老彼得·布呂赫尔（荷蘭語：Pieter Bruegel de Oude，約1525年－1569年9月9日），文艺复兴时期布拉班特公国（曾在15-17世紀建國，領土跨越今荷蘭西南部、比利時中北部、法國北部一小塊）的畫家，以地景與農民景象的畫作聞名。根據加勒·范·曼德尔的記載，他出生於鄰近布雷達（Breda）的布罗赫尔（Broghel），但不確定所指的是拉丁語中位於荷蘭的布雷達，或指比利時的布雷（Bree）。1559年，他省略名字Brueghel當中的「h字母」，而在作品上署名Bruegel。
他是彼得·庫克·范·阿尔斯特 (Pieter Coecke van Aelst）的徒弟。1551年，他成為安特衛普的著名藝術家，曾遊歷義大利。1553年，與 阿尔斯特的女兒邁克（Mayke）結婚，並移居布魯塞尔。婚後育有兩子：长子小彼得·布呂赫尔（Pieter Brueghel the Younger，1564年）及老揚·布呂赫尔（Jan Brueghel the Elder，1568年），兩位後來皆成為畫家，虽然父親早逝，但对兄弟二人的艺术上仍有较大影响。(zh.wikipedia.org/老彼得·勃鲁盖尔).
The portrait of Pieter Bruegel the Elder is from Dominicus Lampsonius’s publication entitled Pictorum aliquot celebrium Germaniae inferioris effigies (Portraits of some Celebrated Artists of the Low Countries).
Dominicus Lampsonius (Latinised form of Dominique Lampsone) (1532, in Bruges – 1599, in Liège) was a Flemish humanist, poet and painter.
In 1572 Lampsonius published under his own name a set of 23 engraved portraits of artists from the Low Countries under the title Pictorum aliquot celebrium Germaniae inferioris effigies (literal translation: Effigies of some celebrated painters of Lower Germany). Lampsonius provided poems in Latin to accompany the individual portraits. This work was under preparation by the leading Antwerp publisher Hieronymous Cock who died before it was completed. It was then published by Cock's widow Volcxken Dierix who continued the publishing business after her husband's death.
The artists included in the book are (in this order): Hubert van Eyck, Jan van Eyck, Hieronymus Bosch, Rogier van der Weyden, Dirk Bouts, Bernard van Orley, Jan Mabuse, Joachim Patinir, Quentin Matsys, Lucas van Leyden, Jan van Amstel, Joos van Cleve, Matthys Cock, Herri met de Bles, Jan Cornelisz Vermeyen, Pieter Coecke van Aelst, Jan van Scorel, Lambert Lombard, Pieter Bruegel the Elder, Willem Key, Lucas Gassel, Frans Floris, and Hieronymus Cock. (en.wikipedia.org/Dominicus Lampsonius)
老彼得·布呂赫尔的雕版肖像来自Dominicus Lampsonius 的出版物，标题为 Pictorum aliquot celebrium Germaniae inferioris effigies（低地国家一些著名艺术家的肖像）。
2011年，我们参观了维也纳艺术史博物馆 (德语：Kunsthistorisches Museum Wien，缩写KHM Wien)。
画中有230个小孩在玩83种不同的游戏。画家精湛地运用了鸟瞰视图，这是典型的老布呂赫尔艺术手法。
The children, who range in age from toddlers to adolescents, roll hoops, walk on stilts, spin hoops, ride hobby-horses, stage mock tournaments, play leap-frog and blind man's bluff, perform handstands, inflate pigs' bladders and play with dolls and other toys. They have also taken over the large building that dominates the square: it may be a town hall or some other important civic building, in this way emphasizing the moral that the adults who direct civic affairs are as children in the sight of God. This crowded scene is to some extent relieved by the landscape in the top left-hand corner; but even here children are bathing in the river and playing on its banks.
