Verfügbarkeit: The Brueg[H]el phenomenon

The Brueg[H]el phenomenon: paintings by Pieter Bruegel the Elder and Pieter Brueghel the Younger ; with a special focus on technique and copying practice 1

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Bibliographische Detailangaben
Weitere Verfasser:	Bruegel, Pieter de Jongere 1564-1636 (IllustratorIn)
Format:	Buch
Sprache:	English
Veröffentlicht:	Brussels Royal Inst. for Cultural Heritage 2012
Schriftenreihe:	Scientia Artis 8,1
Online-Zugang:	Inhaltsverzeichnis
Beschreibung:	317 S. zahlr. Ill.

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245	1	0	\|a The Brueg[H]el phenomenon \|b paintings by Pieter Bruegel the Elder and Pieter Brueghel the Younger ; with a special focus on technique and copying practice \|n 1 \|c Christina Currie and Dominique Allart
264		1	\|a Brussels \|b Royal Inst. for Cultural Heritage \|c 2012
300			\|a 317 S. \|b zahlr. Ill.
336			\|b txt \|2 rdacontent
337			\|b n \|2 rdamedia
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490	1		\|a Scientia Artis \|v 8,1
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700	1		\|a Currie, Christina \|e Sonstige \|0 (DE-588)133159221 \|4 oth
700	1		\|a Allart, Dominique \|e Sonstige \|0 (DE-588)188359079 \|4 oth
700	1		\|a Bruegel, Pieter \|c de Jongere \|d 1564-1636 \|0 (DE-588)119524759 \|4 ill
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Datensatz im Suchindex

_version_	1804149416768045056
adam_text	SCENTIA ARTIS 8 The Brueg[H]el Phenomenon Paintings by Pieter Bruegel the Elder and Pieter Brueghel the Younger with a Special Focus on Technique and Copying Practice Christina Currie and Dominique Allart Volume I Royal Institute for Cultural Heritage Brussels 2OI2 Contents Volume 1 Foreword ............................................................................................................... 15 Preface ................................................................................................................. 17 Acknowledgements ................................................................................................... 21 Notes to the Reader ................................................................................................... 27 Abbreviations .......................................................................................................... 27 Introduction ........................................................................................................ 29 i. A Great Painter of the Renaissance, his Heir and Copyist and the Antwerp Art Market A Brilliant Dynasty of Painters ................................................................................... 37 Pieter Braegel the Elder; his Life and Work ..................................................................... 38 Pieter Bruegel the Elder s Posthumous Fame .................................................................... 42 The Proliferation of Copies after Pieter Bruegel the Elder at the End of the Sixteenth Century ............ 46 Pieter Brueghel the Younger: his Life and Work ................................................................ 48 Inique fiteis nisi Patrem in Filio nosci; Pieter Brueghel the Younger as Continuator of his Father .......... 52 Hie Art Market in Antwerp at the Time of Pieter Brueghel the Younger ..................................... 56 Reconstructing the Organizational Practices of Antwerp Workshops ........................................ 63 Rechte princepalenl The Rise of Connoisseurship ............................................................... 67 The Works of Pieter Brueghel the Younger in Seventeenth-Century Antwerp Inventories .................. 72 Signatures and Dates in the Works of Bruegel the Elder and Brueghel the Younger ........................ 