Pieter Bruegel and the Art of Laughter - AAAARG.ORG

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taking laughter seriously 155 countryside. Such images of robust, uninhibited peasant celebrations would have formed a rustic but not inappropriate counterpoint to the presumably more sophisticated and refined festivities in an urban dining room. And thus we return to the question once posed by Peter Burke: did the upper classes “associate popular culture with times and places of relaxation?” 22 This question, as I have suggested, can be answered in the a‹rmative. Further support for this claim comes from an unexpected source, a carnival entertainment presented in 1593 at the court of Philip II of Spain. 23 The king asked Jehan Lhermite, a native of Antwerp and a member of the royal household, to organize a masque in the “Flemish fashion.” In response, Lhermite staged an upper-class wedding feast: first came the noble bridal pair and then the guests in order of rank, all wearing the fashions of Brabant and Holland; after them came the cook and his wife, he wielding a big spoon, she carrying a basket of warm carnival wa›es. The banquet was interrupted by the appearance of a party of peasants, also dressed in the Flemish style, complete with bagpipes and flails. After several of the wedding guests had successfully pleaded for their admission to the banquet, the whole company danced, the peasants performing their native dances. The presence of these mock peasants, we are assured, contributed much to the hilarity of the occasion, and Philip is recorded as saying approvingly that it reminded him of the masked entertainments he himself had enjoyed in the Netherlands. Philip had sojourned in the Netherlands at various times between 1549 and 1558, some forty-five to fifty years before, that is, in Bruegel’s lifetime. But while I am not aware of any Flemish court masques featuring peasants from the mid–sixteenth century, we cannot completely discount their existence in view of the peasant characters that appear in the farces and tafelspelen of the period. It is also possible that Philip had something quite diªerent in mind, but even so, the Spanish entertainment of 1593 shows the peasants, not as objects of derision and social satire, but as honorable participants in a festive occasion. This is not likely to have been an invention on Lhermite’s part, but reflects a practice begun much earlier. 24 To
156 taking laughter seriously what extent rustic revels in the “Flemish fashion” permeated urban and courtly festivities of the seventeenth century is a subject requiring further study, 25 but there can be little doubt that Bruegel’s paintings of country revels played a benign and even positive role in the festive urban culture of his day, and as such they were significant manifestations of his art of laughter.
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A H M A N S O N • M U R P H Y F I
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pieter bruegel and the art of laugh
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University of California Press Berk
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Good friends who come to read this
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list of illustrations =ã Only date
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illustrations xi Washington, D.C.,
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illustrations xiii Musées Royaux d
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illustrations xv 52. Jacob Grimmer,
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illustrations xvii Augsburg. Leipzi
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xx acknowledgments many other insti
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prologue deciphering bruegel =ã Bu
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prologue: deciphering bruegel 3 fig
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prologue: deciphering bruegel 5 fig
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prologue: deciphering bruegel 7 tha
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prologue: deciphering bruegel 9 Thu
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prologue: deciphering bruegel 11 fi
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prologue: deciphering bruegel 13 wi
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the commodity of laughter 15 How mu
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the commodity of laughter 17 a man
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the commodity of laughter 19 Courti
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the commodity of laughter 21 risqu
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the commodity of laughter 23 son”
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the commodity of laughter 25 figure
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the commodity of laughter 27 the ev
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uegel’s art of laughter 29 figure
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uegel’s art of laughter 33 Cotgra
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uegel’s art of laughter 35 traits
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uegel’s art of laughter 37 until
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uegel’s art of laughter 41 stitut
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uegel’s art of laughter 47 pressi
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uegel’s art of laughter 59 by Bru
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figure 36. Detail of Fig. 35. figur
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figure 39. Detail of Fig. 38. figur
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chapter three a bankrupt and his br
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a bankrupt and his bruegels 69 figu
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a bankrupt and his bruegels 71 figu
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a bankrupt and his bruegels 73 his
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a bankrupt and his bruegels 75 hous
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chapter four rustic revels =ã Noth
