(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 :. | Netherlandish Proverbs | Children's Games | De Dulle Griet | The Peasant Dance | Zyklus der Monatsbilder |
Related Artists:
Albert Gallatin Hoit
Albert Gallatin Hoit (December 13, 1809 - December 18, 1856) was an American painter who lived in Boston, Massachusetts. He painted portraits of William Henry Harrison, Daniel Webster and Brenton Halliburton. Hoit was born in Sandwich, New Hampshire, December 13, 1809, to Gen. Daniel Hoit and Sally Flanders. Siblings included William Henry Hoit. Hoit graduated from Dartmouth College in 1829. He married Susan Hanson in 1838; children included Anna M. Hoit. Hoit "devoted his life to portrait painting, first at Portland, Maine, in 1831, and then in Bangor and Belfast, Maine, and St. John's, N.B. until Boston, Mass., became his permanent home in 1839." He also travelled in Europe, "Oct. 1842 to July 1844, ... enjoying the galleries of art in Italy, Paris, and London." He created portraits of Pietro Bachi, Johanna Robinson Hazen, J. Eames, and others. He painted a portrait of Daniel Webster "for Paran Stevens, which hung for years in the Revere House, Boston, and now belongs to the Union League Club, New York." He was affiliated with the Boston Artists' Association; and exhibited at the gallery of the New England Art Union in the 1850s. In 1848, he kept a studio on Tremont Row in Boston, and lived in Roxbury. By 1852, he'd moved his studio to Washington Street. Hoit died in Jamaica Plain, December 18, 1856, at age 47.
Giuseppe Pelizza
painted Prato fiorito in 1900 - 1903
Pieter Saenredam
b. 1597, Assendelft, d. 1665, Haarlem,Painter and draughtsman, son of Jan Saenredam. His paintings of churches and the old town halls in Haarlem, Utrecht and Amsterdam must have been appreciated by contemporary viewers principally as faithful representations of familiar and meaningful monuments. Yet they also reveal his exceptional sensitivity to aesthetic values; his paintings embody the most discriminating considerations of composition, colouring and craftsmanship. His oeuvre is comparatively small, the paintings numbering no more than 60, and each is obviously the product of careful calculation and many weeks of work. Their most striking features, unusual in the genre, are their light, closely valued tonalities and their restrained, restful and delicately balanced compositions. These pictures, always executed on smooth panels, are remarkable for their sense of harmony and, in some instances, serenity. Here, perhaps, lies a trace of filial fidelity to the Mannerist tradition of refinement and elegance, of lines never lacking in precision and grace. But Mannerist figures and the more comparable components of strap- and scrollwork embellishment lack the tension and clarity of Saenredam's designs, which also have a completeness reminiscent of the fugues of Gerrit Sweelinck (1566-?1628).