A blockbuster conference containing the latest research on the Bruegel / Brueghel family of painters is being held this fall in Brussels. Many of the leading Bruegel scholars are presenting new findings related to the Bruegel dynasty.
Discoveries related to the Bruegel clan – including patriarch Pieter the Elder, sons Pieter Brueghel the Younger and Jan Brueghel the Elder and other members of the family – will be presented at the symposium. One of the highlights will be presentations related to Pieter Bruegel’s “Dulle Griet,” a painting in Antwerp which has recently undergone extensive investigation, research and cleaning.
The Bruegel / Brueghel clan continues to be top draws at museums and set records at auction (including toping high estimates at this week’s Old Master’s auctions in London).
Registration is open now for this impressive symposium.
More information and registration at http://conf.kikirpa.be/bruegel2018/.
Conference Venue: Royal Museum of Fine Arts of Belgium, Place du Musée, B-1000 Brussels.
12 September 2018, WEDNESDAY
9:00 – 9:45 Registration at the Royal Museums of Fine Arts of Belgium
9:45 – 10:00 Welcome by Hilde De Clercq, director of the KIK-IRPA and Michel Draguet, director of the Royal Museums of Fine Arts of Belgium
CHAIR Lieve Watteeuw
10:00 – 10:40 KEYNOTE LECTURE: Leen Huet, The Surprises of Dulle Griet
10:40 – 11:00 Larry Silver, Sibling Rivalry: Jan Brueghel’s Rediscovered Early Crucifixion
11:00 – 11:20 Véronique Bücken, The Adoration of the Kings in the Royal Museums of Fine Arts of Belgium: Overview and new perspectives
11:20 – 11:30 Discussion
COFFEE BREAK 11:30 – 12:00
CHAIR Dominique Allart
12:00 – 12:20 Yao-Fen You, Ellen Hanspach-Bernal, Christina Bisulca and Aaron Steele, The Afterlife of the Detroit Wedding Dance: Visual Reception, Alterations and Reinterpretation
12:20 – 12:40 Manfred Sellink, Marie Postec and Pascale Fraiture, Dancing with the bride – a little studied copy after Bruegel the Elder
12.40 – 13.00 Mirjam Neumeister and Eva Ortner, Examination of the Brueghel holdings in the Alte Pinakothek/Bayerische Staatsgemäldesammlungen, Munich
13:00 – 13:10 Discussion
LUNCH BREAK 13:10 – 14:30
CHAIR Elizabeth Honig
14:30 – 14:50 Amy Orrock, Jan Brueghel the Elder’s Oil Sketches of Animals and Birds: Form, Function and Additions to the Oeuvre
14:50 – 15:10 René Lommez Gomes, Regarding the Character of Each Animal. An essay on form and colour in non-European fauna painted by Jan Brueghel the Elder
15:10 – 15:30 Uta Neidhardt, The Master of the Dresden “Landscape with the Continence of Scipio” – a journeyman in the studio of Jan Brueghel the Elder?
15:30 – 15:40 Discussion
COFFEE BREAK 15:40 – 16:10
CHAIR Bart Fransen
16.10 – 17.10 Christina Currie, Steven Saverwyns, Livia Depuydt, Pascale Fraiture, Jean-Albert Glatigny and Alexia Coudray, Lifting the veil: The Dulle Griet rediscovered through conservation, scientific imagery and analysis
Christina Currie, Steven Saverwyns, Sonja Brink, Dominique Allart, The coloured drawing of the Dulle Griet in the Kunstpalast, Dusseldorf: new findings on its status and dating
Dominique Allart and Christina Currie, Bruegel’s painting technique reappraised through the Dulle Griet
17:10 – 17:20 Discussion
18.00 Opening reception in Brussels Town Hall (Gothic and Marriage rooms)
13 September 2018, THURSDAY
9:00 Doors open
CHAIR Ethan Matt Kavaler
9:30 – 10:10 KEYNOTE LECTURE: Elizabeth Honig, Copia: Jan Brueghel and the Rhetoric and Practice of Abundance
10:10 – 10:30 Yoko Mori, Is Bruegel’s Sleeping Peasant an Image of Caricature?
10:30 – 10:50 Jamie Edwards, Erasmus’s De Copia and Bruegel the Elder’s ‘inverted’ Carrying of the Cross (1564): An ‘abundant style’ in Rhetoric, Literature and Art?
