Jan Brueghel the Elder

Введение.
В первый научный каталог (общ. ред. каталога: Н. Проказина. – Москва : Лингва-Ф, 2019. – 520 с. : ил.) частного московского собрания Валерии и Константина Мауергауз вошли 159 картин более 70 западноевропейских художников XVI–XVIII веков. Представлено преимущественно искусство северных школ — немецкой, фламандской, голландской. Главное место уделено наследию Питера Брейгеля Старшего и его влиянию на европейское искусство конца XVI–XVII веков. Крупный раздел связан с творчеством Питера Брейгеля Младшего (около 30 работ), Яна Брейгеля Старшего и Яна Брейгеля Младшего. Среди известных имен в каталоге можно также встретить произведения Л. Кранаха Старшего, Я. ван Кесселя, Ф. Снайдерса, Д. Тенирса Младшего, Я. ван Гойена, А. ван Остаде, Л. Джордано и других.

Introduction.
The first scientific catalogue of the private Moscow collection of Valeria and Konstantin Mauergauz (Ed.: N. Prokazina. – Moscow: Lingva-F, 2019. - 520 pp.: ill.) includes 159 paintings by more than 70 Western European artists of the 16th–18th centuries. Art of the Northern Schools — German, Flemish, Dutch — is primarily represented. Pride of place is given to the heritage of Pieter Bruegel the Elder and his influence on European art in the late 16th–17th centuries. A major section is connected with the work of Pieter Brueghel the Younger (about 30 works), Jan Bruegel the Elder, and Jan Brueghel the Youngerthe
catalogue, works can be found by such famous names as Lucas Cranach the Elder, Jan van Kessel, Frans Snyders, David Teniers the Younger, Jan van Goyen, Adriaen van Ostade, and Luca Giordano.

This article examines the changing approach towards the representation of the senses in 17 th-century Flemish painting. These changes are related to the cultural politics and courtly culture of the Spanish sovereigns of the Southern Netherlands, the Archdukes Albert and Isabella. The 1617-18 painting-series of the Five Senses by Jan Brueghel the Elder and Peter Paul Rubens as well as the pendant paintings on the subject are analyzed in relation to the iconography of the five senses, and in regard to Flemish genre themes. In this context, the excess of objects, paintings, scientific instruments, animals, and plants in the Five Senses are read as an expansion of the iconography of the senses as well as a reference to the courtly material culture of the Archdukes. Framing the senses as part of a cultural web of artifacts, Brueghel and Rubens refer both to elite lived experience and traditional iconography. The article examines the continuity between the iconography of the senses from 1600 onwards, as developed by Georg Pencz, Frans Floris, and Maerten de Vos, and the representation of the senses in the series. In addition, the article shows how certain elements in the paintings are influenced by genre paintings of the courtly company and collector's cabinet, by Frans Francken, Lucas van Valckenborch and Louis de Caullery. Through the synthesis of these two traditions the subject of the five senses is reinvented in a courtly context.

La letteratura artistica seicentesca ha posto i fondamenti teorici per la suddivisione in generi delle diverse categorie iconografiche di cui la pittura si compone. Questa classificazione da allora è entrata nell’uso comune e nel linguaggio dell’arte in modo talmente pervasivo da farla sembrare connaturata all’arte stessa; è implicitamente passato in secondo piano il fatto che, come ogni fenomeno culturale, anche i generi pittori ci hanno un loro momento d’inizio che ne condizionò la definizione e l’identità. Dove rintracciare, dunque, le origini di questo fenomeno?
Il tema, ricco e affascinante, costituisce il cuore di questo volume, frutto dello sforzo collettivo di un gruppo di studiosi che hanno condiviso e confrontato differenti metodologie e background di ricerca.
Gli otto casi studio, muovendosi tra Venezia, Roma, Colonia, Francoforte e Anversa, mettono a fuoco al- cune delle principali tematiche collegate allo sviluppo della pittura europea a cavallo tra ’500 e ’600: dalle pra- tiche di bottega e la specializzazione degli artisti, alla professionalizzazione mercantile dei pittori e alle loro connessioni con i mercanti, senza dimenticare alcune ben note tipologie pittoriche, dai cabinet paintings (o quadri da stanza) ai paesaggi affrescati, fino a una nuova ridefinizione visiva della pittura devozionale.

