(Dutch pronunciation:c. 1525 - 9 September 1569) was a Flemish Renaissance painter and printmaker known for his landscapes and peasant scenes (Genre Painting). He is sometimes referred to as "Peasant Bruegel" to distinguish him from other members of the Brueghel dynasty, but is also the one generally meant when the context does not make clear which "Bruegel" is being referred to. From 1559 he dropped the 'h' from his name and started signing his paintings as Bruegel. There are records that he was born in Breda, Netherlands, but it is uncertain whether the Dutch town of Breda or the Belgian town of Bree, called Breda in Latin, is meant. He was an apprentice of Pieter Coecke van Aelst, whose daughter Mayken he later married. He spent some time in France and Italy, and then went to Antwerp, where in 1551 he was accepted as a master in the painter's guild. He traveled to Italy soon after, and then returned to Antwerp before settling in Brussels permanently 10 years later. He received the nickname 'Peasant Bruegel' or 'Bruegel the Peasant' for his alleged practice of dressing up like a peasant in order to mingle at weddings and other celebrations, thereby gaining inspiration and authentic details for his genre paintings. He died in Brussels on 9 September 1569 and was buried in the Kapellekerk. He was the father of Pieter Brueghel the Younger and Jan Brueghel the Elder. Both became painters, but as they were very young children when their father died, it is believed neither received any training from him.   Related Paintings of Pieter Bruegel the Elder :. | The Tower of Babel | Dulle Griet | Children's Games | Peasant and the Nest Robber | The Corn Harvest |
Related Artists:
Meindert Hobbema
1638-1709 Dutch Meindert Hobbema Galleries In the exercise of his craft Hobbema was patient beyond all conception. It is doubtful whether any one ever so completely mastered as he did the still life of woods and hedges, or mills and pools. Nor can we believe that he obtained this mastery otherwise than by constantly dwelling in the same neighbourhood, say in Guelders or on the Dutch Westphalian border, where day after day he might study the branching and foliage of trees and underwood embowering cottages and mills, under every variety of light, in every shade of transparency, in all changes produced by the seasons. Though his landscapes are severely and moderately toned, generally in an olive key, and often attuned to a puritanical grey or russet, they surprise us, not only by the variety of their leafage, but by the finish of their detail as well as the boldness of their touch. With astonishing subtlety light is shown penetrating cloud, and illuminating, sometimes transiently, sometimes steadily, different portions of the ground, shining through leaves upon other leaves, and multiplying in an endless way the transparency of the picture. If the chance be given him he mirrors all these things in the still pool near a cottage, the reaches of a sluggish river, or the swirl of the stream that feeds a busy mill. The same spot will furnish him with several pictures. One mill gives him repeated opportunities of charming our eye; and this wonderful artist, who is only second to Ruisdael because he had not Ruisdael's versatility and did not extend his study equally to downs and rocky eminences, or torrents and estuaries - this is the man who lived penuriously, died poor, and left no trace in the artistic annals of his country. It has been said that Hobbema did not paint his own figures, but transferred that duty to Adriaen van de Velde, Lingelbach, Barendt Gael, and Abraham Storck. As to this much is conjecture.
Luca Gordano
Italian Baroque Era Painter, ca.1634-1705
Giuseppe Bazzani
Italian Baroque Era Painter, 1690-1769 was an Italian painter of the Rococo. Born in Mantua to a goldsmith, Giovanni Bazzani, early on he apprenticed with the Parmesan painter Giovanni Canti (1653-1715). A fellow pupil was Francesco Maria Raineri. He spent most of his life in Mantua. From 1752, he was faculty, and from 1767, director of the Accademia di Belle Arti of Mantua. While esconced in a declining provincial city, he absorbed international influences. His loose brushstrokes, fervid often dark emotionalism, and tortured poses, which recall at times later expressionism, display stylistic tendencies more typical of Lombardy. Numerous artists, including Fetti, Bencovich, Rubens, and Magnasco are said to have influenced him, although the number and diversity of the artists suggested hints that he had an idiosyncratic and unique synthesis for his time. Among his early works are paintings of the Miracles of Pius V, the Conversion of a Heretic and the Healing of a Madwoman