10:50 – 11:00 Discussion
COFFEE BREAK 11:00 – 11:30
CHAIR Leen Huet
11:30 – 11:50 Tine Meganck, Behind Bruegel: how “close viewing” may reveal original ownership
11:50 – 12:10 Annick Born, Behind the scenes in Pieter Bruegel’s success story: the network of the in-laws and their relatives
12:10 – 12:30 Petra Maclot, In Search of the Bruegel’s Homes and Workshops in Antwerp
12:30 – 12:40 Discussion
LUNCH BREAK 12:40 – 14:40
CHAIR Christina Currie
14:40 – 15:00 Lieve Watteeuw, Marina Van Bos, Joris Van Grieken and Maarten Bassens, ‘View on the Street of Messina’, circle of Pieter Bruegel the Elder: Drawing techniques and materials examined
15:00 – 15:20 Maarten Bassens, “Diet wel aenmerct, die siet groot wondere”. Retracing Pieter Bruegel’s printing press(es) by means of a typographical inquiry
15:20 – 15:40 Edward Wouk, Pieter Bruegel’s Subversive Drawings
15:40 – 15:50 Discussion
COFFEE BREAK 15:50 – 16:20
CHAIR Valentine Henderiks
16:20 – 16:40 Jürgen Muller, Pieter Bruegel’s “The Triumph of Death” revisited
16:40 – 17:00 Jan Muylle, A lost painting of Pieter Bruegel, The Hoy
17:00 – 17:20 Hilde Cuvelier, Max J. Friedländer’s perception of Bruegel: Rereading the connoisseur with historical perspective
17:20 – 17:30 Discussion
14 September 2018, FRIDAY
9.00 Doors open
CHAIR Manfred Sellink
9:30 – 10:10 KEYNOTE LECTURE: Ethan Matt Kavaler, Peasant Bruegel and his Aftermath
10:10 – 10:30 Christina Currie and Dominique Allart, The creative process in the Triumph of Death by Pieter Bruegel the Elder and creative solutions in two versions by his sons
10:30 – 10:50 Anne Haack Christensen, David Buti, Arie Pappot, Eva de la Fuente Pedersen and Jørgen Wadum, The father, the son, the followers: Six Brueg(h)els in Copenhagen examined
10:50 – 11:00 Discussion
COFFEE BREAK 11:00 – 11:30
CHAIR Dominique Vanwijnsberghe
11:30 – 11:50 Lorne Campbell, Bruegel and Beuckelaer: contacts and contrasts
11:50 – 12:10 Patrick Le Chanu, Pieter Bruegel the Elder and France
12:10 – 12:30 Daan van Heesch, Hercules et simia: the Peculiar Afterlife of Bruegel in Sixteenth-Century Segovia
12:30 – 12:50 Francesco Ruvolo, The Painter and the Prince. Abraham Brueghel and Don Antonio Ruffo. Artistic and cultural relations in Messina from the seventeenth century. With unpublished documents
12:50 – 13:00 Discussion
LUNCH BREAK 13:00 – 14:30
CHAIR Véronique Bücken
14.30 – 14.50 Lucinda Timmermans, Painted ‘teljoren’ by the Bruegel family
14:50 – 15:10 Pascale Fraiture and Ian Tyers, Dendrochronology and the Bruegel dynasty
15:10 – 15:30 Jørgen Wadum and Ingrid Moortgat, An enigmatic panel maker from Antwerp and his supply to the Brueghels
15:30 – 15:50 Ron Spronk, Elke Oberthaler, Sabine Pénot, and Manfred Sellink, with Alice Hoppe Harnoncourt, The Two Towers: Pieter Bruegel’s Tower of Babel panels in Vienna and Rotterdam
15:50 – 16.00 Discussion
16:00 – 16:10 Closing Remarks: Christina Currie and Dominque Allart
Several weeks ago I wrote about the catalog for the exhibit Bruegel Defining a Dynasty by Amy Orrock. Now, having seen the exhibit firsthand, I can confirm what I suspected after reading the catalog; that the exhibit, presented by outgoing museum director Jennifer Scott, is a marvelous exploration of the Bruegel family brought vividly to life.
Smartly, the exhibit begins with an overview of the Bruegel family tree, showing the relations of family members whose paintings will be viewed in the coming rooms.
A work from the genius at the top of the family tree, Pieter Bruegel the Elder, greets us as we enter the first room. The Adoration of the Kings, 1564, is Bruegel at his finest, a visual feast for the eyes along with not-subtle commentary that reflects how some on-lookers appeared to be more interested in the gifts brought for Christ than the child himself.
One of the exhibition’s aims was to show that Pieter the Elder’s two male children, Pieter the Younger and Jan the Elder, were not simply copyists, but added their own personalities to scenes that their father first painted. Comparing Jan the Elder’s version of The Adoration of the Kings, for example, is a wonderful example of how Jan adjusted and enhanced his father’s composition, by adding elements like a town in the background and details of the dilapidated stable where the scene is set.
The Bruegel exhibit also showcases works painted outside of the family, such as the version of Netherlandish Proverbs included here. This work is intriguing because it omits one fourth of the proverbs found in Bruegel the Elder’s painting. Further, it is much smaller than the copies made by Pieter the Younger and his studio, and does not contain the characteristic underdrawing found in Pieter the Younger’s works. Scientific analysis indicates that it was produced at approximately the same time as the works by Pieter the Younger’s studio in the early seventeenth century. However, this work contains aspects of the completed Bruegel the Elder painting that are not included in Pieter the Younger’s copies. This means that while Bruegel the Younger did not have access to his father’s completed painting, the painter of this work did have access. How non-family members could have accessed the painting is just one of the mysteries discussed in the exhibit.
Family members showed their expertise with other genres such as still lifes, which Jan the Elder and Jan the Younger were undisputed masters. Jan Brueghel the Elder’s grandson, Jan van Kessel, is represented in four small paintings that depict insects set against a light background. The pictures gleam through the copper substructure, with the insects painted in minute detail.
There are many mysteries still to be solved within the family, such as what was Pieter Bruegel III’s role in his father Pieter Brueghel the Younger’s workshop. Exhibits like this one allow us to revel in the depth and breadth of the family’s output, and consider the many mysteries still be examined.
(Bruegel: Defining a Dynasty at the Holburne Museum, Bath, England, February 11 – June 4, 2017 £10 Full Price | £9 concessions | £5 Art Fund, Full Time Student | FREE Entry to under 16s and All Museum Members)