The question of how to understand Bruegel’s art has cast the artist in various guises: as a moralizing satirist, comedic humanist, celebrator of vernacular traditions, and proto-ethnographer. Stephanie Porras reorients these apparently contradictory accounts, arguing that the debate about how to read Bruegel has obscured his pictures’ complex relation to time and history. Rather than viewing Bruegel’s art as simply illustrating the social realities of his day, Porras asserts that Bruegel was an artist deeply concerned with the past. In playing with the boundaries of the familiar and the foreign, history and the present, Bruegel’s images engaged with the fraught question of Netherlandish history in the years just prior to the Dutch Revolt, when imperial, religious, and national identities were increasingly drawn into tension. His pictorial style and his manipulation of traditional iconographies reveal the complex relations, unique to this moment, among classical antiquity, local history, and art history. An important reassessment of Renaissance attitudes toward history and of Renaissance humanism in the Low Countries, this volume traces the emergence of archaeological and anthropological practices in historical thinking, their intersections with artistic production, and the developing concept of local art history.

In this delightfully engaging book, Walter S. Gibson takes a new look at Bruegel, arguing that the artist was no erudite philosopher, but a man very much in the world, and that a significant part of his art is best appreciated in the context of humour.

A fresh account of the life, ideas, and art of the beloved Northern Renaissance master. In sixteenth-century Northern Europe, during a time of increasing religious and political conflict, Flemish painter Pieter Bruegel explored how people perceived human nature. Bruegel turned his critical eye and peerless paintbrush to mankind’s labors and pleasures, its foibles and rituals of daily life, portraying landscapes, peasant life, and biblical scenes in startling detail. Much like the great humanist scholar Erasmus of Rotterdam, Bruegel questioned how well we really know ourselves and also how we know, or visually read, others. His work often represented mankind’s ignorance and insignificance, emphasizing the futility of ambition and the absurdity of pride. This superbly illustrated volume examines how Bruegel’s art and ideas enabled people to ponder what it meant to be human. Published to coincide with the four-hundred-fiftieth anniversary of Bruegel’s death, it will appeal to all those interested in art and philosophy, the Renaissance, and Flemish painting.

Pieter Bruegel the Elder and Religion offers new insight into the religious dimension of Bruegel’s art. With a number of highly original and thorough case studies, the volume illuminates Bruegel’s inventive and multifaceted engagement with the contemporary religious concepts and practices of his day and age. Religion remains a vital question in the life and career of Bruegel, because it was so long believed to be more or less absent from his work. As a pioneer of the new genres of landscape and peasant scenes, Bruegel was heralded as a ground-breaking “secular” painter. This volume highlights the most recent scholarship on the artist, offering a much more nuanced portrait of Bruegel’s engagement with the dynamic religious landscape of the mid-sixteenth century. Contributors are: Jessica Buskirk, Ralph Dekoninck, Bertram Kaschek, Walter S. Melion, Jürgen Müller, Anna Pawlak, Gerd Schwerhoff, Larry Silver, and Michel Weemans.

The perfect companion for the Bruegel year of 2019: an introduction to the famous painter through stunning large close-up details in a beautiful coffee table book. Flemish painter Pieter Bruegel the Elder (1525-1569), known for his beautiful landscapes and peasant scenes, is among the most popular artists in the history of Netherlandish painting. Reproducing all of Bruegel's best-known paintings, drawings and prints, this book reveals them as never before, in stunning large close-up details that showcase his mastery. Organized by his major themes - landscapes, daily life, biblical subjects and festive celebrations - it offers astonishing views of popular works of art such as Hunters in the Snow, Peasant Wedding and The Tower of Babel. The printings and drawings section includes his series on Sins and Virtues. Bruegel expert Manfred Sellink reveals how the painter introduced new subject matter into fine art and examines his use of landscape, perhaps the artist's greatest innovation.

In this visually stunning and much anticipated book, acclaimed art historian Joseph Leo Koerner casts the art of Hieronymus Bosch and Pieter Bruegel in a completely new light, revealing how the painting of everyday life was born from what seems its opposite: depictions of a foe hellbent on destroying us. Probing deeply the visual cunning of these Renaissance masters, Koerner uncovers art history's unexplored underside: the visual image as enemy. An absorbing study of the dark paradoxes of human creativity, Bosch and Bruegel is also a timely account of how hatred can be converted into tolerance through art. Koerner guides readers through all the major paintings, drawings, and prints of these two towering artists, including Bosch's elusive Garden of Earthly Delights, which forms the mesmerizing center of the historical tour de force. Elegantly written and abundantly illustrated the book is based on Koerner's A. W. Mellon Lectures in the Fine Arts, a series given annually at the National Gallery of Art, Washington. -- Inside jacket flap.

Unique survey of best works by16th-century Flemish printmaker presents 64 engravings and one woodcut, each accompanied by an informative essay. Subjects include landscapes, ships and the sea, peasants, humor, and religion.

This up-to-date monograph incorporates the latest art-historical research and new information gleaned from recent restoration of Bruegel's work and is lavishly illustrated not only with Bruegel's paintings, drawings, and engravings but also with telling details and archival material rarely or never shown elsewhere.

Pieter Bruegel the Elder (1525/30-1569) was a remarkable draftsman and designer of prints as well as a great painter. His independent drawings and designs for engravings and etchings, which were carried out by the leading printmakers of his day, have fascinated scholars and the general public alike since they were created. They have recently been the subject of research that has given rise to a reevaluation of the parameters of Bruegel's oeuvre. The new scholarship has been brought to bear in the texts of the present volume, which accompanies a major exhibition of 140 of Bruegel's prints and drawings to be shown at the Museum Boijmans Van Beuningen, Rotterdam, from May to August 2001 and at The Metropolitan Museum of Art, New York, from September to December 2001. An international group of experts discusses the new Bruegel who has emerged from recent studies, in essays on the artist's life, his contributions as a draftsman and as a printmaker, the survival of his art, and his relationship to the humanism of his day. They also illuminate his genius in entries on all the works in the exhibition. Every work is illustrated and rich comparative illustrations are included. Provenances an