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Jan Brueghel the Younger allegories. Posters, reproductions of paintings by famous artists in high resolution good quality, clipart and large photos for download

Jan Brueghel the Younger allegories. Posters, reproductions of paintings by famous artists in high resolution good quality, clipart and large photos for download

10.07.2019

00:05 - REGNUM

Jan Brueghel the Younger is a representative of a dynasty of Flemish artists who have made their name a brand recognizable at first sight. His paintings - whether they are biblical scenes, or the image of a vase of flowers - are cinematic to the smallest detail, and the co-authors are no less brilliant than himself.

"Magpie on the gallows"

Jan Brueghel the Younger was born on September 13, 1601 in Antwerp in the family of the Flemish painter Jan Brueghel the Elder (Velvet) (1568−1625), the son of the founder of the dynasty, Pieter Brueghel the Elder (Muzhitsky). His uncle is a talented painter - Pieter Brueghel the Younger (Hellish).

All the descendants of this family are so interconnected that it is worth telling about the dynasty, starting with its founder.

Pieter Brueghel the Elder was born around 1525 (1530?) According to one version - in the city of Breda in the Kempen district, according to another - in the village of Bregel (or Breugel) closest to the town in the Netherlands. So the name Bruegel comes precisely from the place of birth.

Little is known about Pieter Brueghel the Elder's parents. It is assumed that he was - either from a family of peasants, or - not too prosperous citizens. In his youth, Pieter Brueghel moved to the port city of Antwerp, where he began to study graphics and painting in the workshop of the famous admirer of Italian painting, Pieter Cook (Kukke) van Aelst, the ex-court painter of King Charles V.

Upon graduation, Pieter Brueghel was admitted to the Antwerp Guild of St. Luke. In 1550, Cook van Aelst died, but Pieter Brueghel continued to communicate with his family.

In 1551, Brueghel went to work in the workshop of the enterprising publisher Jerome Kokk, who printed and sold engravings. There he saw a lot of prints from the paintings of Hieronymus Bosch, and on the instructions of Kokk began to make very accurate copies of them, and then his own variations from his paintings. Bruegel is a virtuoso, but he mastered the style and technique of the great maestro, which the resourceful Cook willingly used. For example, the engraving "Big fish eat small ones" was once sold for a lot of money signed "Hieronymus Bosch". Soon the authorship was protested, and a scandal erupted.

In 1561 the artist moved to Brussels. In 1563 he married the young daughter of his teacher Peter Cook, Maiken (Mary). In this marriage, he had two sons and a daughter, Maria: in 1564 - Pieter Brueghel the Younger and in 1568 - Jan Brueghel the Elder.

Pieter Brueghel the Elder for the time being was considered an artist - a "humorist", as he often depicted pictures of the life of ordinary peasants abounding in accurate details with humor or irony. For example, "Peasant Wedding", "Children's Games", "Hunters in the Snow", "Battle of Maslenitsa and Lent". It is known that he himself often studied nature, showing up at a peasant wedding with his merchant friend under the guise of relatives of the groom or bride, and bringing generous gifts.

However, later, behind the gloomy humor of Pieter Brueghel the Elder, they discerned sarcasm and even an existential crisis that reflected the historical realities of the present era of change, which redrawn the borders of Europe in the 16th and 17th centuries.

The Netherlands, which was under the protectorate of Spain, languished from excessive taxes and religious wars. This was during the reign of Philip II, the heir to the Habsburgs.

His adviser, the Duke of Alba, nicknamed "Bloody", brutally suppressed any protests of the population, burned Protestant preachers, opened a hunt for "witches", competing in cruelty with the "achievements" of the Great Inquisition in Spain itself, dealt with people on an anonymous denunciation.

Pieter Brueghel the Elder never kept diaries, did not write articles about art, and even before his death burned a number of his sketches so that nothing hinted at his dissatisfaction with the regime and did not cause trouble to his wife.

Most likely, Maestro Brueghel used Aesopian language in both "peasant" and biblical subjects, which were written as scenes from the life of the Netherlands. For example, “Massacre of the Innocents”, “Census in Bethlehem” (the snowy Central European landscape in the picture does not resemble the north of Israel in any way), “The Triumph of Truth”, “Forty on the Gallows”. His most famous painting was The Tower of Babel.

Pieter Brueghel the Elder died of an unknown illness on September 5, 1569 in Brussels, when the youngest, Jan, was barely a year old, and the eldest, Pieter Brueghel the Younger, was 5 years old. He did not have time to teach his sons. And many of his paintings were sold out before they were even born. Their mother died in 1678.