74 2. The Painting Technique of Pieter Bruegel the Eider: Four Case Studies Status Quaestionis ................................................................................................... 93 Preliminary Note on the Paintings Examined .................................................................... 99 Case Study i. The Census at Bethlehem (Brussels, Koninklijke Musea voor Schone Kunsten van België \| Musées royaux des Beaux-Arts de Belgique) ..................................................................... ιοί Provenance ....................................................................................................... 102 Inscriptions ....................................................................................................... 103 Painting Support ................................................................................................. 103 Format and Construction - Barbes and Unprepared Lateral Borders - Condition Preparatory Layers ............................................................................................... 107 Underdrawing ......................................................................................... 107 Form and Function - Drawing Medium - Position of Underdrawing in the Layer Structure - The Roie of the Underdrawing in the Creative Process Paint Layer ....................................................................................................... 117 Condition - Palette - Layer Structure and Pigment Analysis - Sequence of Painting - Brushwork and Handling - Modifications during Painting Conclusion .................................................................................................... 138 Case Study 2. The Sermon of St John the Baptist (Budapest, Szépművészeti Múzeum) ................. 143 Provenance ....................................................................................................... 143 Inscriptions ....................................................................................................... 145 Painting Support ................................................................................................. 146 Format and Construction - Barbes and Unprepared Borders - Condition Preparatory Layers ............................................................................................... 148 Underdrawing .................................................................................................... 148 Form and Function - The Role of the Underdrawing in the Creative Process Paint Layer .................................................................................................... 161 Condition - Palette - Pigment Analysis - Sequence of Painting - Brushwork and Handling - Gesture and Expression - Modifications during Painting Conclusion .................................................................................................... 179 Case Study 3. The Winter Landscape with Bird Trap (Brussels, Koninklijke Musea voor Schone Kunsten van België \| Musées royaux des Seaux-Arts de Belgique) .................................................... 185 Provenance, Rediscovery and Early Controversy ............................................................... 185 Inscriptions ....................................................................................................... 192 Fingerprint ....................................................................................................... 193 Painting Support ................................................................................................. 194 Format and Construction - Provenance of the Wood and Dating - Condition Preparatory Layers ............................................................................................... 