Oysters are generally known with their legendary power as an aphrodisiac. In ancient Greek, oysters were so common that no banquet was complete without a spread of oysters and other seafood. In Roman gastronomy, oysters were a luxury dish. Romans washed oysters in vinegar and kept in jars sealed with pitch. The feminine symbolism of their shell imposes iconographic meaning to oysters. The presence of oysters in paintings generally intensifies the eroticism, physical love and chastity in the atmosphere. Their erotic affect appears in Italian, French, English and especially Dutch genre paintings of the 17 th and 18 th centuries. This study examines oysters within its figurative context in genre and still life paintings.

Il saggio analizza l’evoluzione italiana del genere pittorico della ghirlanda di fiori, una tipologia devozionale nata dalla collaborazione intellettuale tra il cardinale Federico Borromeo e Jan Brueghel il Vecchio. Prendendo spunto dagli studi di David Freedberg e Pamela Jones, l’articolo ricostruisce le dinamiche della creazione del genere, sottolineando il ruolo fondamentale esercitato dal Borromeo e rimarcando la sua dimensione italiana, troppo spesso dimenticata in relazione alla maggiore attenzione accordata alla diffusione del genere in ambito fiammingo. Il contributo offre una panoramica sulla diffusione italiana di questa particolare tipologia iconografica e sottolinea aspetti chiave dello sviluppo nordicizzante dell’arte lombarda che, tra gli altri, riguardano Carlo Antonio Procaccini, membro a lungo dimenticato di una delle importanti famiglie di pittori della Milano borromaica. In risposta alle esigue pubblicazioni sull’argomento, il saggio si pone l’obiettivo di aggiornare il campo di studi, riscoprendo una dimensione artistica e devozionale che si intreccia indissolubilmente con l’evoluzione del gusto artistico della Milano dei primi decenni del Seicento.

Jan Brueghel the Elder's paintings on copper, between the end of the sixteenth and the first decades of the seventeenth century, were very popular among contemporary collectors who were won over by the precise execution and the complex meanings hidden in the images. The author reconstructs, with the help of new documents, the Flemish painter's Roman beginnings between 1592 and 1595, identifying in Cardinal Enrico Caetani one of his first admirers. Finally the author propose to attribute to Brueghel, thanks to the cross-referencing of a number of document, four paintings on copper belonging to the celebrated collection of Cardinal Francesco Maria Del Monte.

In the early modern European period, questions of imitation, copying, reproduction, and “forgery” began to occupy centre stage, both in the making and the theorizing of art. In recent years art historical research has increasingly addressed such processes of translation and transformation, thus challenging traditional distinctions between ‘originals’ and ‘copies’. This essay takes Albrecht Dürer’s celebrated pen-and-ink drawing of the Great Calvary as a point of departure to look at different processes of replication, appropriation, transformation and reproduction at the cusp of the seventeenth century, at a time when (princely) collectors were competing against each other for the most highly valued objects and artworks. At the centre is a painting commissioned by Holy Roman Emperor Rudolf II from the Antwerp artist Jan Brueghel the Elder. As a unique ‘copy’ or ‘translation’ of Dürer’s original work, it was meant to be viewed alongside it, interpreting and complementing it rather than being regarded as a substitution or replacement. The essay proposes a reconsideration of the early modern practice of copying that takes into account questions of display and value as well as the then newly emerging notions of shared authorship and affinities of style.

Hijo del pintor Pieter Brueghel, Jan Brueghel (1568–1625) inventó nuevos tipos de pinturas en las que desplegó el oficio prolijo y exacto que heredó de su abuela, la miniaturista María Verhulst Bessemers, una técnica que volvía las superficies pintadas similares al terciopelo (velours, el epíteto con el que fue conocido).
La Panera 84. julio 2017

in M. Osnabrugge (ed.), Questioning Pictorial Genres in Dutch Seventeenth-Century Art. Definitions, Artistic Practices, Market & Society, series “Gouden Eeuw: New Perspectives on Dutch Seventeenth-Century Art” nr. 2, Brepols, Turnhout 2021, pp. 291-309