Jan Brueghel "Velvet" - master of flower miniatures

Pieter Brueghel the Younger and Jan Brueghel the Elder took care of their grandchildren and taught painting by their maternal grandmother, Maria Verhulst Bessemers.

The brothers made copies from engravings and sketches of their father, but Pieter Brueghel the Younger, although he created brilliant works, remained captivated by the fame and style of the famous ancestor, and Jan tried to go out and find his own style: bright, sophisticated and optimistic. Perhaps his work was influenced by a talented grandmother - Maria Verhulst Bessemers.

“It was said about Maria Bessemer that she accepted the challenge of the miniaturist Anna Smeiters. To the image of a mill the size of half a grain of wheat, she added a boy holding a toy windmill in his hand - also quite distinguishable, ”writes Claude Henri Roque. “However, to tell the truth, Maria’s talent did not lie in such tricks at all - not in the ability to “shoe a flea” or create another curiosity that cannot be done without a jeweler’s or watchmaker’s magnifying glass - but in the power of imagination and originality of compositional solutions. If I were to write a scientific (albeit imaginary) biography of Brueghel, I would certainly reject the idea that he was taught painting by Pieter Kukke. Maria Verhulst is more suitable for this role. It was she who could have taught Peter, as she had taught her grandson Jan thirty years later. She could transfer to Peter the technique of miniature painting and the technique of painting with tempera on linen canvas. After all, Brueghel, it seems to me, combines in his paintings the principles of monumental composition, characteristic of tapestries, and the subtlety of the miniature.

Jan Brueghel the Elder, nicknamed Velvet or Floral for his love of elegance and luxury, also had a chance to study painting with the artists Peter Gutkint (Goetkindt) and Gillis van Conninxloe in Antwerp. Then he went to Italy to improve his skills, like his famous father.

He spent 5 years in Rome, bringing together artists from Northern Europe around him. There he met a great connoisseur of art - Archbishop Frederigo Boromeo, who became his patron until the end of his life, and went with him to Milan.

In 1596, Jan Brueghel the Elder returned to Antwerp, was admitted to the Guild of St. Luke, and soon became the court painter of Archduke Albrecht. In 1606 he became dean of the guild.

Jan Brueghel the Elder painted amazing landscapes, paintings based on biblical scenes, as well as amazingly detailed flowers in vases. It was rumored that with the advent of primroses, he abandoned all the works of another genre until the very beginning of August, when "beautiful flowers can not wait." And only after the end of the “flower” season did the time come for landscapes. He mastered all styles of cabinet painting.

Jan Brueghel put art on a commercial footing. He also traded in works of art, and his workshop was loaded with orders from patrons for many years to come.

He worked and traveled a lot, collecting paintings and other art objects. His work was admired by Peter Paul Rubens, who considered Jan Brueghel the Elder to be his elder brother in art. No wonder they painted together the paintings “Return from the War”, as well as “Earthly Paradise”, where Brueghel wrote the landscape, and Rubens - Adam and Eve. They say that Jan Brueghel the Elder felt the soul of flowers, and not just masterfully conveyed their color, texture and shape.

Jan Brueghel the Younger: under the burden of glory

Two years after his birth, Jan, his mother died and his father married Katharina van Marienburg, with whom he had 8 children.

Against the backdrop of the successes of his grandfather, father and uncle, Jan Brueghel the Younger, who also showed artistic abilities, has no choice but to apprentice to his father, making numerous copies and “rehashings” of the plots of his paintings, together with the artists who worked in the workshop.

Having learned all the intricacies of the craft, in 1622 he went to Italy to improve his skills. Jan Brueghel the Younger, following the example of his father, goes to Rome, to Milan, then to Palermo, where he met his childhood friend Anthony van Dyck.

In Italy, in France, in Austria, Jan Brueghel the Younger, like his father, did not go unnoticed by high-ranking patrons of art. In Milan, he takes orders from his father's patron, Federico Borromeo. Not without his recommendation, he receives the first orders from royalty, and then becomes a famous artist, not inferior to the famous Jan Brueghel the Elder in skill, drawing details, love for flower arrangements and optimistic landscapes.

The paintings of Jan Brueghel the Elder and the Younger, at times, are indistinguishable to the point of confusion, which did not bother the members of this talented family at all. But it really interfered with collectors and art historians who studied their work. Invaluable assistance to connoisseurs was provided only by modern methods of studying paintings.