195 Underdrawing .................................................................................................... 195 Form and Function - The Ptace of the Underdrawing in the Evolution of the Composition - An Early Drawing of the Composition Paint Layer ....................................................................................................... 205 Condition - Palette - Sequence of Painting - Brushwork and Handling Conclusion ....................................................................................................... 219 Case Study 4. The Adoration of the Magi (Wintertnur, Dr Oskar Reinhart Collection Am Römerholz ) 225 Provenance ....................................................................................................... 226 Inscriptions ....................................................................................................... 226 Painting Support ................................................................................................. 227 Format and Construction - Condition Preparatory Layers ............................................................................................... 230 Underdrawing .................................................................................................... 231 Paint Layer ....................................................................................................... 231 Condition - Palette - Sequence of Painting - Brushwork and Handling Conclusion ....................................................................................................... 240 3. Pieter Bruegel the Eider s Painting Technique: a Reassessment Painting Supports .................................................................................................. 245 Format and Construction ....................................................................................... 245 Barbes and Unprepared Borders ................................................................................. 246 Preparatory Layers ................................................................................................. 249 Ground ........................................................................................................... 249 Imprimatúra ...................................................................................................... 251 Underdrawing ...................................................................................................... 259 Drawing Materials ............................................................................................... 259 Position of Underdrawing in the Layer Structure .............................................................. 263 Underdrawing Styles and Modifications during Drawing and Painting ...................................... 265 Painting Techniques ............................................................................................... 282 Pigment Analysis and Layer Structure .......................................................................... 282 Sequence of Painting ............................................................................................ 286 Brushwork and Handling .................................................................................__.. 294 Conclusion ......................................................................................................... 313 Volume Π 4. Ihc Painting Technique of Pieter Brueghel the Younger and his Workshop; len ( ase Studies i rciimubiľv Noie on t hu і дішіпц-. 1 хлпшкч! . . . Case Study 1. Copies of the Battle between Carnival and Lent after Pieter ßruegel the Elder [ibCnpţli lţN . . . Ι ϋϊηυημ Supports í .чіі мі .did l .Wiî . ■> r i ^ s. г u ι.; і- :- і) - ! π >% . :i.i;Kt Ι th.