Nel presente contributo si porta una testimonianza concreta d'uso di strumenti nati dalla collaborazione fra le cosiddette " scienze esatte " e il sapere umanistico, che si sono rivelati di grande aiuto durante il lavoro di ricerca di dottorato in Storia della lingua e della letteratura italiana sull'epistolario italiano del pittore fiammingo Jan Brueghel il Vecchio. I data base on line dedicati agli scritti di Vasari e di Leonardo (l'Archivio Scritti Vasariani e E-LEO) e i relativi lemmari di riferimento sono stati infatti molto utili nell'analisi e contestualizzazione del lessico tecnico impiegato da Brueghel. Tuttavia, la ricerca negli archivi digitali non ha sempre dato buon esito: resta aperto, infatti un enigma lessicale da cui si è scelto di prendere le mosse. Questo non per dare un tono pessimistico alla riflessione, ma al contrario per ribadire l'importanza di iniziative di digitalizzazione del patrimonio testuale dei secoli passati che stanno prendendo piede negli ultimi tempi e che interessano sia corpora letterari, che scritture meno sorvegliate come gli epistolari. This study presents a concrete example of use of instruments created thanks to the collaboration between " exact sciences " and humanities. These instruments have been really precious during the PhD research in History of Italian Literature and Language focused on the flemish painter Jan Brueghel the Elder's Italian letters. The databases of Vasari and Leonardo's writings (Archivio Scritti Vasariani and E-LEO) and their glossaries have been useful for the analysis of technical words Brueghel used. However, the quests in these archives sometimes failed. In fact, a lexical enigma, which is presented at the beginning of the paper is still unsolved, but this doesn't mean a pessimistic point of view. Contrariwise, it's a way to affirm the importance of recent digitization projects concerning literary works and correspondences, which could make the past textual heritage more accessible. Nelle proficue giornate del convegno palermitano «Saperi umanistici nella contemporaneità» sono stati affrontati temi rilevanti, con particolare attenzione all'apporto delle nuove tecnologie alla ricerca umanistica nell'era digitale. In questa sede posso offrire un contributo circoscritto alla riflessione, soffermandomi su una piccola impasse capitata durante l'analisi delle lettere italiane del pittore fiammingo Jan Brueghel il Vecchio, conservate presso la Biblioteca Ambrosiana di Milano.

Artistic specialization constitutes the founding principle of the classification per pictorial genres. Around 1600 it was Karel van Mander (1604) who on the base of XVIth-century historiographical models may have been the first to register how each artist’s individual character is based both on his innate, individual predisposition and the technical variety at his disposal. This thesis can be perfectly illustrated by the The Garden of Eden with the Fall of Man, painted conjointly by Jan Brueghel the Elder and Pieter Paul Rubens. Brilliantly integrating narrative scenes into landscape, the two great artists transformed the traditional iconography of The Fall of Man into a new pictorial category (“genre”), which preludes to thematic specialization and to pictorial genres. Venetian painting, more in particular of Jacopo Bassano and Titian, offers a model for this iconographical manipulation, in line with Van Mander’s idea. In the writings of Federico Borromeo and Roberto Bellarmino one finds a cultural reference system for the reception of this new kind of devotional painting. The symbols of Nature and the Holy Scripture in particular offer the observer new keys to understand Salvation. In line with neo-stoic philosophy – familiar to both artists –, one might even propose a political reading of the picture in reference to the Twelve-Years-Truce (1609-1621).

Prefazione di Gabriella Cartago all'edizione commentata delle lettere italiane di Jan Brueghel il Vecchio, edita nel volume 30 della collana Fonti e Studi della Biblioteca Ambrosiana di Milano, a 150 anni di distanza dalla prima edizione e corredata da appendici filologiche e da un indice delle parole dell'arte.

Oysters are generally known with their legendary power as an aphrodisiac. In ancient Greek, oysters were so common that no banquet was complete without a spread of oysters and other seafood. In Roman gastronomy, oysters were a luxury dish. Romans washed oysters in vinegar and kept in jars sealed with pitch. The feminine symbolism of their shell imposes iconographic meaning to oysters. The presence of oysters in paintings generally intensifies the eroticism, physical love and chastity in the atmosphere. Their erotic affect appears in Italian, French, English and especially Dutch genre paintings of the 17 th and 18 th centuries. This study examines oysters within its figurative context in genre and still life paintings.

