Volume 12–4 (Low Res).pdf - U&lc
Volume 12–4 (Low Res).pdf - U&lc
Volume 12–4 (Low Res).pdf - U&lc
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ARESE<br />
BOLD<br />
According to the record books, there were no few<br />
er than twelve painters in this distinguished Flemi<br />
sh family. Without doubt, the best known of them is<br />
Pieter Bruegel, the Elder, who lived from 1525 to<br />
about 1569. By the time he was 26, he was admitte<br />
d to membership in the Antwerp Academy. As was<br />
expected of any painter worth his salt in those day<br />
s, he also made the mandatory trip to Italy to study<br />
the great Renaissance masters. Although he was d<br />
eeply affected by what he saw, he did not go home<br />
and mimic the Italians' grandiose biblical and myt<br />
hological themes in Roman architectural settings<br />
Instead, he concentrated on one of the here-and<br />
now problems of Flemish life. His country was des<br />
perately fighting off political and spiritual domina<br />
tion by Spain and the Catholic Church. Though Pie<br />
ter Bruegel, the Elder, was not a blatantly religiou<br />
s painter, his works were preachy and moralizing i<br />
n their own inimitable way. Instead of portraits of<br />
BOLD ITALIC<br />
According to the record books, there were no fewer than<br />
twelve painters in this distinguished Flemish family. W<br />
ithout doubt, the best known of them is Pieter Bruegel<br />
the Elder, who lived from 1525 to about 1569. By the ti<br />
me he was 26, he was admitted to membership in the A<br />
ntwerp Academy. As was expected of any painter worth<br />
his salt in those days, he also made the mandatory trip<br />
to Italy to study the great Renaissance masters. Althou<br />
gh he was deeply affected by what he saw, he did not go<br />
home and mimic the Italians' grandiose biblical and m<br />
ythological themes in Roman architectural settings. In<br />
stead, he concentrated on one of the here-and-now pro<br />
blems of Flemish life. His country was desperately fight<br />
ing off political and spiritual domination by Spain and<br />
the Catholic Church. T hough Pieter Bruegel, the Elder<br />
was not a blatantly religious painter, his works were p<br />
reachy and moralizing in their own inimitable way. Ins<br />
tead of portraits of holy families and saints, he painted<br />
peasants. Instead of fantasies of heaven and hell, he pa<br />
ULTRA<br />
According to the record books, there were<br />
no fewer than twelve painters in this distin<br />
guished Flemish family. Without doubt, the<br />
best known of them is Pieter Bruegel, the E<br />
'der, who lived from 1525 to about 1569. By t<br />
he time he was 26, he was admitted to mem<br />
bership in the Antwerp Academy. As was ex<br />
pected of any painter worth his salt in thos<br />
e days, he also made the mandatory trip to I<br />
taly to study the great Renaissance master<br />
s. Although he was deeply affected by what<br />
he saw, he did not go home and mimic the It<br />
alians' grandiose biblical and mythological<br />
themes in Roman architectural settings. In<br />
stead, he concentrated on one of the here-a<br />
nd-now problems of Flemish life. His countr<br />
y was desperately fighting off political and<br />
spiritual domination by Spain and the Cath<br />
olic Church. Though Pieter Bruegel, the Eld<br />
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