DOI Page / Citation link:
https://doi.org/10.11588/diglit.61523#0070
66
Exhibition of Drawings and Sketches.
canopy, are medallions of the Fall, r., and the Redemption, 1.; underneath
the canopy, a tabernacle with an altar-piece of the .Last Judgment; and
underneath this an architectural niche with the figure of a child blowing
soap bubbles, and the mottoes HOMO BULLA and QVIS EVADET.
To either side stand figures: L, a field labourer with a spade: r., a king
in armour with sceptre, crown and ball. Below, across the front of the
composition, lie the corpses of the same two personages, head to heels,
in a state of corruption, each with the broken emblems of his rank and
occupation on the ground beside him. Besides the inscription quoted, a
number of moral verses from the works of II. Grotius are written in
appropriate parts of the composition, and followed in each case by the
name of the author (M. 573).
At this point we go back a generation, in order to place the works of Pieter
Brueghel the Elder, the great painter of peasant life and drolleries (and also
of landscape), side by side with those of his son Jan Brueghel (nick-named
fluweelen Brueghel or Velvet Brueghel), whose skill was entirely in landscape and
still life,, and who supplied these elements in the works of many of the best
figure-painters of his time, including in some cases Rubens himself.
Peter BRUEGHEL I.
Painter of peasant life, landscape, and drolleries: Flemish School:
b. 15&5?d. 1569: pupil of Pieter Coeck: worked at Antwerp and Brussels.
3^2; Painter and Critic.
Pen and ink.
From the J. Richardson, P. Sandby, and Wellesley collections.
Signed P. Brueghel fecit. Very quaint and characteristic drawing of a
painter of somewhat grotesque physiognomy standing at his work with
a large brush, while a crony or critic looks on over his shoulder (M. 553).
333. Bee-keepers taking honey.
Pen and ink.
An almost exact duplicate of this drawing is in the Museum at Berlin
(B.M.).
334. An Allegory of human self-seeking.
Pen and ink.
Signed and dated 1558. This drawing has been engraved by a contem-
porary hand for H. Cock with inscriptions in Latin, Flemish, and French
which partly explains the allegory (B.M.).
335. Landscape, with cottages and a pond.
Pen and ink.
A charming example of P. Brueghel’s delicate manner in landscape
drawing; a manner which is rarely distinguishable from that of his
son (B.M.).
Jan BRUEGHEL I. (attributed to).
Painter of devotional and mythological subjects, and especially of land-
scape, flowers, and still-life: and etcher: Flemish School: b. 1568,
d. 1625.
336. A view in Rome.
Pen and ink.
jgnliriths
s
Irt wfetf a
jssc??
RW&fia
I ]
) hai,!
Exhibition of Drawings and Sketches.
canopy, are medallions of the Fall, r., and the Redemption, 1.; underneath
the canopy, a tabernacle with an altar-piece of the .Last Judgment; and
underneath this an architectural niche with the figure of a child blowing
soap bubbles, and the mottoes HOMO BULLA and QVIS EVADET.
To either side stand figures: L, a field labourer with a spade: r., a king
in armour with sceptre, crown and ball. Below, across the front of the
composition, lie the corpses of the same two personages, head to heels,
in a state of corruption, each with the broken emblems of his rank and
occupation on the ground beside him. Besides the inscription quoted, a
number of moral verses from the works of II. Grotius are written in
appropriate parts of the composition, and followed in each case by the
name of the author (M. 573).
At this point we go back a generation, in order to place the works of Pieter
Brueghel the Elder, the great painter of peasant life and drolleries (and also
of landscape), side by side with those of his son Jan Brueghel (nick-named
fluweelen Brueghel or Velvet Brueghel), whose skill was entirely in landscape and
still life,, and who supplied these elements in the works of many of the best
figure-painters of his time, including in some cases Rubens himself.
Peter BRUEGHEL I.
Painter of peasant life, landscape, and drolleries: Flemish School:
b. 15&5?d. 1569: pupil of Pieter Coeck: worked at Antwerp and Brussels.
3^2; Painter and Critic.
Pen and ink.
From the J. Richardson, P. Sandby, and Wellesley collections.
Signed P. Brueghel fecit. Very quaint and characteristic drawing of a
painter of somewhat grotesque physiognomy standing at his work with
a large brush, while a crony or critic looks on over his shoulder (M. 553).
333. Bee-keepers taking honey.
Pen and ink.
An almost exact duplicate of this drawing is in the Museum at Berlin
(B.M.).
334. An Allegory of human self-seeking.
Pen and ink.
Signed and dated 1558. This drawing has been engraved by a contem-
porary hand for H. Cock with inscriptions in Latin, Flemish, and French
which partly explains the allegory (B.M.).
335. Landscape, with cottages and a pond.
Pen and ink.
A charming example of P. Brueghel’s delicate manner in landscape
drawing; a manner which is rarely distinguishable from that of his
son (B.M.).
Jan BRUEGHEL I. (attributed to).
Painter of devotional and mythological subjects, and especially of land-
scape, flowers, and still-life: and etcher: Flemish School: b. 1568,
d. 1625.
336. A view in Rome.
Pen and ink.
jgnliriths
s
Irt wfetf a
jssc??
RW&fia
I ]
) hai,!