(IN HUNGARIAN) Short notice on the relationship between the greatest Hungarian art collector, Miklós Esterházy II (1765-1833) and his mentor Anton von Lamberg-Sprinzenstein (1740-1822), involving the exchange of a painting by Hendrik van Balen (today Szépművészeti Múzeum, Budapest)

Nell’articolo si analizzano due opere fiamminghe inedite custodite in una collezione privata newyorkese dagli anni Ottanta del ‘900. La prima, datata 1521, inizialmente attribuita a Hans Holbein il giovane, attraverso un’analisi comparativa con un’opera custodita al Museo del Prado, viene restituita all’artista di Anversa Joos van Cleve. La seconda, datata 1606 e già erroneamente attribuita a Pieter Neeffs I, viene invece assegnata a Heidrick van Steenwyck il giovane, che la realizzò probabilmente avvalendosi della collaborazione di Jan Brueghel il vecchio, meglio noto come Brueghel dei velluti. Le due opere analizzate, pur rientrando nella più vasta produzione fiamminga che va dalla seconda decade del Cinquecento alla prima del secolo successivo, costituiscono certamente aggiunte importanti per i due artisti, sia perché datate con certezza, sia perché di alta qualità formale ed espressiva.

The Flemish painter Jan Brueghel the Elder wrote almost 80 letters in Italian, all conserved at the Ambrosiana Library of Milan and published in 1868 for the first time. These letters have been sent from 1596 to 1624 to the Cardinal Federico Borromeo and to Ercole Bianchi, a notorious collector of Borromeo’s entourage. Cardinal Borromeo and Ercole Bianchi were both not only Brueghel’s friends, but also two of his most important customers; the painter realized for them many artworks, whose stories are testified by the Ambrosiana’s letters. Many letters aren’t autographs, infact Brueghel asked for the help of chosen secretaries in his correspondence with Borromeo and Bianchi. Among them, the most important was Peter Paul Rubens, polyglot and cultured artist.
Being fully written in Italian, Brueghel’s letters are a precious evidence of the linguistic relations between Flemands and Milan in the XVIIth century.
This paper will show the most preminent features of Brueghel’s Italian, which the painter himself called mal schritto (bad written) because of its many mistakes and grammatical irregularities. Despite the deficiency of his Italian language, the painter uses a lot of art words which signify his strong knowledge of the most important Renaissance’s principles and habits. This combination of technical words and grammatical failing makes Brueghel’s linguistic portrait particularly interesting for the Italian linguistic history.

Paul Bril e Jan Brueghel il Vecchio furono letteralmente ammaliati dal fascino dell'acropoli di Tivoli, lambita dal fiume Aniene che ai piedi dell'elegante tempio della Sibilla si getta nell'orrida valle sottostante, dando vita a un paesaggio unico, dove natura e architettura classica si fondono in maniera sublime. I due pittori riprodussero questo scenario in alcune loro opere che ebbero un notevole successo e una larga diffusione, facendo del tempio della Sibilla l'icona spaziale della città e uno degli elementi più tipici della pittura di paesaggio.

Введение. В первый научный каталог (общ. ред. каталога: Н. Проказина. – Москва : Лингва-Ф, 2019. – 520 с. : ил.) частного московского собрания Валерии и Константина Мауергауз вошли 159 картин более 70 западноевропейских художников XVI–XVIII веков. Представлено преимущественно искусство северных школ — немецкой, фламандской, голландской. Главное место уделено наследию Питера Брейгеля Старшего и его влиянию на европейское искусство конца XVI–XVII веков. Крупный раздел связан с творчеством Питера Брейгеля Младшего (около 30 работ), Яна Брейгеля Старшего и Яна Брейгеля Младшего. Среди известных имен в каталоге можно также встретить произведения Л. Кранаха Старшего, Я. ван Кесселя, Ф. Снайдерса, Д. Тенирса Младшего, Я. ван Гойена, А. ван Остаде, Л. Джордано и других. Introduction. The first scientific catalogue of the private Moscow collection of Valeria and Konstantin Mauergauz (Ed.: N. Prokazina. – Moscow: Lingva-F, 2019. - 520 pp.: ill.) includes 159 paintings by more than 70 Western European artists of the 16th–18th centuries. Art of the Northern Schools — German, Flemish, Dutch — is primarily represented. Pride of place is given to the heritage of Pieter Bruegel the Elder and his influence on European art in the late 16th–17th centuries. A major section is connected with the work of Pieter Brueghel the Younger (about 30 works), Jan Bruegel the Elder, and Jan Brueghel the Youngerthe catalogue, works can be found by such famous names as Lucas Cranach the Elder, Jan van Kessel, Frans Snyders, David Teniers the Younger, Jan van Goyen, Adriaen van Ostade, and Luca Giordano.

