Bruegel The Elder

Summer Auction Highlights

The summer auction season is upon us, with Christie’s and Sotheby’s offering stellar works by Brueghel the Younger.

Massacre of the Innocents

One of most interesting works at auction is the version of “Massacre of the Innocents” at Christie’s.  It is interesting for the mystery related to the signature.  From the Lot Details:

“The form of the signature on the major versions is considered to be of significance in placing them within the chronologies of Pieter the Elder’s and Pieter the Younger’s oeuvres. The Royal Collection picture is signed ‘BRVEGEL’, which is now accepted as the Elder’s signature; the Vienna version is signed ‘BRVEG’ at the extreme right edge, although the letters ‘EL’ or ‘HEL’ may have been inadvertently trimmed off; a version in Bucharest is signed ‘P. BRVEGEL’. At the time of its sale in Paris in 1979, the present version appears to have born a fragmentary date in addition to the signature, ‘.BRVEGEL. 15..’ (see Campbell, op. cit., p. 15). We are grateful to Christina Currie of KIK/IRPA for noting that the present version is unusual in that it is signed with the signature form of Bruegel the Elder after 1559, ‘.BRVEGEL.’ without an ‘H’ and without the initial ‘P’. No other versions of the Massacre of the Innocents are securely known to be signed in this way; the implications of this for its primacy in the sequence of versions painted by Brueghel the younger remains to be established.”

What happened to the date on the painting?  Having the date on the work in 1979 but not present now is mysterious.  Was the painting subject to a botched cleaning?  Or, did a cleaning reveal that the date was likely false, and was it removed?  Hopefully this mystery will be solved soon.  Further, it will be very interesting to learn where this version sits in the multiple versions painted by Brueghel.

“Nord on Art” has a great write up of the upcoming Brueghel works at auction:

Brueghel – the Warhol of the Old Master market – UPDATED with sale results

Newly discovered landscape drawing by Pieter Bruegel the Elder on display

Larry Silver’s “Pieter Bruegel”: New Insights On The Old Master

A review of “Pieter Bruegel” by Larry Silver, Abbeville Press, 2011

The images created by Bruegel come thrillingly to life in this Abbeville Press monograph.  This handsome volume, written by Larry Silver, Farquhar Professor of Art History at the University of Pennsylvania, puts forward new insights into Bruegel and the time in which he lived.   Silver set out to document Bruegel’s output in prints, drawings and paintings by focusing on patterns and areas of interest common to these diverse media.  Silver places Bruegel in the social and historical context of his time, as a commentator of the religious and political unrest occurring in the Netherlands during his short lifetime.  Silver also includes information not typically found in other Bruegel monographs, documenting the rise of Bruegel scholarship at the end of the nineteenth century, when the new country of Belgium began to look for a native artist to celebrate.

Silver’s first chapter focuses on “Chris Carrying the Cross,” recently made into the fascinating film by Lech Majewski and discussed in a previous blog entry.  This chapter is an excellent companion piece to the film, setting Bruegel’s work in the context of Rogier van der Weyden, who lived before Bruegel, as well as Bruegel’s contemporaries such as Joachim Beuckelaer.  For Silver, “Christ Carrying the Cross” showcases Bruegel’s range of expression found in his earlier prints, as well as pointing the way to his groundbreaking final paintings, which break with the traditional staging of peasant and religious scenes.

Other chapters cover Bruegel’s life in Antwerp, his prominent patron Nicolaes Jonghelinck and his time with print maker (and future father-in-law) Hieronymus Cock.  In a chapter on Bruegel as the “second Bosch,” Silver describes a fascinating transition between the “Bosch” brand, which Bruegel used early in his career, to the “Bruegel” brand, which was not only used by Bruegel but continued by his son and followers for generations.

Silver’s chapters on religion and tradition include an analysis of Bruegel’s ongoing interest in soldiers and weapons, placing Bruegel’s art in the broader context of earlier German images of important battles, such as the Battle of Pavia, which clearly had a significant influence on the artist.

It is inevitable that a Bruegel monograph would include a section on peasant labor and leisure, but Silver manages to put an interesting new spin on this oft covered subject.  Building on Alison Stewart’s recent work, Silver shows Bruegel continuing and expanding the tradition of scenes found in German woodcuts.  The fascinating scholarly debate between whether Bruegel’s treatment of peasants was sympathetic or moralistically critical is covered well by Silver.

One of the aspects of the monograph that I enjoyed the most was Silver’s careful treatment of lost works by Bruegel that have come down to us through copies by his sons.  Silver rightly points out that these lost works deserve robust, careful consideration in the context of original Bruegel’s that survive and should not be discounted as is typical in other Bruegel monographs.  Paintings such as “Wedding Procession” and “Visit to a Farmhouse” are two examples where only copies survive, but nevertheless are important components of the Bruegel oeuvre.

The final chapter, which details Bruegel’s legacy, includes an analysis of works by his sons, as well as those who copied or even forged Bruegel’s works.  Silver sees this as Bruegel coming to assume a similar status as Bosch, where “Bruegelian” images and themes were adapted and repeated to great commercial success.  Silver concludes the monograph by highlighting how no single scholarly consensus has emerged for Bruegel.  Rather, he is viewed through the prism of the agendas of scholars who study him.

This monograph is highly recommended.