Unlike his father, Jan Brueghel the Younger prefers larger canvases depicting flowers and landscapes to miniatures. For example, "A large bouquet of lilies, irises, tulips, orchids and peonies in a vase decorated with images of Amphitrite and Ceres."

According to art historians, this picture is one of his most successful creations. It is worth noting that the flowers depicted on it never bloom at the same time. Tulips - at the very beginning of spring, then - irises, lilies, and closer to autumn - peonies. They personify the triumph of nature, and ceramic vases - the frailty of everything earthly. The goddesses Amphitrite and Ceres are the most important union of Water and Earth for flowers.

In 1626, cholera rages in Antwerp, which claimed the lives of Jan Brueghel the Elder and his three youngest children, Peter, Elisabeth and Mary. His eldest son, Jan, has to interrupt his trip to Italy and return to the Netherlands in order to head his father's workshop.

For some time he worked there together with his childhood friend Anthony van Dyck, then with his younger brother Ambrosius. Many of their paintings - landscapes, allegories framed by flowers, bright flowers in vases - continue the traditional themes of the first two generations of Bruegel. For example, "Nativity", "Madonna and Child in a flower garland", "Madonna and Child with little John the Baptist".

Jan Brueghel the Younger is a talented painter who for a long time remained in the shadow of his famous father's fame. On some of his paintings, he put his signature, and then sold. Perhaps his own paintings were not so readily bought.

Jan Brueghel the Younger creates such paintings as "Allegory of War", "Diana and the Nymphs after the Hunt", "River Landscape with Birds". But their colors, according to critics, are poorer, the palette is more muted than that of their father. Perhaps this is the psychological pressure of stellar ancestors.

In the paintings-allegories of Jan Brueghel the Younger, like those of his uncle, Pieter Brueghel the Younger, there are always animals. True, in Jan Bruegel the Younger they become not just participants in the action, as in the “peasant” paintings of Pieter Brueghel the Younger, but also the main characters.

The state of affairs with recognition and low self-esteem changed only after the son became the head of the workshop. Some believe that the palette has also changed.

Upon his return from Italy, Jan Brueghel works in collaboration with other famous Antwerp artists, including Rubens, Hendrick van Belen (1575−1632), Lucas Van Uden (1596−1672), David Teniers the Younger (1610−1690). A wonderful painting "Rural landscape with a well", demonstrated at the Brueghel exhibition in the Pushkin Museum im. Pushkin, was performed jointly with Jos De Momper the Younger.

Jan Brueghel the Younger is happy to give the landscape part of the work, because in the depiction of nature, all Bruegel painters are outstanding masters.

Fame comes to Jan Brueghel the Younger along with the development of affairs in the workshop, and here he decides on his own signature: as "Breughel" instead of "Brueghel".

In 1626, Jan Brueghel the Younger marries Anna-Maria Jenssens, the daughter of the artist Abraham Jenssens (or Jansens) van Nuissen (approximately 1567 - 1632), with whom he collaborated for some time as a co-author. In 1930 he became dean of the Guild of Saint Luke. In the same year, he receives orders from the French, and then the Austrian courts.

Jan Brueghel the Younger's painting Allegory of Taste is widely known, depicting a young lady and a satyr eating oysters in a certain gallery against the backdrop of a typical Central European city located in the distance. He also writes "The Allegory of Smell", "The Allegory of Air", "The Temptation of Adam", "The Allegory of Peace and Order", "The Allegory of the Arts".

Having established work in the workshop, Jan Bruegel the Younger moved with his family to Paris, where he lived until 1657. Then he returns to Antwerp. The artist died on September 1, 1678, two weeks before his birthday.

Jan Brueghel the Younger had eleven children, and five of them: Jan Peter, Abraham, Philips, Ferdinand and Jan Baptist, became his students, like his nephew Jan Kessel, and then independent painters. They also worked in the family workshop in Antwerp.

It is worth noting that the paintings of the younger Brueghels were not appreciated by the public and collectors for a long time. There were significantly more of them than the works of the elder. In addition, some of the paintings were painted by other artists based on their work.

However, in the twentieth century there was an unexpected reassessment of values. At the 1934 exhibition in the Amsterdam gallery, their works were exhibited, which aroused undoubted interest among the public. Since the end of World War II, their paintings have been exhibited again at venues ranging from Budapest and Vienna to Moscow, Brussels and Tel Aviv.

