page_59">59</span> + <h2 class="nobreak" id="BIBLIOGRAPHY">AN ANNOTATED BIBLIOGRAPHY</h2> + </div> + + <p class="drop-cap-s"><span class="smcap1">The</span> object of the following book-list is to mention not everything + that has been printed about Pieter Bruegel but only such volumes and + articles as have definite value. The major cause of its shortness, + however, is the fact that the literature of the subject is surprisingly + small in quantity; in English, particularly, there is almost nothing + beyond short paragraphs in some histories of art and the usual + unilluminating brevities of general reference works.</p> + + <p class="hang"><span class="smcap">Pieter Bruegel l’Ancien.</span> Son Oeuvre et son Temps. Par <span class="smcap">René + Van Bastelaer</span> et <span class="smcap">Georges Hulin De Loo</span>. Bruxelles: G. + Van Oest & Cie.: 1907.</p> + + <p>This, the first volume to be published on Bruegel, remains the standard + work. For the handsomeness and completeness of its reproductions + combined with the accuracy and thoroughness of its text, treating every + aspect of the painter’s life and work, it is a notable accomplishment + in book-making and in scholarship. What has since been written and + the pictures that have since been discovered still do no more than + supplement certain phases of it; nor can it be superseded until someone + is prepared to give time and money to a thorough search of European + galleries and private collections. It is now, however, somewhat + difficult to obtain.</p> + + <p class="hang"><span class="smcap">Les Estampes de Peter Bruegel l’Ancien.</span> Par <span class="smcap">René Van + Bastelaer</span>. Bruxelles: G. Van Oest & Cie.: 1908.</p> + + <p>Within its chosen field this volume also remains the standard and needs + only supplementing by later researches. Its 278 plates reproduce all + the prints then thought to be by Bruegel or after his designs.</p> + + <p class="hang"><span class="smcap">Pierre Bruegel l’Ancien.</span> Par <span class="smcap">Charles Bernard</span>. + Bruxelles: G. Van Oest & Cie.: 1908.</p> + + <p>This, which appeared immediately after the two preceding volumes, may + fairly be described as a good popularization of them, with additional + historical material drawn from other sources. The thirty reproductions + are very good half-tones; the text gives a satisfactory account of the + painter’s life and times, although there is too much reliance upon the + mere subject-matter of the pictures and although parts of Van Mander’s + clumsy narrative are transposed into French of debatable suavity. It is + the only generally available biography in French. To any reader of it + my indebtedness to it for facts (other than those given by Van Mander) + and my occasional difference of interpretation will be equally evident.</p> + + <p class="hang"><span class="smcap">Der Bauern-Bruegel.</span> Von <span class="smcap">W. Hausenstein</span>. München & + Leipzig: R. Piper & Co.: 1910.</p> + + <p>This is commended by Herr Friedländer (see eighth item) as a portrait + of the man Bruegel; as a discussion of his work, however, it has been + superseded in German by Herr Friedländer’s own book.</p> + + <p class="hang"><span class="smcap">“The Adoration of the Kings” by Pieter Brueghel the Elder.</span> By + <span class="smcap">C. J. Holmes</span>. In The Burlington Magazine; vol xxxviii, no. + ccxv: London: February 1921.</p> + + <p class="hang"><span class="smcap">The Harvesters by Pieter Bruegel the Elder.</span> By <span class="smcap">B[ryson] + B[urroughs]</span>. In The Bulletin of the Metropolitan Museum of Art: + vol. xvi, no. 5: New York: May 1921.</p> + + <p>The fact that these two articles ostensibly deal each with a single + picture should not obscure either their general interest or their + significance as indications and instruments of the contemporary + tendency to assign to Bruegel a higher rank than he has had heretofore.</p> + + <p class="hang"><span class="smcap">Von Eyck bis Bruegel.</span> Studien zur Geschichte der + Niederländischen Malerei. Von <span class="smcap">Max J. Friedländer</span>. Berlin: + Julius Bard: 1921. (Of Bruegel: <abbr title="page">p.</abbr> 169 to end).</p> + + <p>The main point of interest about Bruegel in this book is that the + author gives a catalogue of paintings which differs considerably, both + in its omissions and in its additions, from that given by <abbr title="Monsieur">M.</abbr> Hulin (see + first item).</p> + + <p class="hang"><span class="smcap">Pieter Bruegel.