· X ι uh! ,,!->.. ΐ >:н ¡пц ■ lì. ;■ ··· ■ ,ul·} ι :uv-T.i f ■.-■.і і і u : .¡і ίί, .> ■ i-¿ : ^ Preparator·. Livers . . . I ГЛЫиГ «Η the Desiati In fii i. Prcji.iFťii i .niťi ΝίΠί,Κί : L ÍdťIHc for t!lC 1st ot [ Пі-Кічі t.annons Λ vc ¡;:·- a: ^lil-Ak ; i И!,«^;· ¡ α; hu rii,!·-, -і WSii ii- ^І чч! ¡ .¡int I aver hi· Ori^in.ï! Modi! ЛПй ;ÍU- t πΠοοϋ Kr цѕГ: ч и! í·; •h. t-:· vt иріл Ib.. ^ і;;·!,:,/.. w í,>rk W.rsi,.!; ■ і г.г і1,.: м,.,;;.! Ч ,·--.,.,;- Л. і [u.r.ï! J¡ . >: t ..pu.-. Case Study 2. Copies of the Census at Bethlehem after Pieter Bruegel the Elder ¡■.ж ηπψ Supp і ■ ■¡ лСЛЇГ .і . М: П і;;Л ii··; l· ft ľäVj хіглгіі; %· і . t ,. Л .н>Л ,і:ч!і V.íüí : і!;·. Г :к і ¡ім к!. ! j;ui Иг.»;;. ї; г:-- Paint Laver ................................................................................ H ( ondiîh. n - Palette - ί .iver Structure л ad Pigment Analvsi- - Sequence or Painting - Brashwork and Handling - R ι- ti tv t Luns on Attribution · Style aiul Bru-lnvoik in Comparinoti to Brue^el the Liders Original Ver-ion Ніс Model for the Copies ........................................................................... 424 kev i/ ¡¿.¡nem- in Вшецеі ι lit ii.kler - Original Pamtiti« that ate Missini; in die Copies - Key Elements Iransbrmed iii t -it- < пріє·. ■· Misinterpretation ot Oriuina! Monti - l·. Іепіі псч in the L nderdrjwinş; ot the ( )ri<;iïial Dropped during Р.іішіпц hw Repeated ¡a the t орк.ч ■ Colours - Ріаеепіеік ot Signature · Pre-uinekisioii ariantN among the Copies .......................... .............................. 428 i sv·.· V.iruru- ,trid л РочмЫе Sub-e.triaii! МопЬ Varur.ţ; Аееітііпц ю ι і roup - Damit: - SeeoiuLirv Niodels - Pre-eonthninn í opvilSii ľtoCcvS ...... . . ...... . . ... Ί ΛΛ ϋ-,ι Ι e ο! ( .irto·.!!·, ľr.ui -їе! Pro^e- Піе Solide ot the ł .ario.-iÌb t ОІК.ІІІМОІ1 ................ ..................... ί-Π) Case Study з. Copies of the Sermon ofSt John the Baptist after Pieter Bruegel the Elder t c ΙΠ-ν I Ijlt ЮПч . . . ...... ........... ........... il Ρ ИПїІПЦ МірроПч . . . . · ...... ■· ■■· І 1 І !.::); ¡ι P.i iJ ( oii-tüK täon .¡¡ul Ι.ιοΙ Μ.ι ek - Ρ η ι e π, t tu e of (he Wnoij .nid i í. in ti ľ, B n r ¡d it ι.; Η,ιιί ι-, .ind I iiprepaad 1 -t; [A Boidei- І іч раним л ■ [./(vers . .. . ......... . .......... ... n. l ikiertlr.mim; . ............ ........ ñ Ì ΐ . Π! lilii lili. íion Síik .üld f і пЬШіііП Paini І a ťi ........ HiU ..ι; ,ιί ■: іч : Ρ.ι і. м- .¡¡u! i .t ¡n í 1 .iver St пи. mie Sequei;!, e ot l .tiiit su ĺ; ■ ň и·· I s їм î; k .¡lui I l.i ud і і tig - Λπ піні! ion ibť Modi ; lol tik ( чірц> . . . . . to* і і ¡і ¡і ι v; ;··.■< u і oí :¡i. S. 1!^ S ^¡ио ν, uh Pii. ics В fliegt і I lie 1 idi h í ud.ifu-I ťhinn Роч-іЬіе Work І II Ľ Kei.H ¡oiìdilp ¡ι. ■··-■..·. - ! ;<::.; Ii г , ;c t; hi. Ι ΐ І s :. іпиі.Ці f .U ι d Lii, Buieuhe! th; і1 ide r ■ I v- о .îri.iiil - ( íip іпі.; Pf. к es-· . . . . ii 5 ,,.ι Ι .ι; ■¡..ι,.!!, .i-id í I.if: -.Sei ľn n ^ чч P.ülíiíí О! ГЄ І ,ΙΠΟΐΙ « І! Κ i letf В Г UVUeí ί tie і idiT - B¡ Η ! -і )ІЄ->І í. ! itOM 1 ..ІКЩЧІ.Щ . . . ........ ...... Γ 1 Case Study 4. Copies of the Winter Landscape with Bird Trap after Pieter Bruegel the Elder ¡ s^ ¡ .■.икни: Ѕ;;ррог; -. .... ... ...... ιΚ~ Pii-p.itati τν ł .ііч.г- . . ... . ....... ti··1 1 І iuieitir.iv, тц . . . ...... ¡ il i aíi-.r ! a .-ei1 . . i f ü-.l1; -ι ·11. ■ Ρ det;-, nui í .¡і ;· . ä jvv t V ι lì·., ί а я vi^iťui.:. ι.·) í ,ι ¡ ; j t :n; И: ■■; .!; ·. ш к .і;ні І (.tinnì ti!.; - s i loi! ¡on UH M. nid O! tlU ( opii.v . . ^ їП і к: Л... Ма-г.і vo., t s. ¡.-.-¡, b:i>;u- ■- <: ІЯ .і-, iv к-:-: ; ііч. L і··,. ■■·; к- Г.і ;::-;; ü: ¡ :l t h;.- h .nm. r M. Л. і і., ··.;,; С ■•li -, :·λ-. ί .op;, ¡ημ Гпчеч-, . . . ( -.і ..»Г .; ,¡¡:.>. -Π .iľ.d í Г .i lisí ,., r І гіЧ Л- · Irto Addi äí и; j : Morii- І!: !Ul Чі.