The artist's intention for this work is more serious than simply to compile an illustrated encyclopaedia of children's games, though some eighty particular games have been identified. Bruegel shows the children absorbed in their games with the seriousness displayed by adults in their apparently more important pursuits. His moral is that in the mind of God children's games possess as much significance as the activities of their parents. This idea was a familiar one in contemporary literature: in an anonymous Flemish poem published in Antwerp in 1530 by Jan van Doesborch [nl], mankind is compared to children who are entirely absorbed in their foolish games and concerns. (en.wikipedia.org/Children's Games (Bruegel) 作者: ngsunyu 时间: 2020-3-28 00:01 本帖最后由 ngsunyu 于 2020-3-31 00:43 编辑
老彼得·布呂赫尔的杰作《叛逆天使被击败》绘于1562年，收藏於布鲁塞尔的比利时皇家美术博物馆（荷兰文：Koninklijke Musea voor Schone Kunsten van België，法文：Musées royaux des Beaux-Arts de Belgique)。比利时皇家美术博物馆收藏的老布呂赫尔作品数量名列世界第二，仅次于维也纳艺术史博物馆。
卡洛斯一世及其儿子菲利浦二世沿用了英格兰查理一世的十一年暴政期的宗教统治机制，启用了两个最恐怖，最专制的宗教法庭来惩罚那些“叛教人”：最高刑事法庭（Court of High Commission）和星室法庭（Star Chamber）。前者可以强迫任何人自证有罪；而后者，基本上就是枢密院的扩充，除了不能把人直接处死外，可以用任意方法惩罚任何人，包括肢体折磨。在之后的十七世纪时，星室法庭甚至完全取代了当时欧洲的最高刑事法庭的地位，成为了实际上的用来对付宗教异端的最高法庭。在这一时期，犯人们经常是未经起诉就被法庭审判，而且一般来讲供词都是通过肢体折磨获得的。大批清教徒或被处死，或被流放，或逃离到美洲。
The painting depicts the construction of the Tower of Babel, which, according to the Book of Genesis in the Bible, was built by a unified, monolingual humanity as a mark of their achievement and to prevent them from scattering: "Then they said, 'Come, let us build ourselves a city, and a tower with its top in the heavens, and let us make a name for ourselves; otherwise we shall be scattered abroad upon the face of the whole earth.'" (Genesis 11:4).
Bruegel had visited Rome in 1552–1553. Bruegel's depiction of the architecture of the tower, with its numerous arches and other examples of Roman engineering, is deliberately reminiscent of the Roman Colosseum, which Christians of the time saw as a symbol of both hubris and persecution.
The workers in the painting have built the arches perpendicular to the slanted ground, thereby making them unstable, and a few arches can already be seen crumbling. The foundation and bottom layers of the tower had not been completed before the higher layers were constructed. The story of the Tower of Babel was interpreted as an example of pride punished, and that is no doubt what Bruegel intended his painting to illustrate. Moreover, the hectic activity of the engineers, masons and workmen points to a second moral: the futility of much human endeavour. (en.wikipedia.org/ The_Tower_of_Babel_(Bruegel) 作者: ngsunyu 时间: 2020-4-13 00:30 本帖最后由 ngsunyu 于 2020-4-21 09:34 编辑
老彼得·布呂赫尔的作品《三贤士来朝》绘于1564年，收藏於伦敦国家美术馆。
The Virgin sits in front of a dilapidated stable with the naked Christ Child on her knee. Three men offer golden gifts – this is the Adoration of the Kings, a biblical episode imagined as a contemporary event. It’s a chilly winter day: Mary’s dress has fur-lined sleeves and Joseph has a thick-belted robe.
This is one of Pieter Bruegel the Elder’s few religious paintings; the upright format and rich colouration suggest it might have been designed as an altarpiece. But its uneasy atmosphere is at odds with a devotional work. The kings are richly dressed but dishevelled, the soldiers menacing, the spectators bewildered or enraged. The crowding, the elongated proportions of the main figures and their nearness to the viewer add to the claustrophobic atmosphere.
What – if anything – this means must remain speculation: we know nothing of Bruegel’s own beliefs and aren't sure who commissioned the painting. His technique, however, is masterly: although seemingly working at great speed every detail is a triumph of design. (nationalgallery.org.uk/paintings/pieter-bruegel-the-elder-the-adoration-of-the-kings)
老彼得·布呂赫尔的作品《屠杀无辜》绘于1565年，小布呂赫尔复制于1566~1567年的版本收藏於布鲁塞尔的比利时皇家美术博物馆（荷兰文：Koninklijke Musea voor Schone Kunsten van België，法文：Musées royaux des Beaux-Arts de Belgique)。
老彼得·布呂赫尔的名作《伯利恒户口调查》收藏於布鲁塞尔的比利时皇家美术博物馆（荷兰文：Koninklijke Musea voor Schone Kunsten van België，法文：Musées royaux des Beaux-Arts de Belgique)。注明日期为1566年的《伯利恒户口调查》 描述的也是圣经场景，但这次画家把它现实化，以布拉班特村庄为背景。
In seiner berühmtesten Zeichnung macht Bruegel die Kunstproduktion selbst zum Thema: Er konfrontiert uns mit der zutiefst ernsten, intellektuellen Arbeit des Malers, der ein vorgeblicher Kunstkenner nichts als ratloses Gaffen und den Griff nach seinem Geldbeutel entgegenzuhalten hat. Kunst trifft hier auf das Unverständnis des Käufers und wohl auch der Gesellschaft im Allgemeinen. Bruegels Künstlerporträt ist kein Selbstbildnis, sondern Selbstthematisierung: die Darstellung künstlerischer Kreativität. Die tiefere Einsicht des Künstlers in die Natur des Menschen führt unweigerlich zum Ekel vor der Welt: contemptus mundi, Verachtung der Welt, nennt dies die mittelalterliche Moralphilosophie. (2017 exhibition text from sammlungenonline.albertina.at)作者: ngsunyu 时间: 2021-6-6 00:12 本帖最后由 ngsunyu 于 2021-6-6 00:17 编辑