Pieter Bruegel The Elder Analysis
Pieter Bruegel the Elder was one of the most acclaimed painters of the Northern Renaissance who amazed his viewers with paintings of prosperous landscapes and showing the brighter side of the low class society of peasants by them enjoying the here and now of everyday life instead of them being in the misery of their labor. According to most art historians, Bruegel was born around 1525 in Berda which was one of the small neighborhoods in the town of Bruegel. Although there was unknown information about the area that the artist grew up in his early years, however, by viewing actual events that occurred in the artist’s life, Bruegel must have stated learning his craft by becoming a pupil under his future father-in-law Pieter Coecke van Aelst who
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Unlike the previous High Renaissance artists would idealize their artwork to go beyond human potentials, The Harvesters which was one of Bruegel’s most famous paintings, showed a lot of abstraction by the figures being distorted and simplified especially when it came down to his peasant subjects to possibly show how poor and uneducated they were. Based on the type of art technique he used, Bruegel must have also been originally influenced by Hieronymus Bosch’s alchemist paintings since many art historians would compare his artwork to Bosch’s imagery paintings and would eventually call him the Second Bosch of the Northern Renaissance. Examples of Bosch’s influence on his earlier drawings for the Four Winds publishing house were The Seven Deadly Vices. Bruegel integrated the fantastic imagery of Bosch into the series by having every figure dominated by each sin which was in a form of a woman. He also had his seven female sins follow the traditional standards of iconography. In contrast to the pleasant landscapes that Bruegel painted later on in his career, he created hellish landscapes that surrounded the figures in order to show each sin and its consequence since Bosch was also a religious man who warned his viewers about the consequences of their sinful actions. Out of all of the deadly sins, the Allegory of Lust was the most heavily Bosch inspired artwork since it was possible that Bruegel could have studied more in detail of Bosch’s hell panel of the Garden of Earthly
Unlike the previous High Renaissance artists would idealize their artwork to go beyond human potentials, The Harvesters which was one of Bruegel’s most famous paintings, showed a lot of abstraction by the figures being distorted and simplified especially when it came down to his peasant subjects to possibly show how poor and uneducated they were. Based on the type of art technique he used, Bruegel must have also been originally influenced by Hieronymus Bosch’s alchemist paintings since many art historians would compare his artwork to Bosch’s imagery paintings and would eventually call him the Second Bosch of the Northern Renaissance. Examples of Bosch’s influence on his earlier drawings for the Four Winds publishing house were The Seven Deadly Vices. Bruegel integrated the fantastic imagery of Bosch into the series by having every figure dominated by each sin which was in a form of a woman. He also had his seven female sins follow the traditional standards of iconography. In contrast to the pleasant landscapes that Bruegel painted later on in his career, he created hellish landscapes that surrounded the figures in order to show each sin and its consequence since Bosch was also a religious man who warned his viewers about the consequences of their sinful actions. Out of all of the deadly sins, the Allegory of Lust was the most heavily Bosch inspired artwork since it was possible that Bruegel could have studied more in detail of Bosch’s hell panel of the Garden of Earthly