і .ЧТ ■ .tí· ..U il ik. fill; ,¡i!ii ( м ірее e Н ¡^riivüiiC: > t отреш u »n: ( .ori u· m po r, ¡r v ( opics .md апаіііч í f. кііаччі b v t H Síci < ■rk-.hop . } !>>:■:> : a Laïc Nmctecnî íl- or I arh I wem lefii- 1 .ciuurv ( opi- Case Study 5. Copies of the Adoration of the Magi after Pieter Bruegel the Elder inscriptions ........... ................................... Painiinti, Supports .................. ......................... I ormar - ľ.incí ( .(immunon aiul loni Mjrks - Proun-nui· o! du· Win ні .¡¡ні П.цІпіі - Ві.іг.іІпп. , Prcparatorv Layers ............................................... Underdrawing ......................... ................... Jumi atui Гигк tion - ЛнпЬшкт Paint [.aver ......................................... ( omi і fi- j n - ľ.ilciw, ľanu 1 mer S ¡ r u·,, ι u iv .imi ľ j ції ч nr Λ η,ι K чіч S ci ¡1 κ ι il. . of І .ітпііц - B s v.- lv.: щ k ,uní ! i,¡m Π η;:: ЛїІПІНІЇ Ulli Ihť Model tlH tlie i .(ірІі ч ....... . . l)ifitrri:!K VS ¡НЧ^чП ΒαίΛΗ,/ί I ììl Γ ¡siví S Опции! VvT^UH! ,i;ui liii1 ( ηρϋ,,-Ν Imi ktiliìhll* іїрііл ( .opviny; l roiiesv . . . ...... Ι 4ι: ι>[ .ι ( ,.ιπιιοι; ,u;J і r, ι π -.id [ г<к ¡. >s í )!ϊί(.Ί ϋν ľs .іПіпгіі; t lit ( лі-чо Λ < .up1.1 t roii; i¡iii !iíi Kni-Ľsihk-i . w Уопѕц^ t Ork llop < .(inclusion ... Case Study 6. The Magpie on the Gallows: a Unique Copy after Pieter Bruegel the Elder !iłsi. riptimi ..... I iiniins: Support t tntl!i!t I jikM hü ■·! nu. ! ¡i Hi -Cid iiMiiXL.sK, i repar.itorN1 І.,і ч:гч . . . . ..... l т спЬчттц l ait» I..1KT . ...... ι ііпііім.Ч і - і . і і Ч.Ч ї і ■ Ní iUíi. :h.ľ ■>: ľ.iiiií isi; , · Ui iiihi4iik -Hid ì i.tndinn: [tu; Modei íor riu· ( ops IViiLllA iììL Ì- ÌvIl-i -. I ) Г ¡ι; i luli ГЧ(И; ■ ¿I--i\|.¡1 ¡II lin I , ι; ІГн ľ IU U liii Ι .Ί. И: ¡I ¡í і . ,Ј,.ч ч:[ ( op·-, пи: l roLi·-^ Iłie í. ^r іьіІїіГі Ì Vision ,ii¡i! tíiť í opv: л í - Case Study 7. Copies of the Wedding Dance in the Open Air probably after a Lost Painting by Pieter Bruegel the Elder Ktmunţ: Supports ì..;·;;,! - Î .HU:· t ivp .ìratotA Ι ,Γ (.г.ч t. iK¡,!4Írj^:n,: ■ η:;:-. ::: à г.;:;·.. ■:■.;; · ! r ¡w:. ; ir N, .t.,:;.,;:- Λ:- rilu. l· .!í a, í it ι ,.i -. t. : í ι .-j, ::;, ľ- ■ i ., ..i : ■-, ä .;. ,. ■■: 4: r :,,-■ u ¡ ¡; ., ;..; ¡V· ;:·-..;:■ r ,, i, ■·.;-.· V .i,;,-:;, - . ч ¡ ■.;■!: ·:.· (■;· , Л і-і--; í::..;,- ¡Γ ; і >;■-·;: n ;Uif:?:l і r.i ^ ¡И;: .г. .: і ! ,; ^: ,;-;· Λ: ■ і і! ..;: ь .η ¡•pVHÍĽ l ri Ci^š I -.:. і ; :>. t ín.si .¡n.; I s- ¡ч -.;..; ¡ч:ч -.·. ■ NS^ :?-. r,..,: ;н !:,;:-. <j ¡r U,. (, ,,; гі.ч.,, · ,,l·, ¡,¡; и-ц.іГіЛпіц f hi.. Mutic! Ііч· : Jr. ľ. ■::;: i-v i L-t^ .„-ι U : ;!,-...- ίί·ν ÌV ,. .;- V. , jj;,,.- ! ) ,,ч t ;,,.!,. ¡ь;г„.. ( .« i w í Ì ì::-:;::; , , ¡V r, : Kr:,,-. : чі, і.:.;. : -, ·■:,.:;, м, :.;;, Η; ;„-,.-;,.[ ;■-,,- І- ;Λ ; ,,.,; ,; , Case Study 8. Copies of the Crucifixion probably after a Lost Painting by Pieter Bruegel the Elder 615 inscriptions ................................................................... ........................ Μ/ (. гслгіоп of a Compositional Variant and Collaboration with foos de Momper the Younger ............... 618 Pannine; Supports ........................................................................................... 619 ΚιΓΜϊ.ιί Panel ( !о!шп.ктні and Tool Marks - Provenance oí ilio Wood ami During - Branding - Barbes and Unprepared I reparai or s i „u ers ............................................................................ ь~~ uderd rawing ................................................................................ 6ЛЗ ¡■■irt:; ,α,κί i -üK-iinn unhu¡¡on Paint ! jut ........ ............................................................ <^27 t ,.tn¡;r::.¡¡ ľ.ik tee .nul Paint Laver SsriiLturi; - Brushwork H.iiidlmt; and At tributjon - Sequence ut Painting t ups піц ! rot ess . ......... .......................................... W3 ( гі:;!