He relied on visual resemblance as the classifying factor. For example, he grouped the horse together with analogous animals, such as the donkey and mule, and separated species into categories, such as birds with webbed feet and nocturnal birds. Brueghel's works reflect this contemporary encyclopedic interest in the classification and ordering of all of the natural world.
Peasant Scenes and Landscapes: The Rise of Pictorial Genres in the Antwerp Art Market
This is evidenced in his flower pieces, landscapes, allegorical works and gallery paintings. In his paradise landscapes, for instance, Brueghel grouped most of the species according to their basic categories of biological classification, in other words, according to the main groups of related species that resemble one another, such as birds or quadrupeds.
He further classified most of them into subdivisions consisting of similar morphological and behavioral characteristics. Brueghel's endeavor to represent the world through ordering and classifying its many elements based on empirical observation did not stop with the natural world. In Prague he had acquired knowledge of the large collections of Emperor Rudolf II, which were divided in natural, artificial and scientific objects.
Brueghel's allegorical paintings of the four elements and of the five senses reveal the same classifying obsession, using each element or sense to organize natural, man-made instruments and scientific objects. In this skillful union of the areas of art, science, and nature Brueghel demonstrates his mastery of these various disciplines. His paintings serve the same purpose to that of encyclopedic collections by linking between the mundus sensibilis and the mundus intelligibilis.
His approach to describing and cataloguing nature in art resembles the distinction natural historians were starting to make between perceptual experience and theoretical knowledge. Brueghel's obsession with classifying the world was completely in line with the encyclopedic tastes of the court in Brussels as is demonstrated by their large art collection of predominantly Flemish paintings, menagerie of exotic species and extensive library.
Jan Brueghel the Elder was one of the first artists in the Southern Netherlands who started to paint pure flower still lifes. A pure flower still life depicts flowers, typically arranged in a vase or other vessel, as the principal subject of the picture, rather than as a subordinate part of another work such as a history painting. While the traditional interpretation of these flower pieces was that they were vanitas symbols or allegories of transience with hidden meanings, it is now more common to interpret them as mere depictions of the natural world.
These works reflected the ideological concerns demonstrated in his work, which combined the worldview that nature was a revelation of a god with the interest in gaining a scientific understanding of nature. Starting with Brueghel 17th century flower still lifes are dominated by the floral arrangements, which are placed against a neutral dark background or a plain setting of a stone niche. Minor details such insects, butterflies, snails and separate sprays of flowers or rosemary may occasionally be added but are subordinate to the principal subject.
This may have been a response to his patrons' wishes as well as compositional considerations. Brueghel was in the habit of traveling to make drawings of flowers that were not available in Antwerp, so that he could paint them into his bouquets. Brueghel rendered the flowers with an almost scientific precision. He arranged each flower with hardly any overlap so that they are shown off to their best advantage, and many are shown at different angles. The flowers are arranged by size with smaller ones at the bottom of the bouquet, larger flowers such as tulips, cornflowers, peonies and guelder roses in the centre and large flowers, such as white lilies and blue irises, at the top of the bouquet.
This arrangement is clear in the Flowers in a Ceramic Vase c. The vase in which the flowers are arranged is decorated with motifs in relief. The two cartouches - separated by a fantastic figure - show Amphitrite, a sea goddess from Greek mythology, on the left, and Ceres, the Roman corn goddess, on the right.
These two goddesses were typically used in allegorical representations of the four elements to symbolise water and earth respectively.
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The other two cartouches on that part of the vase that is invisible likely show Vulcan, who was associated with fire, and Apollo, who was associated with air. Brueghel often repeated motifs in his flower pieces. Even so, he was able to give each work a remarkable freshness and vitality of its own.
Jan Brueghel the Elder played a key role in the invention and development of the genre of garland paintings. Garland paintings typically show a flower garland around a devotional image or portrait. Together with Hendrick van Balen , he painted around the first known garland painting for Italian cardinal Federico Borromeo , a passionate art collector and Catholic reformer.
Borromeo requested the painting to respond to the destruction of images of the Virgin in the preceding century and it thus combined both the cardinal's interests in Catholic reform and the arts. Brueghel, the still life specialist, painted the flower garland, while van Balen, a specialist figure painter, was responsible for the image of the Virgin.
The genre of garland paintings was inspired by the cult of veneration and devotion to Mary prevalent at the Habsburg court then the rulers over the Southern Netherlands and in Antwerp generally. The genre was initially connected to the visual imagery of the Counter-Reformation movement. An example of a collaborative garland painting he made with Hendrick van Balen is the Garland of Fruit surrounding a Depiction of a Goddess Receiving Gifts from Personifications of the Four Seasons of which there are two versions, one in the Belfius collection and a second in the Mauritshuis in The Hague.
The reason is that the goddess in the medallion has none of the attributes traditionally connected with Cybele. Van Balen painted the medallion while Brueghel painted the abundant garland, the surrounding figures and the numerous animals. Jan Brueghel's father, Pieter the Elder, is regarded as an important innovator of landscape art. By introducing greater naturalism in his Alpine mountain settings, his father had expanded on the world landscape tradition that had been founded mainly by Joachim Patinir.
Some of Pieter the Elder's works also foreshadowed the forest landscape that would start to dominate landscape painting around the turn of the 16th century. Pieter the Elder also developed the village and rural landscape, placing Flemish hamlets and farms in exotic prospects of mountains and river valleys. Jan developed on the formula he learned from his father of arranging country figures traveling a road, which recedes into the distance.
