DOI issue:
Nr. 3-4
DOI article:Slatkes, Leonard J.: Bringing Ter Brugghen and Baburen up-to-date
DOI Page / Citation link:https://doi.org/10.11588/diglit.18945#0220
explain why we have so many individual pictures representing a single sense
that appear to lack companion pieces.
As this writer noted in 1986, ter Brugghen’s two 1624 renderings of Bagpipe
Players, in Cologne (Fig. 8) and Oxford, are related to a long line of northern
depictions of rustic musicians that can be traced back to Albrecht Dürer, Lucas
van Leyden and Pieter Breugel the Elder.22 However, ter Brugghen’s delight in
depicting the humorously distorted features of these music makers is related to
a classical tradition that explained the low status of wind instruments in the
52 Utrecht/Braunschweig, exh. 1986/87, under cat. no. 15, the Oxford Bagpipe Player of 1624.
6. Hendrick ter Brugghen,
The Annunciatori to Mary,
canvas, Ì 04 x 84 cm, art
market, London
210
that appear to lack companion pieces.
As this writer noted in 1986, ter Brugghen’s two 1624 renderings of Bagpipe
Players, in Cologne (Fig. 8) and Oxford, are related to a long line of northern
depictions of rustic musicians that can be traced back to Albrecht Dürer, Lucas
van Leyden and Pieter Breugel the Elder.22 However, ter Brugghen’s delight in
depicting the humorously distorted features of these music makers is related to
a classical tradition that explained the low status of wind instruments in the
52 Utrecht/Braunschweig, exh. 1986/87, under cat. no. 15, the Oxford Bagpipe Player of 1624.
6. Hendrick ter Brugghen,
The Annunciatori to Mary,
canvas, Ì 04 x 84 cm, art
market, London
210