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Event Preview – “The Bruegel Success Story,” 12-14 September 2018

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We were fortunate enough to obtain an exclusive preview of the upcoming event, “The Bruegel Success Story,” to be held 12-14 September 2018 in Brussels, Belgium.  (http://conf.kikirpa.be/bruegel2018/) This can’t-miss conference kicks off a number of activities celebrating the life and work of Pieter Bruegel the Elder, who died 450 years ago.  We corresponded with one of the conference organizers, Dr. Christina Currie, Royal Institute for Cultural Heritage (KIK-IRPA), who gave us this exciting preview of the conference:

1) What led to focusing on Bruegel and his family for this conference?

The year 2019 is the 450th anniversary of Pieter Bruegel the Elder’s death. In Belgium and in Vienna, this is being marked by a series of events that will celebrate his career and his influence on later generations. The Bruegel Success Story conference, organised by the Royal Institute for Cultural Heritage (KIK-IRPA) in collaboration with the Royal Museums of Fine Arts in Belgium, will kick off this season of activities and will give a riveting context for all the subsequent Bruegel themed happenings.

2) What will attendees of the conference learn?

Attendees will be exposed to the very latest in Bruegel research through the eyes of experts from all around the world. Eminent keynote speakers Leen Huet (Belgium), Elizabeth Honig (USA) and Matt Kavaler (Canada) will introduce each of the three days. Over the course of the conference, presentations will cover the life and work of Pieter Bruegel the Elder as well as that of his artistic progeny, including the astonishingly exact replicas of his paintings produced by his elder son Pieter Brueghel the Younger and the exquisite paintings of his younger son Jan Brueghel the Elder. Fascinating new findings on the creative process of Bruegel the Elder as well as that of his dynasty will be presented for the first time, thanks to new high resolution scientific imagery. But the conference does not neglect the essential meaning behind these beautiful works of art. Several speakers will concentrate specifically on the interpretation of Bruegel’s paintings and drawings, which can be quite subversive when seen in an historical context. Interesting new facts about the life, family and homes of the Bruegel family will also be revealed.

3) Who should attend this conference?

The Bruegel Success Story is intended for all art lovers with an interest in Flemish painting and particularly those attracted to Bruegelian themes such as peasant dances, landscapes, proverbs and maniacal scenes. Students of art history, art historians, restorers and collectors should not pass up this opportunity.

3) There are a number of papers focusing on Pieter Bruegel the Elder’s painting “Dulle Griet.” Why is that painting receiving attention now?

The Dulle Griet, in the collection of the Mayer van den Bergh Museum in Antwerp, has just undergone the most thorough conservation treatment in its recent history. This has brought to light many original features that were previously hidden behind a murky brown varnish and overpaint. The restoration, carried out at the Royal Institute for Cultural Institute in Brussels, was accompanied by in-depth technical examination that resulted in fascinating discoveries about Bruegel the Elder’s creative process. The conference attendees will hear how this great artist conceived, developed and painted this bizarre macabre composition. Leen Huet, one of the keynote speakers and author of a sensational recent biography on Bruegel the Elder, will delve into the hidden meaning behind the Dulle Griet.

4) One of the biggest bombshells in recent years was the revelation in your book (“The Brueg(h)el Phenomenon”) that Bruegel the Elder’s two versions of “Landscape with the Fall of Icarus” were not painted by Bruegel the Elder. Will there be similar surprises unveiled at the conference?

I can say that attributions will be debated during the conference. This is always the case when a group of experts on a particular artist or dynasty get together. And it can lead to sparks flying as opinions naturally diverge!

5) There has also been a good deal of investigation into Bruegel’s extended family lately.  What will attendees learn about Bruegel’s family at the conference?

Pieter Bruegel the Elder’s paintings were so loved that his son and heir Pieter Brueghel the Younger made his entire career out of producing replicas for an insatiable art market in the late sixteenth and early seventeenth century. Jan Brueghel, his younger brother, updated the family tradition, branching out into flower paintings, allegories and mythological themes. The next generation produced several renowned painters too, including Abraham Brueghel, who traded on the family name. The paintings of the Bruegel dynasty, as well as those of lesser-known artists working in the Bruegel tradition in the Low Countries and abroad, will feature amongst the exciting new material presented during the conference.

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Landscape With The Fall of Icarus

Big news in the Bruegel-sphere this week with new evidence that the famous “Landscape with the Fall of Icarus” is indeed not by Bruegel the Elder.  The soon to be released publication, The Brueg(H)el phenomenon, from the Royal Institute for Cultural Heritage (KIK/IRPA) in Brussels, written by Christina Currie and  Dominique Allart, puts forward evidence that the painting was painted near the year 1600, decades after Bruegel’s death.

For years scholars have been postulating that this work was not characteristic of Bruegel’s works in several key areas.  Manfred Sellink, for example, in his magnificent 2007 monograph “Bruegel: The Complete Paintings, Drawings and Prints,” reviews the history of the attribution question.

The painting has always looked “off” to me.  While it was the first Bruegel picture that captured my attention as a 17 year-old student all those year ago, each subsequent viewing of the painting indicated that something was not quite right about it.  The most problematic aspect of the painting for me rests in the depiction of the peasant and his horse.  The figures do not have the typical heft of Bruegel’s figures.  Something about the man and the horse give the impression that they could almost lift off the painting and float into the sky.

The painting is one of the most famous of Bruegel’s works, with W. H. Auden writing an oft-quoted poem about the work.

We look forward to learning more about Currie and Allart’s findings with the release of their research early next year.

Further information here: http://www.codart.nl/news/724/