He emphasized the recession into space by carefully diminishing the scale of figures in the foreground, middle-ground, and far distance. To further the sense of atmospheric perspective, he used varying tones of brown, green, and blue progressively to characterize the recession of space. His landscapes with their vast depth are balanced through his attention to the peasant figures and their humble activities in the foreground.
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Like his father, Jan Brueghel also painted various village landscapes. He used the surrounding landscapes as the stage for the crowds of anecdotal, colorfully dressed peasants who engage in various activities in the market, the country roads and during the rowdy kermesses. His river views were certainly known to painters working in Haarlem, including Esaias van de Velde and Willem Buytewech , whom Brueghel may have met there when he accompanied Peter Paul Rubens on a diplomatic mission to the Dutch Republic in Jan Brueghel was along with artists such as Gillis van Coninxloo one of the prime developers of the dense forest landscape in the 17th century.
Jan Breughel in fact experimented with such works before Coninxloo's first dated wooded landscape of In his forest landscapes Brueghel depicted heavily wooded glades in which he captured the verdant density, and even mystery, of the forest. Although on occasion inhabited by humans and animals, these forest scenes contain dark recesses, virtually no open sky and no outlet for the eye to penetrate beyond the thick trees.
Jan Brueghel invented the 'paradise landscape', a subgenre that involved a combination of landscape and animal painting. Works in this genre are typically crawling with numerous animals from exotic and native European species who coexist harmoniously in a lush landscape setting. These landscapes are inspired by episodes from Genesis, the chapter of the bible, which tells the story of the creation of the world and of man.
The favorite themes taken from Genesis where the creation of man, Adam and Eve in paradise, the fall of man and the entry of the animals in Noah's ark. Like his flower pieces, these landscapes were informed by the Catholic Counter-Reformation 's worldview, which regarded earth and its inhabitants as revelations of a god and valued artistic representation of, and scientific investigation into, that divine revelation. As described above, Breughel's friend and patron, the Counter-Reformation Cardinal Federico Borromeo, had particularly emphasized the beauty and diversity of the animal world.
Brueghel tried to render this worldview in his paradise landscapes. The novelty of Brueghel's paradise landscapes lies not only in the impressive variety of animals, which the artist studied mainly from life but also in their presentation as both figures of a religious narrative and as subjects of a scientific order.
Brueghel developed his earliest paradise landscapes during his stay in Venice in the early s. The reference to Genesis in the picture appears in a small vignette representing the creation of Man in the background, but the main focus is on the animals and the landscape itself. This work was the first paradise landscape in which Brueghel 'catalogued' animals and depicts common and domesticated types. The emperor had established an encyclopedic collection of rarities and animals.
While in his early paradise landscapes Brueghel seems to have based some of his renderings of the animals on works by other artists, he later could rely on studies from life of the various species in the menagerie of the court in Brussels. In particular Hoefnagel's Four Elements was the first artistic work to categorize animals in a book format.
Hoefnagel's approach to the representation of the animal world combined natural historical, classical, emblematic, and biblical references, which incorporated the various species into the categories of the four elements of the cosmos: earth, water, air, and fire. Brueghel's paradise landscapes also embodied the encyclopedic attitudes of his time by depicting a wide variety of species. Brueghel continued refining his treatment of the subject of paradise landscapes throughout his career.
The many renderings and variations of the paradise landscape produced by Brueghel earned him the nickname Paradise Brueghel. Jan Brueghel the Elder produced various sets of allegorical paintings, in particular on the themes of the Five senses and the Four Elements. These paintings were often collaborations with other painters such as is the case with the five paintings representing the Five senses on which Brueghel and Rubens collaborated and which are now in the Prado Museum in Madrid.
In his allegories Jan Breughel illustrated an abstract concept, such as one of the senses or one of the four elements through a multitude of concrete objects that can be associated with it. He thus represented a concept by means of descriptive tropes.
Brueghel resorted in these allegorical compositions to the encyclopedic imagery that he also displayed in his paradise landscapes. This is demonstrated in his composition Allegory of Fire; Venus in the Forge of Vulcan of which there are various versions of which one Doria Pamphilj Gallery , Rome is a collaboration with Hendrick van Balen and another Pinacoteca Ambrosiana , Milan is attributed to Jan Brueghel alone.
Brueghel's encyclopedic approach in this composition offers such detail that historians of science have relied on the composition as a source of information on the types of tools used in 17th century metallurgical practice. Jan was early on nicknamed 'Hell Brueghel' but by the 19th century that name had become erroneously associated with his brother Pieter the Younger.
Jan Brueghel was given the nickname because of his scenes with demons and hell scenes.kinun-houju.com/wp-content/gobizoqyv/3808.php
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An example is the Temptation of St. Anthony Kunsthistorisches Museum , Vienna , which reprises a subject first explored by Hieronymus Bosch. In this demon-plagued scene the monsters are seen attacking the small saint in the corner of a large and dense forest landscape, rather than within the expanded panoramas of Patinir. Jan Brueghel is believed to have produced his hell scenes for a newer, elite audience of learned and sophisticated collectors.
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To appeal to this erudite clientele he often populated the hell scenes with mythological rather than religious subjects, in particular the Vergilian scene of Aeneas in Hades, escorted by the Cumaean Sibyl. Other mythological themes appearing in his hell scenes included the image of Juno visiting Hades and Orpheus in the Underworld from Ovid 's Metamorphoses. An example of the latter is Orpheus in the Underworld Palazzo Pitti.