</span> Von <span class="smcap">Max J. Friedländer</span>. Berlin: + Propyläen-Verlag: 1921.</p> + + <p>This is the standard general work in German, and contains a trustworthy + translation of the entire text of Van Mander concerning Bruegel. Even + those who do not read German might well possess this book for the + clearness and frequent brilliancy of its 101 half-tone reproductions, + the majority of which are from drawings and prints. Herr Friedländer is + the only continental scholar so far whose work takes cognizance of the + picture now in the Metropolitan Museum.</p> + + <p class="hang"><span class="smcap">Bruegel.</span> Von <span class="smcap">Kurt Pfister</span>. Leipzig: Insel-Verlag: + 1921.</p> + + <p>This short essay merits notice as a piece of writing. The 78 half-tone + reproductions are not very <span class="pagenum" id="Page_60">60</span>clear, but they include more than a dozen + which are in neither Friedländer nor Bernard.</p> + + <p class="hang"><span class="smcap">Pieter Bruegel.</span> Vierzehn Faksimiledrucke nach Zeichnungen und + Aquarellen. Mit einer Einleitung von <span class="smcap">Kurt Pfister</span>. München: + R. Piper & Co.: 1922.</p> + + <p>This handsome series of large plates is a publication of the + <cite>Marées-Gesellschaft</cite> and for faithfulness in facsimile + reproduction is not to be surpassed.</p> + + <p class="hang"><span class="smcap">Pieter Brueghel’s “Fall of Icarus” in the Brussels Museum.</span> By + <span class="smcap">Arthur Edwin Bye</span>. In Art Studies: Mediæval Renaissance and + Modern: No. 1. Princeton: University Press: 1923.</p> + + <p>A sympathetic though not stylistically distinguished essay in + appreciation, written around the <cite>Fall of Icarus</cite> in the Brussels + Museum.</p> + + <p class="hang"><span class="smcap">Renaissance Art.</span> By <span class="smcap">Elie Faure</span>. New York: Harper & + Brothers: 1923. (Of Bruegel: pp. 276–286).</p> + + <p>This author’s habitual saturation with his subject-matter has enabled + him to convey the multitudinous quality to be felt in many of Bruegel’s + pictures and also to adumbrate the humanity of soul behind them; but + he has almost nothing to say about the more narrowly æsthetic merits + which permit of Bruegel being ranked among the great; and even on the + score of subject-matter Bruegel’s livingness is almost smothered under + a rhetoric made sluggish with anecdotal detail.</p> + + <p class="hang"><span class="smcap">Breughel.</span> By <span class="smcap">Aldous Huxley</span>. In The Calendar of Modern + Letters: vol. 1, no. 6: London: August 1925.</p> + + <p>This essay is a little sermon on the virtue of comprehensiveness in the + appreciation of art, with Bruegel as an ideal text. It is not itself + a comprehensive presentation of the painter or his work and it has + very few traces of the verbal brilliancy which has had so much to do + with putting this author’s novels in the best-selling class; but it + may make the name of Bruegel known to many who are not in a position + to penetrate his work on their own account. I note a curious slip + in the transposition of titles between the Brussels <a href="#i_32"><cite>Numbering at + Bethlehem</cite></a> and the Vienna <a href="#i_33"><cite>Massacre of the Innocents</cite></a>.</p> + + <p class="hang"><span class="smcap">Die Zeichnungen Pieter Bruegels.</span> Von <span class="smcap">Karl Tolnai</span>. + München: R. Piper & Co.: 1925.</p> + + <p>This book has immediately taken rank as the standard authority on the + drawings; its 104 large half-tone plates reproduce every drawing listed + in its catalogue.</p> + + <p class="hang"><span class="smcap">Pieter Bruegel der Aeltere.</span> Siebenunddreissig + Farbenlichtdrucke nach seinen Hauptwerken in Wien und eine Einführung + in seine Kunst. Von <span class="smcap">Max Dvořák</span>. Wien: Oesterreichischen + Staatsdruckerei.</p> + + <p>This wonderful production is just being completed; its magnificent + plates embody the utmost resources of modern color-printing. An edition + with the text translated into French is announced for the month of + July, and another with a translation into English is expected during + the year.</p> + + <p class="p2">The foregoing annotations are based upon actual reading and examination + of the books and articles mentioned. I think it well to append a few + additional items which I have had no opportunity as yet to examine; + my study of the volumes already listed, however, leads me to believe + that they possess interest and importance. The words in italics at the + end of each entry indicate its source among the books in the previous + section.