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ustic revels 79 figure 45. Jan or L
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ustic revels 81 ily, were especiall
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ustic revels 83 Hendrik van Berchem
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ustic revels 85 figure 47. Jacob Gr
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ustic revels 87 figure 49. Joachim
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ustic revels 89 figure 50. Maerten
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ustic revels 91 figure 52. Jacob Gr
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ustic revels 93 figure 54. Fool Pla
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ustic revels 95 figure 56. Detail o
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ustic revels 97 was included by Til
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ustic revels 99 In any case, Van Ma
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ustic revels 101 figure 58. Detail
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ustic revels 103 figure 59. Detail
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Page 132 and 133: making good cheer 107 chiefly by th
Page 134 and 135: making good cheer 109 figure 61. Fr
Page 136 and 137: making good cheer 111 figure 63. Fr
Page 138 and 139: making good cheer 113 over who’s
Page 140 and 141: making good cheer 115 the jocularit
Page 142 and 143: making good cheer 117 ing. But his
Page 144 and 145: making good cheer 119 figure 66. De
Page 146 and 147: making good cheer 121 figure 68. De
Page 148 and 149: making good cheer 123 with streamin
Page 150 and 151: griet and her sisters 125 figure 70
Page 152 and 153: griet and her sisters 127 kluchten,
Page 158 and 159: griet and her sisters 133 immediate
Page 160 and 161: griet and her sisters 135 Sachs des
Page 166 and 167: griet and her sisters 141 symbolic
Page 170 and 171: epilogue taking laughter seriously
Page 172 and 173: taking laughter seriously 147 the s
Page 174 and 175: taking laughter seriously 149 scath
Page 176 and 177: taking laughter seriously 151 is it
Page 178 and 179: taking laughter seriously 153 figur
Page 182 and 183: notes =ã The book’s epigraph is
Page 184 and 185: notes to pages 4-6 159 16. Panofsky
Page 186 and 187: notes to pages 9-10 161 42. In anot
Page 188 and 189: notes to page 15 163 of manners tha
Page 190 and 191: notes to pages 16-17 165 ing fool!
Page 192 and 193: notes to pages 18-19 167 31. Quoted
Page 194 and 195: notes to pages 20-21 169 to Modern
Page 196 and 197: notes to pages 23-24 171 boerden; s
Page 198 and 199: notes to pages 24-26 173 are cited
Page 200 and 201: notes to pages 27-29 175 E. Roobaer
Page 202 and 203: notes to pages 33-35 177 11. Jouber
Page 204 and 205: notes to pages 37-43 179 tocht door
Page 206 and 207: notes to pages 47-48 181 pared the
Page 208 and 209: notes to pages 52-55 183 sance: The
Page 210 and 211: notes to page 57 185 one leads so o
Page 212 and 213: notes to pages 59-61 187 2001, pp.
Page 214 and 215: notes to pages 68-72 189 Gregory Ma
Page 216 and 217: notes to page 74 191 is generally a
Page 218 and 219: notes to pages 75-77 193 41. Biog.
Page 220 and 221: notes to pages 79-80 195 Schoonbeke
Page 222 and 223: notes to page 81 197 kermissen onde
Page 224 and 225: notes to pages 83-84 199 cation d
Page 226 and 227: notes to pages 88-89 201 1555-60 (V
Page 228 and 229: notes to pages 94-96 203 73. “Dus
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notes to pages 97-98 205 87. Burke
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notes to pages 100-106 207 no. 5 (1
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notes to pages 107-110 209 Methuen
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notes to pages 112-113 211 teenth C
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notes to page 115 213 “told for a
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notes to pages 118-120 215 74. Goed
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notes to pages 121-123 217 ized as
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notes to pages 127-128 219 name, wh
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notes to pages 129-131 221 further
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notes to pages 132-133 223 of Hesse
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notes to pages 135-138 225 West Pru
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notes to pages 141-142 227 60. Quot
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notes to pages 145-150 229 epilogue
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notes to pages 154-156 231 21. See
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234 select bibliography Bell 1999.
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236 select bibliography Dreyer 1977
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238 select bibliography ———.
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240 select bibliography De Jong et
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242 select bibliography Marguerite
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244 select bibliography Van der Noo
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246 select bibliography bäuerliche
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248 select bibliography Stoett 1943
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250 select bibliography Wauters 191
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Aertsen, Pieter, 51, 86, 87, 99, 10
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index 255 Kermis, 81, 82, 83, 150,
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index 257 Drawings, 1, 8, 9, 10, 11
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index 259 Hemessen, Jan Sanders van
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index 261 Meckenem, Israhel van, 13
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index 263 39, 149, 174n91, 224n43;
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index 265 seigneurial relations, 78
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