іи:й! . .¡s liions tur tin ііццгіч ¡íľA iiscapc and І.лгкЬеарі Bat k« roi! rids: no Evidence Sor а С. »«union Cartoon - і . iinir on.. -.ptuulciH v1 in і їх. I Ił;iiivs ίνι-ΐΜκίιημ í he Modei ....................................................... 63S Λ j . .■■·! ι .;■;/, .- /ν, -ιι.· ¡ν. S -eU! Вгиеце! ìli ι. Lider: Smírce I liKüiiKiib lhe Vienna Version ni she Crucifixion by Jan H·: ;;. ¿-.h-.-! Mu; f t v r v. ju ¡ппц fui the ApptarauLL of a I .tut С )ri^inal by ľieicr Rnicgei the Kldcr ( j-nuiiisi,,!) . ....... ......................................... (>■ +- Case Study 9. Copies of the Massacre of the Innocents probably after a Lost Painting by Maerten van Cleve ....... ......................................... ( -Г libi мриопч . ....... ..................................... M i aiiiritu; Suppen s . . ........................................... (v-vS і ,,.;;: ;: î ii:·,; > ■!>· i ¡ ü. í ¡· >s: .nid ! dos 1,ігі< ■> í roven.HK e ni tile Ч пін] Jmi 1 );ltinr, !lH рамїч ч ] ,ν,χ -^ . . . . . .................................. íi -ьЧ I ¡ídcidiav-inĽ ...................................... < ł ¡ m,; Law; . . . ......................... <>^i í Dl iÌ! .- i:- [ ..i.. Г :·. ! ,ί . : : s: .,),_, ;: rt. дцЈ [ ¡¡. .ПК 111 Ail.ìK ■.!·. Ѕ(.л.\|!.К 1K.Ł DÌ [ł. U II t І líg - BrUsIlWnlk .Ititi [ latid! і ПЦ - t up·, иіц V r4í .■■■ss .md RdLeuom on lhe Minici ...... ................... <!s« і i -с XV i^ív ii in d-ť ІЧ Чіііікііїїчс Musca voor Seíionc Kunsten van Belgie \| Міічсск royaux des Beaux-Arts de ίνΊ^.!ι!;κ·: і Λ tdcni.!. ot л < ι ι ,ί,ΓΙφ . . .......................... ^^~ , і ,: ■: ! .<■;. :;ί;;: Κ> ·. ■■■ ι >! І а ікІ s ι:ι ţiu: sixteenth < etifLirv ^X ii , diis Re-ust in B¡ UĽi;he! s XXoik-.hop? ( \|S¡¡; іиЧИі.ГІ . . . . ............................ <>(Г Case Study 10, Copies of the Peasant Lawyer after an Anonymous Model ή і í !) її ppľ M ill-, . ... . ....... (1 1 I .tmnnt: Suppen is . . . ..... ........ Ό ľ.. ľí:t,· j .jiv i t ·. !-■ :;!. : iíiľ . .tu! linii î irk, · Г гц-е; ¡¡.iilsŁ oí ΜΗ VÀ<!. ні .iiid I },iti!U; - Bï.Uu iüU l !Hieî4.lr,! v ŠF!^ ..... (1 ■ ] ■■;·,:- .r,,: t цткі:.·!: , -r¡ і-чім^п l .Hiit La-vi ■ ■ ... ........... «>S3 < í ,-κίι; їм ? ui ;;. .i tid ¡і;:;;;, oí ι ■ ^i « iR-nee ч! і .іїїг.імц · Нгин1ѕ«.>; к ami H uni îi пц - ЛппГшііоп í пр itti; i itKc^s .iíld RftkxiMins .(ti lhe Mudei . . - - .... . ť·) S р : í ^ í ^ ■ i e ; ч I , M í;;;¡!, í te і? í „ієі ііі;^ ,ii5 ¡ i L tpK Hriiťijheí ihe іпипцгг s ( oŢUefispi.Harics and I .iter IíTitfat(>ís Volume ΠΙ 5. Demystifying the Process: Pieter Brueghel the Younger s Workshop Practice Fainting Supports ............................................. ~U1 Format and Provenance of the Wood ..................... ....... ..... ^1 fíiirhcs and Unpaid red Lateral Borders, with С orrcsponding Rebates »π the Reverse . ;_: ihe Antwerp Brand and Panel-makers Marks ........... . . ~ ^ Quality ................. ........... ......... . >κ Preparatory Layers >. . ( ¡round ...... ........ і . ¡трііш, ¡tura ...... ι.: The Role ot Cartoons и lhe 1 ransíer Process ................. ......... ... . ¡(> Single or Partial Pricked Cartoons ...... hi Ί hi: Nature of the Cartoons: ,ш Original Master ( .artnon and ЧХ огкіпц Substituit· Сігцшіи -ľ Underdrawing ...... .......... ^O ( ìiaphiti and [Mack Chalk as l nderdrawinj; Мсчііа . . lhe Position oí flic l.tulcrdravv іпц in the Laver Structure ;ς íhe hxtent and Character ofthc Underdrawing ............ ■■·-.·- Cartoon I ra usier and Underdraw inj; Stcp-bv-Sicp . . ■; Painting Iťchniques i.n Рак -ite . . .......... Pigment Analysis ,md l.jvcr Srrutture . <ιπ SctjueiKC or iamunt; ....... і,; Bľushsvoľk and E iatidling ..... . . . . ì. ; Mimicking his ľather s Rrushwork ....... --4 і ,Ue .Additions . . ...... S 6. Searching lor the Hand oí Pieter Bruegheí the Younger Hit* L nderdrawings . >;% Соя Croup of Uiiderdru^ ¡пцѕ by ¡he Master ss I (idcrdrjWingS l Umide the (. f.»re V lï OUp . . . l)(i lhe i;r;buno!