</p> + + <p class="hang"><span class="smcap">Pierre Brueghel Le Vieux.</span> Par <span class="smcap">Henri Hymans</span>. (Gazette + des Beaux-Arts: Paris: 1890 et 1891.) <cite>Pfister: Bibliography.</cite></p> + + <p class="hang"><span class="smcap">Les Brueghel.</span> Par <span class="smcap">Emile Michel</span>. Paris: 1892. <cite>Van + Bastelaer & Hulin, <abbr title="page">p.</abbr> 294.</cite></p> + + <p class="hang"><span class="smcap">Pieter Brueghel der Aeltere und sein Kunstschaffen.</span> Von + <span class="smcap">Alex L. Romdahl</span>. (Jahrbuch der Kunsthistorischen Sammlungen + des Allerhöchsten Kaiserhauses, Bd. 25: Wien: 1905.) <cite>Tolnai and + Pfister: Bibliographies.</cite></p> + + <p class="hang"><span class="smcap">Pieter Bruegel im Kupferstichkabinett zu Berlin.</span> Von + <span class="smcap">Ludwig Burchard</span>. (Amtliche Berichte aus der Königliche + Kunstsammlung in Berlin, Bd. 34: Berlin: 1912–13.) <cite>Tolnai: + Bibliography.</cite></p> + + <p class="hang"><span class="smcap">Die Niederländische Landschaftsmalerei von Patinir bis + Bruegel.</span> Von <span class="smcap">Ludwig von Baldass</span>. (Jahrbuch der + Kunsthistorischen Sammlungen des Allerhöchsten Kaiserhauses, Bd. 34: + Wien: 1918.) <cite>Tolnai: Bibliography.</cite></p> + + <p class="hang"><span class="smcap">Der Bauern-Bruegel und das Deutsche Sprichwort.</span> Von + <span class="smcap">Wilhelm Fraenger</span>. (München: 1923.) <cite>Tolnai: + Bibliography.</cite></p> + + <hr class="chap x-ebookmaker-drop"> + <div class="chapter"> + <span class="pagenum" id="Page_61">61</span> + <h2 class="nobreak" id="NOTES">NOTES</h2> + </div> + + <p class="drop-cap-s"><span class="smcap1">The</span> illustrations of Bruegel’s paintings accompanying this article are + confined to those accepted as authentic by <abbr title="Monsieur">M.</abbr> Hulin in his catalogue + (see Bibliography, first item), with certain additional ones discovered + since its publication. Seventeen of the paintings are positively dated; + the rest must be distributed through the eleven years of painting on + other evidence. Wherever a date appears under an illustration, it is + the one assigned by the authority just mentioned, with the exceptions + noted. The only alteration in the chronological order, so far as that + may be determined, has been the grouping of the <a href="#i_48"><cite>Months</cite></a> at the + end, to correspond with the text, in which they are treated as the + summing-up of Bruegel’s work as a painter. All the drawings reproduced + are dated on the authority of Herr Tolnai (see Bibliography, fourteenth + item). The following paragraphs give certain supplementary facts:</p> + + <p><a href="#i_10"><cite>Village Marriage</cite></a>: Two copies by Pieter <abbr title="second">II</abbr> are known. A + comparison of this picture with them shows that the arm and hand of the + man kneeling near the bottom of the stairway have been repainted “for + reasons of decency”!</p> + + <p><a href="#i_11"><cite>Dancing Peasant</cite></a>: This is doubtful. Herr Friedländer considers it + a copy; <abbr title="Monsieur">M.</abbr> Hulin leaves the matter undetermined, but reproduces it.</p> + + <p><a href="#i_15"><cite>Descent of Christ into Limbo</cite></a> (drawing): Herr Tolnai says that + the date and signature are apocryphal, but assigns it to no other year.</p> + + <p><a href="#i_16"><cite>Flemish Proverbs</cite></a>: Not known to <abbr title="Monsieur">M.</abbr> Hulin; date given on the + authority of Herr Friedländer.</p> + + <p><a href="#i_19"><cite>Battle Between the Israelites and the Philistines</cite></a>: also called + <cite>The Death of Saul at the Battle of Gilboa</cite>. The uncertainty + of this date turns upon whether an extra figure can or can not be + discerned at the end of the Roman numerals.</p> + + <p><a href="#i_21"><cite>Dulle Griet</cite></a>: The literal subject is the quarrelsome woman, + Terrible Margaret, she who frightens the devil himself.</p> + + <p><a href="#i_23"><cite>The Carrying of the Cross</cite></a>: Also called <cite>The Road to + Calvary</cite>.</p> + + <p><a href="#i_27"><cite>The Misanthrope</cite></a>: Also called <cite>The Perfidy of the World</cite>. + The proverb lettered at the bottom is</p> + + <div class="center-container"> + <div class="poetry"> + <div class="stanza" lang="nl"> + <div class="i0">Om dat de vverelt is soe ongetru</div> + <div class="i0">Daer on gha ic in den ru.