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not accidental. The distinctive face of this figure suggests that it may be a portrait, possibly of the artist himself or the patron who commissioned the painting. The figure of Christ has often been identified either as the man in grey behind the left arm of the
Baptist or the bearded man further to the left with his arms crossed. The continued popularity of the picture a generation after Pieter Brueghel the Elder's death when the subject had not only lost its political implications but ran contrary to the religious current of the time, shows there was a more aesthetic appreciation of the subject. The composition was then likely enjoyed more for its representation of humanity in all its diversity of race, class, temperament and attitude.
252:
to the junction with Sint-Antoniusstraat. The house, which he rented, was located in a poorer part of town, nestled amongst small shopkeepers' houses and at least one brothel, and comprised a front and rear building containing a large studio where
Brueghel could work, store materials and, presumably, finished works. He lived at the property with his wife Elisabeth Goddelet, whom he married in 1588 and with whom he had seven children between 1589 and 1597, many of whom died young. One son called Pieter Brueghel III was also a painter. The family lived at this property until at least May 1609, before relocating, at some point before 1616, to the more affluent area on the Brabantse Korenmarkt behind the Tapestry Hall.
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398:. This large scale activity was only possible thanks to his large, well-organized workshop. Comparison of some copies with the originals reveals differences, both in terms of colour as well as the omission or addition of certain details. This may indicate that the copyist re-drafted some sections, or possibly based the copies on prints after original works, rather than on the originals themselves. Pieter the Younger frequently made paintings out of his father's figural designs, including drawings for prints.
353:. The festival is focused around a flower gathered in the fields by children. This painting distinguishes itself in style and colour clearly from his father's work. The painting uses bright colours, with much vermilion and a rich blue-green in the figures and blue for the sky. The colours display a unity of tone distinctive of the 17th century. The picture also displays a unity in drawing and composition. Another original composition by Pieter Brueghel the Younger are four small tondos representing the
215:
33:
263:, passed through Brueghel's workshop between 1588 and 1626/27. Many other artists must have found work in his studio as 'journeymen' – peripetetic jobbing artists hired by day or by contract without need of Guild registration. With an average of one or two formal apprentices every few years, and perhaps several journeymen at any one time, Brueghel thus had a relatively large workforce at his disposal to assist with his prodigious output.
336:
chickens and eggs to please the lawyer, which was a common occurrence, whereas tithe payments were made in grain. The painting shows his interest in and close observation of village life. Pieter
Brueghel the Younger's workshop made many copies of the composition in different formats. There exist 19 signed and dated versions of this work (from between 1615–22) out of some 25 originals and 35 questionable versions.
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191:(known as "Peasant Brueghel") and Mayken Coecke van Aelst. His father died in 1569, when Pieter the younger was only five years old. Following the death of his mother in 1578, Pieter, together with his brother Jan Brueghel the Elder (also referred to as "Velvet Brueghel", "Paradise Breughel" and "Flower Breughel") and sister Marie, were raised by their grandmother
1810:
513:
Pieter the
Younger changed some details of his father's original composition. For instance, some versions omit an unidentified figure of a bearded man in black, who is turned towards the spectator. The omission appears to confirm speculation that his prominent presence in the original composition was
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The large-scale production of copies of his father's oeuvre demonstrates that there was a significant demand for Pieter the Elder's work. At the same time the copies contributed to the popularisation of Pieter the Elder's idiom. Without the son's copying work the public would not have had access to
411:
As Pieter
Brueghel the Younger did not always have access to the original paintings of his father he would in fact often rely on prints of his father's work to create his derived compositions. He also had access to (now lost) compositional drawings and intermediary cartoons which his father had made
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It is not known exactly when
Brueghel established his own independent studio following his Guild matriculation – his first surviving dated painting comes from several years later, in 1593. It is however known that from 1589 he was established in a house in Antwerp located on the Bogaardestraat, near
509:
and the Musée des Beaux-Arts de
Valenciennes. Some of the copies are signed and dated. The quality and the large number of versions produced by Brueghel the Younger suggest that he had first-hand knowledge of his father's original. Scholars have contended that Brueghel the Elder's original picture
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is probably the best suited since the person behind the desk is wearing a lawyer's bonnet, the collection of taxes usually did not occur in such setting and the paperwork and bags on the desk look like those for requests and decrees. The picture also shows peasants lining up with presents such as
167:'s work, as well as original compositions and Bruegelian pastiches. The large output of his studio (some 1,400 pictures exist with plausible links to Brueghel and his shop), which produced for the local and export market, contributed to the international spread of his father's imagery.