In the paintings they suddenly find depth, a kind of double, or even triple meaning, and artistic value, which is not at all characteristic of copies of paintings by great masters.

Jan Brueghel the Younger is a great Dutch painter. Representative of the Brueghel dynasty of painters. He is a grandson and a son. Although he is not as famous a painter as Pieter Brueghel the Elder, he still occupies an honorable and very high place in the history of world painting. His paintings are in the most famous museums in the world and inspire many contemporary artists to work.

Jan Brueghel the Younger born in 1601 - died in 1678. In his works, all the same allegories, as if the continuation of the work of the entire family dynasty of artists. His teacher was his own father, who in turn learned from his father. From that, the style of the paintings of all Bruegel artists is somewhat similar. They are distinguished only by their own handwriting of each of the painters. One can philosophize and say that the entire dynasty of artists was one continuous artist for four generations, who from time to time changed the style of approach to the image, but always remained true to allegory and mythology.

The art of Jan Brueghel the Younger was especially expressed in large canvases, where he could show all his skill. His approach to painting was very meticulous and precise. Art critics note the traceability of the smallest details, which makes the works unimaginably filled. After the death of his father, he headed the Antwerp workshop, and later became dean of the Guild of St. Luke.

Paintings by Jan Brueghel the Younger:

Allegory of taste

Allegory of air

Allegory of war

Allegory

Bouquet of flowers in a vase

In the garden of Eden

rural landscape

Diana and nymphs after the hunt

Diana after the hunt

Temptation of Adam

Basket of flowers

Peasant farmstead

Seashore with castle ruins

Landscape with travelers

) - Dutch (Flemish) artist, representative of the South Dutch (Flemish) dynasty of artists Bruegel, grandson of Brueghel Muzhitsky.

Biography

Yang was the eldest child in the family. Two years after his birth, his mother died and his father married Katharina van Marienburg, with whom he had 8 children. As the firstborn, Yang continued his paternal dynasty and became an artist. At the age of ten, he was apprenticed to his father. Throughout his career, he created canvases in a similar style. Together with his brother Ambrosius, he painted landscapes, still lifes, allegorical compositions and other works full of small details. He copied his father's works and sold them under his signature. The works of Jan the Younger are distinguished from the works of Jan the Elder by their slightly lower quality and illumination.

Jan was traveling in Italy (1625) when he received news of his father's death from cholera. He interrupted the voyage and immediately returned to head the Antwerp workshop. Soon he reached a significant position and became dean of the Guild of St. Luke (). The best works of Jan the Younger are large landscapes.

Genealogy

Pieter Brueghel
Senior

Pieter Brueghel
Jr

Jan Brueghel
Senior

Marie Brueghel

Ambrosius Brueghel

Jan Brueghel
Jr

Anna Brueghel

David Teniers
Jr

Abraham Brueghel

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Notes

Literature

// Encyclopedic Dictionary of Brockhaus and Efron: in 86 volumes (82 volumes and 4 additional). - St. Petersburg. , 1890-1907.

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An excerpt characterizing Brueghel, Jan (the Younger)

He himself imagined himself of enormous stature, a powerful man who threw cannonballs at the French with both hands.
- Well, Matvevna, mother, do not betray! - he said, moving away from the gun, as an alien, unfamiliar voice was heard above his head:
- Captain Tushin! Captain!
Tushin looked around frightened. It was the staff officer who kicked him out of Grunt. He shouted to him in a breathless voice:
- What are you, crazy. You've been ordered to retreat twice, and you...
“Well, why are they me? ...” Tushin thought to himself, looking at the boss with fear.
- I ... nothing ... - he said, putting two fingers to the visor. - I…
But the colonel did not finish everything he wanted. A close-flying cannonball made him dive and bend over on his horse. He paused and was just about to say something else when the core stopped him. He turned his horse and galloped away.
- Retreat! Everyone retreat! he shouted from afar. The soldiers laughed. A minute later the adjutant arrived with the same order.
It was Prince Andrew. The first thing he saw, riding out into the space occupied by Tushin's guns, was an unharnessed horse with a broken leg, which was neighing near the harnessed horses. From her leg, as from a key, blood flowed. Between the limbers lay several dead. One shot after another flew over him as he rode up, and he felt a nervous tremor run down his spine. But the very thought that he was afraid lifted him up again. "I can't be afraid," he thought, and slowly dismounted from his horse between the guns. He gave the order and did not leave the battery. He decided that he would remove the guns from the position with him and withdraw them. Together with Tushin, walking over the bodies and under the terrible fire of the French, he took up cleaning the guns.
“And then the authorities were coming now, so it was more likely to fight,” the fireworker said to Prince Andrei, “not like your honor.”
Prince Andrei did not say anything to Tushin. They were both so busy that they didn't seem to see each other. When, putting on the limbers of the two guns that had survived, they moved downhill (one broken gun and the unicorn were left), Prince Andrei drove up to Tushin.
“Well, goodbye,” said Prince Andrei, holding out his hand to Tushin.
- Goodbye, my dear, - said Tushin, - dear soul! Farewell, my dear, - Tushin said with tears that, for some unknown reason, suddenly came into his eyes.