ì oí independen! I >ι .ν. nu-, io Pieter Вгиецітеі the оипџс1 . ■> Ihc Painting Stage . м Л Λ t .(tre { jroiip ot Paintnií 1· І )1? lise .Master ,sí>> і аііпщцч oiií .kíe íhť i .or«- ( iH-Uip чмч ѕјцпѕѓк а. Ке >t л Ѕјцп.ииге ... . su 7. Pieter Brueghel the Younger s Models and Variants Brueghel the Younger s Models .............................................................................. 81 Paintings Sor which Bruegei the Eider s Original Versions still Survive ..................................... 817 Paintings Presumed to be after Lost Works by Bruegei the Elder ............................................. 822 Painting alter Missing Works by Other Artists ............................................................ S22 Variants and Variation in Brueghel the Youngers Production .............................................. 8-3 í ompď.itioii,il Variants ..................................................................... 823 Variation in the Later Wars ............................................................. S2S Organizational Pr. к fîtes under Brueghel the Vnmger s Direction .................................... 82^ 8. Outside Brueghel the Younger s Workshop IK-Lepti ve Resemblance: Copies in the Manner of Pieter Brueghel the Younger КЗ! Distinctive reatures in Copies by Jan Brueghel the Elder ....................................... H.Vi SoKinji a famous ( ontrovers : I wo Versions of the fitil of ¡car tis H i ¡ lhe еічоп in tiu- Koninklijke Mumm voor Schone Kiinsren van Всіціс j Musées royaux des Beaux-Arts ,.L Мцкјш· . ......................................... «-К- і ;· ■■ cis.:;;·. % .îîh1 >: ■ Ivijioi .нічні ! I.ííüü: ί .. iuk rd r, i w піц - І .uni І - .wer ( ι Mieluşii m I he eïMüu iu ihe Van Ruwľcn Museum in Ншч Ч к . . . . .................. ^^-ί ] (■ ■■: ι li.il i -,- Χ і S Ч ч Ч í í tul-, ¡ilt.iwirn: І .ІИНІ.ІЧіІ - і .Olk liľ-iUl) ! ast Word . ............... ....... А 2 9- Understanding the Father through the Son: lost Secrets of Pieter Bruegei the Elder s Working Practice ľ-videnee from the Copies: Bruegei s losí Compositional Drawings * L1 Evidence from the Coptes: Вгис^еІЧ Lost Cartoon* ...... ^11 i idenee Írom tlie Originals: rhe Nature «( the Lost Cartoons» ........... !sS2 Other Preparator) Material Hmployed by Bruegei s ^ « Retord ť .olitesi . . . ........... Sb-i .Model Drawings and . Prepar.itory (annons in the Southern Netherlands НКь !rom Dramngio Painting: Bruegels Creative Process Reconstructed ^H> Conclusions Bibliography Appendices I. Paintings by Pieter Bruegel the Elder and from the Workshop or Pieter Brueghel the Younger: Inscriptions and Key Technical Features ............................................. II. Historical Copying Techniques .................................................... Cartoons - Nquaring-up - Pouncing - I racing ~ I he Counrerpmof Method - lhe Proportional ( .ompass - I he Pantograph Ш. Practical Reconstructions {Christina Ciirric and Bob C ¡hys.) ...... . . Preparation of Test Panels «ind Drawing Matt-rials - Scjiiaring-up - ¡їаипц - Pouncing - Pantograph Alternative Methods - Discussion IV . Identifying Pieter Brueghel the Younger s Underdrawing Media (( .hrisuna i unie atid ^¡cven S,iwr wns) Historical ( ontcvt ....... .................... ....... ..... ül.uk (luik - Ciraphiu - Meiaípoíiu Identification of Underdrawing in ľaánt Samples ........ . Analvxis of Underdrawing in Brueghel the Younger s Paintings ....... . . . hxtH.TíiľiťPít.ií ( «чкЫкчь - ( .чи ιΐΐχΐΊΐι · ÀLi.^ih. іу t>j U s· /it/UHTUť шнх .шіп turma! ! út ťĽ i^ ίΚι·,, ^ -. ,· , /·.