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Traditionally Pieter
Brueghel the Younger has been nicknamed "de helse Brueghel" or "Hellish Brueghel" because it was believed he was the author of several paintings with fantastic depictions of fire and grotesque imagery. These paintings have now been attributed to his brother
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of which several autograph versions exist (Barber
Institute of Fine Arts; Private Collection), alongside various studio productions and even copies made outside the Brueghel workshop, which seems to preserve a now-lost original composition by the Elder Bruegel.
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The subjects of the copied works cover the entire range of themes and works by Pieter the Elder, including specific religious compositions on both the grand and the small scale. The principal subjects are proverb and peasant scenes of his father.
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He and his workshop were prolific copyists of Pieter
Bruegel the Elder's most famous compositions. His name and work were largely forgotten in the 18th and 19th centuries until he was rediscovered in the first half of the 20th century.
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Pieter Brueghel the Younger created original works largely in the idiom of his father which are energetic, bold and bright and adapted to the 17th-century style. One of the artist's most successful original designs was the painting of
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The precise date of Brueghel's death is not known. His name appears in the register of Antwerp's Guild of St. Luke in a section recording funerary debts for the year 1638, indicating that he died during the Guild year 1637–38.
474:. This work was reproduced by Pieter Brueghel the Younger and his workshop at least 60 times. Of these copies 10 are signed and 4 are dated (1601, 1603, 1616 and 1626). Another popular work of Pieter the Elder was the
211:), Mayken Verhulst provided her grandson Jan with artistic training; and, on that basis, it is eminently reasonable to propose that Pieter also received an initial artistic instruction from his maternal grandmother.
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595:
1656:
530:
1683:
Review of Christina Currie and Dominique Allart, The Brueg(H)el Phenomenon. Paintings by Pieter Bruegel the Elder and Pieter Brueghel the Younger with a Special Focus on Technique and Copying Practice
154:
1776:
Kopia z początku XVII wieku pokazywana w Pałacu Biskupa Erazma Ciołka jest w całości dziełem syna - Pietera Brueghla Młodszego - i została zakupiona w 1963 roku przez Muzeum Narodowe w Krakowie.
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offered a coded comment on the religious debates that raged in the Low Countries during the 1560s and that it represented a clandestine sermon as held by the Protestant reformers of that time.
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See the catalogue for the 2022 exhibition held at the Barber Institute of Fine Arts, edited by Robert Wenley and with essays by Jamie L. Edwards, Christina Currie and Ruth Bubb:
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and then transferred to panels using pouncing. His work is often the only source of knowledge about works of his father that are lost. One example of just such a work is the
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Pieter Brueghel the Younger painted landscapes, religious subjects, proverbs, and village scenes. A few flower still-life paintings by Pieter have been recorded. His
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1983:
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In several cases, it is not clear whether a composition is an original composition by Pieter Brueghel the Younger or a copy after a lost work by his father.
1991:
1967:
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Apart from these paintings of his own invention, Pieter Brueghel the Younger also copied the famous compositions of his father through a technique called
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1512:
The Bruegel Phenomenon. Paintings by Pieter Bruegel the Elder and Pieter Brueghel the Younger with a Special Focus on Technique and Copying Practice
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in Parma. At the same time Pieter the Younger extended his father's repertoire through his own inventions and variations on themes by his father.
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Alexander Wied and Hans J. Van Miegroet. "Jan Breughel I." Grove Art Online. Oxford Art Online. Oxford University Press. Web. 11 July 2014.
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Early in 1583, Pieter moved to Antwerp, soon followed by his grandmother and brother Jan. Pieter seems to have entered the studio of the
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331:). The different titles of the work indicate that it may have been interpreted in these different ways in the 17th century. The title
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2007:
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Alexander Wied and Hans J. Van Miegroet. "Bruegel." Grove Art Online. Oxford Art Online. Oxford University Press. Web. 11 July 2014.
689:(Copied by the son several times from the father's original (1567) in Brussels; one of the son's copies of 1610 in also at Brussels)
494:
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236:) of Antwerp's painters' Guild of St Luke for 1585–86 lists Gillis followed immediately by 'Peeter, his cousin and apprentice' ('
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in Bucharest, Romania. Note that Bruegel the Younger paints an almost, but not identical, mirror image of his father's drawing.
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paintings of peasants emphasize the picturesque and are regarded by some as lacking Pieter the Elder's subtlety and humanism.