In the sixteenth century, a new kind of pragmatic, knowledge-oriented collection emerged in southern Germany. Called Kunst- and Wunderkammern, these new museums were intimately linked to the emergence of the modern nation state and the associated requirements of economic, political, and social management. Requiring enormous expenditures of intellectual, technical, and financial capital to assemble, these museums necessarily served useful purposes. Understood in this way, the modern scholarly preoccupation with “wonder” as the core concept at play in these collections becomes problematic. In this lecture, Mark Meadow will consider the neo-Aristotelian concept of phronesis—practical wisdom or prudence—as an alternative way of conceptualizing the work of these early museums.

Abstract. Several early spyglasses are depicted in five paintings by Jan Brueghel the Elder completed between 1608 and 1625, as he was court painter of Archduke Albert VII of Habsburg. An optical tube that appears in the Extensive Landscape with View of the Castle of Mariemont, dated 1608-1612, represents the first painting of a telescope whatsoever. We collected some documents showing that Albert VII obtained spyglasses very early directly from Lipperhey or Sacharias Janssen. Thus the painting likely reproduces one of the first man-made telescopes ever. Two other instruments appear in two Allegories of Sight made in the years 1617 and 1618. These are sophisticated instruments and the structure suggests that they may be keplerian, but this is about two decades ahead this mounting was in use.

Exhibition catalogue, edited by Gianni Carlo Sciolla, with contributions by Laura Benedetto, Giuseppe Cipolla, Jennifer Cooke, Fabrizio Fantino, Laura Gallo, Stefano Manavella.

Catalogo della mostra svoltasi al Museo Archeologico Regionale di Aosta dal 16 dicembre 2006 al 9 aprile 2007, a cura di Gianni Carlo Sciolla, dedicata alla pittura di paesaggio fiamminga e olandese del tardo Cinquecento e del Seicento. Saggio introduttivo di Gianni Carlo Sciolla, introduzioni alle sezioni, schede delle opere e biografie dei pittori a cura di Laura Benedetto, Giuseppe Cipolla, Jennifer Cooke, Fabrizio Fantino, Laura Gallo, Stefano Manavella.

Scritti di Stefano Manavella:
- introduzione alla sezione 1, "Vallate alpine, foreste e cascate", pp. 54-55 e alla sezione 2, "Paesaggi con scene religiose", pp. 60-61;
- schede biografiche e delle opere di Kerstiaen de Keuninck I, pp. 190 e 213, Jan Brueghel dei Velluti, pp. 192 e 230, David Vinckboons, p. 193, Salomon van Ruysdael, pp. 209, 221 e 240, Thomas Heeremans e Abraham Storck, p. 212, Pieter de Neyn, p. 220, Simon de Vlieger, p. 222, Herman Saftleven, pp. 223 e 244, Jacob Salomonsz. van Ruysdael, p. 245, Philips Koninck, p. 249, Karel Du Jardin, p. 260, Jacob Isaacksz. van Ruisdael, p. 267, Lieve Verschuier, p. 278, Ludolf Backhuyzen, p. 279.

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Le film Brueghel, le moulin et la croix (Lech Majewski, 2011) donne vie au Portement de croix (Brueghel, 1564). Reconstruisant le tableau
par le mélange de prises de vue réelles, de décors artisanaux et d’images
numériques, le film présente la vie d’une douzaine de personnages du tableau, dont la figure du peintre qui intervient et fait du film une méditation sur le processus créatif et l’histoire de l’art.