January 15, 2012
From The Art and Popular Culture Encyclopedia
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Featured:  Illustration: Portrait fantaisiste du marquis de Sade (1866) by H. Biberstein |
Significant research on the painters occurred in the 1920s, in Max Jakob Friedländer's pioneering Meisterwerke der niederländischen Malerei des 15. und 16. Jahrhunderts, which was followed by the analysis of Erwin Panofsky in the 1950s and 60s. This research tended to focus on establishing biographies and interpreting the complex iconography, while more recent research, notably by Lorne Campbell of the National Gallery, London, relies on X-ray and infra-red photography to develop a understanding of the techniques and materials used by the painters.
The opening phase of the rediscovery of early Netherlandish painting climaxed in Max Jakob Friedländer's two works, 1903's Meisterwerke der niederländischen Malerei des 15. und 16. Jahrhundert and the 1916 Von Jan van Eyck bis Bruegel.
Hans Zimmer's "Journey to the Line."
Dans Hara-Kiri, l’humour doit nécessairement cogner, frapper fort et faire mal. Bernier parle même de « coups de poing dans la gueule » , peut-être en référence à la célèbre affiche promotionnelle de Topor, où un poing boxe un visage complètement mou.
Update: Brueghel the wedding crasher
I consulted the ultimate reference to Early Netherlandish painters, Karel van Mander's Schilder-boeck and I found quite a telling passage on Brueghel. Possibly the painting was made as a commission.
- En wrocht veel voor een Coopman, gheheeten Hans Franckert, dat een edel goet vorst was van een Man, die geern by Brueghel, en met hem daeghlijcks seer gemeensaem was. Met desen Franckert gingh Brueghel dickwils buyten by den Boeren, ter Kermis, en ter Bruyloft, vercleedt in Boeren cleeren, en gaven giften als ander, versierende van Bruydts oft Bruydgoms bestandt oft volck te wesen. Hier hadde Brueghel zijn vermaeck, dat wesen der Boeren, in eten, drincken, dansen, springen, vryagien, en ander kodden te sien, welck dingen hy dan seer cluchtigh en aerdigh wist met den verwen nae te bootsen, soo wel in Water als Oly-verwe, want hy van beyden seer uytnemende was van handelinghe. Dese Boeren en Boerinnen op zijn kempsche en anders wist hy oock seer eyghentlijck te cleeden, en dat Boerigh dom wesen seer natuerlijck aen te wijsen, in dansen, gaen, en staen, oft ander actien. Hy was wonder vast in zijn stellingen, en handelde seer suyver en aerdigh met de Pen, makende veel ghesichtkens nae t'leven.
- “…He [ Pieter Brueghel the Elder ] did a great amount of work for a merchant by the name of Hans Franckert, a noble and worthy man who liked to chat with Breughel. He was with him every day. With this Franckert, Breughel often went on trips among the peasants, to their weddings and fairs. The two dressed like peasants, brought presents like the other guests, and acted as if they belonged to the families or acquaintances of the bride or of the groom. Here Breughel delighted in observing the manners of the peasants in eating, drinking, dancing, jumping, making love, and engaging in various drolleries, all of which he knew how to copy in color very comically and skillfully, and equally well with water-color and oils; for he was exceptionally skilled in both processes. He knew well the characteristics of the peasant men and women of the Kampine and elsewhere. He knew how to dress them naturally and how to portray their rural, uncouth bearing while dancing, walking, standing, or moving in different ways. He was astonishingly sure of his composition and drew most ably and beautifully with the pen. He made many little sketches from nature…” --Dutch and Flemish Painters, 1936.
The early Flemish painters: notices of their lives and works[1] (1872) by Joseph Archer Crowe
One of the big mysteries in art history