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and an accomplished artist in her own right, known for her miniature paintings. According to the biographer and art theorist
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in a property in the centre of Brussels that was owned by her family. Mayken Verhulst was the widow of the prolific artist
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museum in Vienna, Austria, depicting peasants tending to a formal garden, most likely belonging to a noble.
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his father's work, which was mainly held in elite private collections, such as the imperial collection of
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361:). As his style never evolved from the manner of his early career it is difficult to date his work.
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1693:(Scientia Artis, 8). Brussels: Royal Institute for Cultural Heritage, 2012. 3 vols, fully illus.
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345:, which is known in at least five autograph versions. One of the copies was formerly held by the
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The recent restoration of the Groeningemuseum’s copy of The Sermon of Saint John the Baptist
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244:, "Peeter Brugel" is listed as an independent master, enlisting as a 'free master's son' (
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349:. The picture depicts a Flemish springtime custom of choosing and crowning a queen at
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Peasant Scenes and Landscapes: The Rise of Pictorial Genres in the Antwerp Art Market
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Karel van Mander: The Lives of the Most Illustrious Netherlandish and German Painters
1431:. London and Chicago: Paul Holberton and University of Chicago Press. pp. 9–10.
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Peasant Scenes and Landscapes: The Rise of Pictorial Genres in the Antwerp Art Market
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232:(1544–1607), who was related to the Brueghel family through marriage – the register (
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Pieter Brueghel der Jüngere (1564–1637/38). Die Gemälde mit kritischem Oeuvrekatalog
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in Budapest. Some of the copies are held in the collections of museums such as the
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Rombouts and Van Lerius, Philippe-Félix and Théodore François Xavier (1864–1876).
382:
561:, omitting the bearded man in black, turned towards the spectator in the original
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The workshop also produced no less than 25 copies of Pieter Brueghel the Elder's
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Rombouts and Van Lerius, Philippe-Félix and Théodore François Xavier (1864–76).
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Rombouts and Van Lerius, Philippe-Félix and Théodore François Xavier (1864–76).
485:, the original of which is widely believed to be the picture dated 1566, in the
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of which Pieter Brueghel the Younger and his workshop produced about 30 copies.
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Peasants and Proverbs: Pieter Brueghel the Younger as Moralist and Entrepreneur
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Peasants and Proverbs: Pieter Brueghel the Younger as Moralist and Entrepreneur
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Peasants and Proverbs: Pieter Brueghel the Younger as Moralist and Entrepreneur
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Peasants and Proverbs: Pieter Bruegel the Younger as Moralist and Entrepreneur
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Der Liggeren en andere historische archieven der Antwerpsche sint Lucasgilde
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Der Liggeren en andere historische archieven der Antwerpsche sint Lucasgilde
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Bastiaensen, Jean (2016). "Waar woonde Pieter Bruegel de Oude in Brussel?".
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Gibson, Michael. "A Dynasty of Painters: Belgium Celebrates the Bruegels".
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De Liggeren en andere historische archieven der Antwerpsche sint Lucasgilde
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240:'). His teacher left Antwerp in 1585 and in the 1584/1585 registers of the
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1761:"Pokaz obrazu "Kazanie św. Jana Chrzciciela" Pietera Brueghla Młodszego"
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For discussion, with further references, see Edwards, Jamie L. (2022).
1527:
For discussion, with further references, see Edwards, Jamie L. (2022).
187:, the oldest son of the famous sixteenth-century Netherlandish painter
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1456:(in Dutch and English). Doornspijk: Davao. pp. 265–66, vol. 3.
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Another original composition of Pieter Brueghel the Younger is the
1496:(in Dutch). Antwerp and The Hague: Baggerman. p. 292, vol. 1.
1481:(in Dutch). Antwerp and The Hague: Baggerman. p. 303, vol. 1.
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203:, who published a 'Life' of Pieter Bruegel the Elder in his 1604
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One of the most frequently copied works of his father was the
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159:; between 23 May and 10 October 1564 – 1637/38) was a
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by Pieter Brueghel the Younger recreated in colour on panel
505:, the Stedelijk Museum Wuyts-Van Campen en Baron Caroly in
1553:, University of Pennsylvania Press, 4 Jan 2012, p. 196-207
1350:, University of Pennsylvania Press, 4 Jan 2012, p. 154–158
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Copy by Pieter Brueghel the Younger of his father's work
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Copy by Pieter Brueghel the Younger of his father's work
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1649:"Pieter Brueghel Młodszy "Kazanie św. Jana Chrzciciela""
1269:
The American Heritage Dictionary of the English Language
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Pieter Brueghel II (Brussels 1564/5-1637/8 Antwerp)
1510:Currie and Allart, Christina and Dominique (2012).