</div> + </div> + </div> + </div> + + <p class="noindent">The translation is: Since the world is so untrustworthy, I + go in mourning.</p> + + <p><a href="#i_28"><cite>The Proverb of the Bird-Nester</cite></a>: The proverb is</p> + + <div class="center-container"> + <div class="poetry"> + <div class="stanza" lang="nl"> + <div class="i0">Dije den nest vveet dije vveeten:</div> + <div class="i0">Dije rooft, dije heeten.</div> + </div> + </div> + </div> + + <p class="noindent">It may be translated: Who knows where the nest is has his + knowledge; who rifles it has possession.</p> + + <p><a href="#i_32"><cite>The Numbering at Bethlehem</cite></a>: Also called <cite>The Payment of + Tithes</cite>.</p> + + <p><a href="#i_36"><cite>The Fall of Icarus</cite></a>: Not catalogued by <abbr title="Monsieur">M.</abbr> Hulin. Here put next + to the <cite>Paul</cite> in order to follow the text, in which these two are + joined with the <a href="#i_48"><cite>Months</cite></a> as representing the height of Bruegel’s + achievement.</p> + + <p><a href="#i_38"><cite>The Wine of Saint Martin</cite></a>: Admitted by <abbr title="Monsieur">M.</abbr> Hulin, but with strong + doubts; regarded as the fragment of a larger work; done originally in + tempera and repainted in oil, perhaps in the seventeenth century.</p> + + <p><a href="#i_41"><cite>The Magpie on the Gallows</cite></a>: This picture was bequeathed by + Bruegel to his wife.</p> + + <p><a href="#i_46"><cite>Marine</cite></a>: Not dated by <abbr title="Monsieur">M.</abbr> Hulin. Placed here because it appears to + be unfinished, and so possibly very late.</p> + + <p><a href="#i_48"><cite>The Months</cite></a>: The months suggested in the titles given under the + illustrations follow <abbr title="Monsieur">M.</abbr> Hulin’s catalogue. Herr Friedländer assigns + that given as January to March, the February to December, the August + (New York) to July, leaving the other two as given.</p> + + <p><abbr title="Monsieur">M.</abbr> Hulin dates the whole set about 1567. The only trace among them of a + date is on the picture in the Metropolitan Museum; on the strength of + this Herr Friedländer assigns it positively to 1565, but Mr. Burroughs + is inclined to agree with <abbr title="Monsieur">M.</abbr> Hulin. In any case the violation of time + order in placing this set last is not very great and the gain is + considerable in giving a culminating impression of Bruegel’s art.</p> + + <h3>2.</h3> + + <p>No paintings in Bruegel’s manner are reproduced which are definitely or + even probably by the sons. They are a multitude in themselves, and are + mostly attributed to the father. They are to be met with everywhere, + from London to Palermo, from Madrid to Petrograd. Herr Friedländer + authenticates (without reproducing) one in Budapest and another in + Csàkány. In Hampton Court Palace there is an extremely interesting + smaller version of the Vienna <a href="#i_33"><cite>Massacre of the Innocents</cite></a> in which + eatables are substituted for most of the children, and a companion + piece of coarser workmanship giving an entirely different picture of a + massacre. In Vienna there are a dozen or more by the sons which throw + <span class="pagenum" id="Page_62">62</span>much light on the entire question of Bruegel’s own pictures; the most + interesting of these is in the Lichtenstein Collection and is in the + manner of the <cite>Fleeing Shepherd</cite> in Philadelphia. The problems + raised by all these pictures are many and complex, but the scope and + intention of this essay did not permit of its touching upon such + matters. However, there are all sorts of ways to spend life, and not + the least interesting way would be to go a-Bruegeling through Europe.</p> + + <p class="p2"><span class="smcap">Erratum</span>: On <a href="#Page_33">page 33</a> the date of the <a href="#i_33"><cite>Massacre of the + Innocents</cite></a> should read 1566(?) instead of 1556(?).</p> + + <p class="mb10"><a href="#i_39b"><cite>The Land of Cockaigne</cite></a>, reproduced on <a href="#Page_39">page 39</a>, is now in the Alte + Pinakothek in Munich.