- f b ι, . Í. : Md.s-.h >ί oj tlu· !>inoiY>!tí (Іагці1 ínrnuHi X r,)v (■tiKnc.i.cnti Analviis of І лчі Sni, il! lu: m,¡i [>.ііг;!Іп<і;·- і1 . Ηρ,κχΐκ! tiu- donaster Ci^nclusion ...... ..... V . Dendro-archaeological txamination oí Paintings by Pieter Brueghel the Younger (Pismak- 1т.пшге\| ProvL-naiiLC ol ι lie Wood, Mecluinical and lcchnu al ( .haraclerisiii-N Planks (гот the Same i i ee in DiHerent Paintings Dating - Pieter Buiegel t lie blder and Pieter Brueghel lhe Younger: a ( hamj.;,!.} ґлопотіс ( отеке VI. Attribution in Pieter Brueghel the Younger s Production ( ore і ìronp tir I nderdravvtngs b ν Brueghel the Younger . ... t .ore Ciroup oí Pjintinüs bv Bí tieghel tlu* ^оініцег ... Víl. Charts of Variants .ι Variable Motifs ,ν.ιά t oiours in the < cníhí ,u Hct^u hew Series h VVtriabie Motirs and Colours in t lie ScrniíOi ¡4 S/ ¡<thn . / ,■ B<tf>ti<¡ Suies с ariabîe Motíh and ( oiours in the ľť.f.^iui /.¡¿wyt-r Senes f Index of Works Illustration Credits
any_adam_object	1
author2	Bruegel, Pieter de Jongere 1564-1636
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id	DE-604.BV040370413
illustrated	Illustrated
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spelling	The Brueg[H]el phenomenon paintings by Pieter Bruegel the Elder and Pieter Brueghel the Younger ; with a special focus on technique and copying practice 1 Christina Currie and Dominique Allart Brussels Royal Inst. for Cultural Heritage 2012 317 S. zahlr. Ill. txt rdacontent n rdamedia nc rdacarrier Scientia Artis 8,1 Scientia Artis ... Currie, Christina Sonstige (DE-588)133159221 oth Allart, Dominique Sonstige (DE-588)188359079 oth Bruegel, Pieter de Jongere 1564-1636 (DE-588)119524759 ill (DE-604)BV040370367 1 Scientia Artis 8,1 (DE-604)BV039111784 8,1 KUBIKAT Anreicherung application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=025224034&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis
spellingShingle	The Brueg[H]el phenomenon paintings by Pieter Bruegel the Elder and Pieter Brueghel the Younger ; with a special focus on technique and copying practice Scientia Artis
title	The Brueg[H]el phenomenon paintings by Pieter Bruegel the Elder and Pieter Brueghel the Younger ; with a special focus on technique and copying practice
title_auth	The Brueg[H]el phenomenon paintings by Pieter Bruegel the Elder and Pieter Brueghel the Younger ; with a special focus on technique and copying practice
title_exact_search	The Brueg[H]el phenomenon paintings by Pieter Bruegel the Elder and Pieter Brueghel the Younger ; with a special focus on technique and copying practice
title_full	The Brueg[H]el phenomenon paintings by Pieter Bruegel the Elder and Pieter Brueghel the Younger ; with a special focus on technique and copying practice 1 Christina Currie and Dominique Allart
title_fullStr	The Brueg[H]el phenomenon paintings by Pieter Bruegel the Elder and Pieter Brueghel the Younger ; with a special focus on technique and copying practice 1 Christina Currie and Dominique Allart
title_full_unstemmed	The Brueg[H]el phenomenon paintings by Pieter Bruegel the Elder and Pieter Brueghel the Younger ; with a special focus on technique and copying practice 1 Christina Currie and Dominique Allart
title_short	The Brueg[H]el phenomenon
title_sort	the brueg h el phenomenon paintings by pieter bruegel the elder and pieter brueghel the younger with a special focus on technique and copying practice
title_sub	paintings by Pieter Bruegel the Elder and Pieter Brueghel the Younger ; with a special focus on technique and copying practice
url	http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=025224034&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA
volume_link	(DE-604)BV040370367 (DE-604)BV039111784
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