111:
67:
1733:Saint John the Baptist Preaching to the Multitude
1632:The Whitsun Bride by Pieter Brueghel the Younger
2087:Winter Landscape with Ice skaters and Bird trap
534:, original by Pieter Bruegel the Elder (1566),
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1747:at the Netherlands Institute for Art History
1580:. Antwerp and The Hague. pp. 97, vol. 2.
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472:Winter Landscape with Skaters and a Bird-trap
8:
1992:Adoration of the Magi in a Winter Landscape
1968:Adoration of the Magi in a Winter Landscape
1383:Geschiedenis der Antwerpsche schilderschool
163:known for numerous copies after his father
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1829:
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1636:Bulletin of the Metropolitan Museum of Art
1590:: CS1 maint: location missing publisher (
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459:by Pieter Bruegel the Younger, now in the
390:, c.1604-16; Barber Institute of Fine Arts
1514:. Brussels: Brepols. pp. 50, vol. 1.
183:Pieter Brueghel the Younger was born in
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2024:Christ and the Woman Taken in Adultery
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2373:Artists from the Habsburg Netherlands
1621:, University of Wisconsin Press, 2000
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1190:Netherlands Institute for Art History
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575:The Preaching of St. John the Baptist
551:The Preaching of St. John the Baptist
531:The Preaching of St. John the Baptist
518:The Preaching of St. John the Baptist
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7:
2118:The Sermon of Saint John the Baptist
1984:Landscape with the Flight into Egypt
1701:. in: historian of netherlandish art
1619:The Gift in Sixteenth-century France
1180:
1178:
738:The Sermon of Saint John the Baptist
495:Royal Museum of Fine Arts in Antwerp
438:by Pieter Bruegel the Elder, now in
1890:The Fight Between Carnival and Lent
1381:Frans Jozef Peter Van den Branden,
708:Saint John's Dancers in Molenbeeck'
255:Nine formal apprentices, including
1882:Naval Battle in the Gulf of Naples
1154:Before 1616 he signed his name as
1003:Hieronymous van Kessel the Younger
25:
1914:Landscape with the Fall of Icarus
763:Winter Landscape with a Bird Trap
476:Adoration of the Magi in the Snow
461:National Museum of Art of Romania
369:Winter landscape with a bird trap
2230:
1808:
613:
594:
566:
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503:Rheinisches Landesmuseum in Bonn
449:
428:
107:
63:
2181:The Peasant and the Nest Robber
2064:The Wine of Saint Martin's Day
1362:Openbaar Kunstbezit Vlaanderen
1297:Merriam-Webster.com Dictionary
536:Museum of Fine Arts (Budapest)
414:Two Peasants Binding Firewood,
1:
2383:17th-century Flemish painters
2378:16th-century Flemish painters
2217:
2162:
2099:
2068:
1925:
1745:St John the Baptist Preaching
1452:Miedema, Hessel (1994–1996).
1272:(5th ed.). HarperCollins
1188:(in Dutch and Middle Dutch).
604:by Pieter Bruegel the Elder,
483:St John the Baptist Preaching
388:Two Peasants Binding Firewood
238:Peeter, syn cosyn ends cnecht
1936:The Fall of the Rebel Angels
1322:, Lingen, 1998–2000, 2 vols.
728:The Holy Family with St John
2266:Pieter Brueghel the Younger
2189:The Blind Leading the Blind
1714:, London and Chicago, 2022.
877:Pieter Brueghel the Younger
315:(sometimes also called the
37:Pieter Brueghel the Younger
27:Flemish painter (1564–1638)
2399:
2353:Flemish landscape painters
1427:Edwards, Jamie L. (2022).