</p> + + <figure class="figcenter illowp90" id="i_62"> + <img src="images/i_62.jpg" alt=""> + <figcaption>THE FALL OF ICARUS (DETAIL)</figcaption> + </figure> + + <p><span class="pagenum" id="Page_63">63</span></p> + + <figure class="figcenter illowp75" id="i_63"> + <img src="images/i_63.jpg" alt=""> + <figcaption>MASTER AND PUPIL (DRAWING). ABOUT 1560–61. VIENNA, ALBERTINA</figcaption> + </figure> + + <div class="bbox"> + <span class="pagenum" id="Page_64">64</span> + <div class="center mt2 mb2"> + <span class="xxlarge"><b>THE ARTS</b></span><br> + <span class="xlarge">A MONTHLY MAGAZINE OF ART</span> + </div> + + <div style="margin-left: 5%; margin-right: 5%;"> + <span class="smcap">Forbes Watson</span>, <i>Editor</i> + <span class="fright"><span class="smcap">William Robb</span>, <i>Manager</i></span><br> + <span class="smcap">Lloyd Goodrich</span>, <i>Associate Editor</i> + <span class="fright"><span class="smcap">Virgil Barker</span>, <i>European Editor</i></span> + </div> + + <p class="drop-cap"><span class="smcap1">THE</span> ARTS is not exclusively a magazine of modern art or + exclusively a magazine of the art of the past. It is solely a magazine + of art, whenever or wherever produced.</p> + + <p>Its text is intelligent, stimulating and readable, and the essays which + appear in its pages are permanent contributions to the literature of + art. In selecting its writers <cite class="smcap">The Arts</cite> endeavors to secure + those who are authorities on their particular subjects but are also + capable of writing freshly and directly about them—who are not so + engrossed by the historical and archæological side of art as to forget + its supreme æsthetic importance.</p> + + <p>In its essays on the art of the past <cite class="smcap">The Arts</cite> does not confine + itself within the conventional limits of the European tradition, but + recognizes in the art of the Orient, of Africa, or of aboriginal + America the same qualities which exist in the art of the West.</p> + + <p>In its treatment of contemporary art, <cite class="smcap">The Arts</cite> attempts + to present the work of the most vital artists of the present day, + whether radical or conservative, the emphasis being placed not on the + particular group or faction to which the artist may belong, but upon + the work itself.</p> + + <p>Realizing that one of the most important functions of a magazine is the + discovery of new talent, <cite class="smcap">The Arts</cite> has always opened its pages + to the work of the most promising of the younger artists. Its policy is + not to wait until an artist has achieved success, but to be ahead of + the crowd in affording recognition to the talented men of the future.</p> + + <p>Its regular departments, such as reviews of current exhibitions + and new art books, keep its readers informed of the significant + developments in the world of art. Although the bulk of its articles are + devoted to painting, sculpture, architecture and the decorative arts, + <cite class="smcap">The Arts</cite> from time to time publishes essays in the fields of + music, drama or literature which it knows will be of interest to its + readers—particularly on the subjects of stage design and the art of the + films.</p> + + <p>The written word, however, cannot convey all of the significance of a + work of art. For that reason it has been the policy of the magazine + to make of each issue a series of illustrations which no artist or + art lover can afford to be without. Every number of <cite class="smcap">The Arts</cite> + contains fifty to sixty excellently printed reproductions of important + works of art of the past or the present.</p> + + <div class="center"><i>Fifty cents a copy; five dollars a year.</i></div> + + <div class="center xlarge">THE ARTS PUBLISHING CORPORATION</div> + <div>19 East 59th Street<span class="fright">New York, N. Y.</span></div> + </div> + + <div class="transnote"> + <div class="large center"><b>Transcriber’s Notes:</b></div> + <ul class="spaced"> + <li>Obvious typographical errors have been silently corrected.</li> + <li>Errata have been applied.</li> + <li>The name Michel Angelo has been corrected to Michelangelo</li> + <li>The painting <cite>A Village Wedding</cite> is referred to as <cite>Village Marriage</cite> in the NOTES.</li> + </ul> + </div> + +<div style='text-align:center'>*** END OF THE PROJECT GUTENBERG EBOOK 75540 ***</div> +</body> +</html> + diff --git a/75540-h/images/cover.jpg b/75540-h/images/cover.jpg Binary files differnew file mode 100644 index 0000000..d26c762 --- /dev/null +++ b/75540-h/images/cover.jpg diff --git a/75540-h/images/i_02.jpg b/75540-h/images/i_02.jpg Binary files differnew file mode 100644 index 0000000..41e892a --- /dev/null +++ b/75540-h/images/i_02.jpg diff --git a/75540-h/images/i_06.jpg b/75540-h/images/i_06.jpg Binary files differnew file mode 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