The wind died down, black clouds hung low over the battlefield, merging on the horizon with gunpowder smoke. It was getting dark, and the more clearly the glow of fires was indicated in two places. The cannonade became weaker, but the rattle of guns behind and to the right was heard even more often and closer. As soon as Tushin with his guns, going around and running over the wounded, got out of the fire and went down into the ravine, he was met by his superiors and adjutants, including the staff officer and Zherkov, who was sent twice and never reached Tushin's battery. All of them, interrupting one another, gave and transmitted orders, how and where to go, and made reproaches and remarks to him. Tushin did not order anything and silently, afraid to speak, because at every word he was ready, without knowing why, to cry, he rode behind on his artillery nag. Although the wounded were ordered to be abandoned, many of them dragged along behind the troops and asked for guns. The very dashing infantry officer who, before the battle, jumped out of Tushin's hut, was, with a bullet in his stomach, laid on Matvevna's carriage. Under the mountain, a pale hussar cadet, supporting the other with one hand, approached Tushin and asked him to sit down.

1601-1678
Jan Bruegel the Younger (Dutch. Jan Bruegel de Jonge, MFA: [ˈjɑn ˈbrø:ɣəl]; September 13, 1601 - September 1, 1678) is a representative of the South Dutch (Flemish) Bruegel dynasty of artists, the grandson of Brueghel Muzhitsky. *** Biography Yang was the eldest child in the family. Two years after his birth, his mother died and his father married Katharina van Marienburg, with whom he had 8 children. As the firstborn, Yang continued his paternal dynasty and became an artist. At the age of ten, he was apprenticed to his father. Throughout his career, he created canvases in a similar style. Together with his brother Ambrosius, he painted landscapes, still lifes, allegorical compositions and other works full of small details. He copied his father's works and sold them under his signature. The works of Jan the Younger are distinguished from the works of Jan the Elder by their slightly lower quality and illumination. Jan was traveling in Italy when he received the news of his father's death from cholera. He interrupted the voyage and immediately returned to head the Antwerp workshop. He soon rose to prominence and became dean of the Guild of St. Luke (1630). The best works of Jan the Younger are large landscapes.

Short biography:

Jan Brueghel the younger is a great Dutch artist. Representative of the Brueghel dynasty of painters. He is the grandson of Pieter Bruegel the Elder and the son of Jan Brueghel the Elder. Although he is not as famous a painter as Pieter Brueghel the Elder, he still occupies an honorable and very high place in the history of world painting. His paintings are in the most famous museums in the world and inspire many contemporary artists to work.

Jan Brueghel the Younger born 1601 - died 1678. Yang was the eldest child in the family. Two years after his birth, his mother died and his father married Katharina van Marienburg, with whom he had 8 children. As the firstborn, Yang continued his paternal dynasty and became an artist. At the age of ten, he was apprenticed to his father. Throughout his career, he created canvases in a similar style. Together with his brother Ambrose painted landscapes, still lifes, allegorical compositions and other works full of small details. He copied his father's works and sold them under his signature. The works of Jan the Younger are distinguished from the works of Jan the Elder by their slightly lower quality and illumination.

Jan was traveling in Italy (1590) when he received news of his father's death from cholera. He interrupted the voyage and immediately returned to head the Antwerp workshop.

The best works of Jan the Younger are large landscapes. In his works, all the same allegories, as if the continuation of the work of the entire family dynasty of artists. His teacher was his own father, who in turn learned from his father. From that, the style of the paintings of all Bruegel artists is somewhat similar. They are distinguished only by their own handwriting of each of the painters. One can philosophize and say that the entire dynasty of artists was one continuous artist for four generations, who from time to time changed the style of approach to the image, but always remained true to allegory and mythology.