1318:Catalogued by Klaus Ertz:
1209:Collins English Dictionary
606:Metropolitan Museum of Art
359:National Gallery in Prague
347:Metropolitan Museum of Art
305:The Tax Collector's Office
18:Pieter Bruegel the Younger
2248:The Painter and The Buyer
2228:
2197:The Magpie on the Gallows
2095:Massacre of the Innocents
2016:The Procession to Calvary
1083:
1081:
1079:
1073:
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1069:
1057:
1055:
1041:
1037:
1035:
1033:
1027:
1025:
1023:
1000:
990:David Teniers the Younger
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867:
865:
863:
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733:The Procession to Calvary
698:Massacre of the Innocents
499:National Museum in Kraków
189:Pieter Brueghel the Elder
2363:Pieter Bruegel the Elder
2343:Flemish Baroque painters
2278:Jan Brueghel the Younger
1852:Pieter Bruegel the Elder
1638:, XXXIV (1939), p. 88-90
1630:Margaretta M. Salinger,
1385:, Antwerpen, p. 440–443
1120:Jan van Kessel the Elder
982:Jan Brueghel the Younger
822:Pieter Bruegel the Elder
355:Four Stages of the River
165:Pieter Bruegel the Elder
148:[ˈpitərˈbrøːɣəl]
2110:The Census at Bethlehem
2079:The Hunters in the Snow
2008:The Death of the Virgin
1246:Oxford University Press
743:The Seven Acts of Mercy
651:The marriage procession
197:Pieter Coecke van Aelst
2348:Flemish genre painters
2295:The Mill and the Cross
2272:Jan Brueghel the Elder
2056:The Return of the Herd
2000:Adoration of the Kings
1898:Netherlandish Proverbs
1186:"Pieter Brueghel (II)"
884:Jan Brueghel the Elder
723:The Faithless Shepherd
667:
661:The Faithless Shepherd
653:
408:
391:
386:Brueghel the Younger,
371:
317:Tax Collector's Office
307:
221:
173:Jan Brueghel the Elder
43:
2368:Painters from Antwerp
2142:The Land of Cockaigne
1617:Natalie Zemon Davis,
1242:UK English Dictionary
753:The Visit to the Farm
703:Peasant Wedding Dance
682:Adoration of the Magi
659:
649:
404:
385:
367:
299:
217:
35:
2312:Bruegel (think tank)
2284:Breugel, Netherlands
1921:The Triumph of Death
1874:Parable of the Sower
1817:at Wikimedia Commons
1815:Pieter Brueghel (II)
1689:14 July 2014 at the
1608:(January 1981): 130.
1107:Jan Baptist Brueghel
665:Aberdeen Art Gallery
321:Payment of the Tithe
230:Gillis van Coninxloo
2150:The Peasant Wedding
1944:The Suicide of Saul
1791:Magdalena Sobczyk,
1681:Odilia Bonebakker,
1093:Jan Pieter Brueghel
687:Census in Bethlehem
487:Museum of Fine Arts
325:Lawyer of Bad Cases
242:Guild of Saint Luke
2134:Conversion of Paul
1976:The Tower of Babel
1158:and after 1616 as
998:Paschasia Brueghel
975:Ambrosius Brueghel
748:The Village Lawyer
677:A Village Festival
668:
654:
636:Farnese collection
608:, original etching
409:
406:Drunkard on an egg
392:
372:
333:The Village Lawyer
313:The Village Lawyer
308:
301:The Village Lawyer
222:
44:
2320:
2319:
2158:The Peasant Dance
2126:The Wedding Dance
1868:List of paintings
1813:Media related to
1699:978-2-930054-14-8
1438:978-1-913645-39-7
1300:. Merriam-Webster
1252:on 22 March 2020.
1139:
1138:
1131:
1130:
634:in Prague or the
16:(Redirected from
2390:
2302:Bruegel (crater)
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2222:
2219:
2213:The Storm at Sea
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1906:Children's Games
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1655:. Archived from
1653:muzeum.krakow.pl
1645:
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1309:
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1288:
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1231:
1225:
1224:
1222:
1220:
1200:
1194:
1193:
1182:
1163:
1152:
1100:Abraham Brueghel
988:Anna Brueghel x
812:
811:
796:
789:
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201:Karel van Mander
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41:Anthony van Dyck
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2205:The Misanthrope
2165:
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2048:The Hay Harvest
1928:
1854:
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1789:
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1779:
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1691:Wayback Machine
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1659:on 14 July 2014
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806:
803:Brueghel family
800:
771:
718:The Crucifixion
672:A Country Brawl
644:
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555:Groeningemuseum
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380:
329:Notary's Office
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261:Andries Daniels
219:A country brawl
193:Mayken Verhulst
181:
161:Flemish painter
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66:
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47:Pieter Brueghel
28:
23:
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15:
12:
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2358:Bruegel family
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2289:Son en Breugel
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2040:The Harvesters
2036:
2032:The Gloomy Day
2028:
2020:
2012:
2004:
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1995:(1563 or 1567)
1988:
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1972:
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1803:External links
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246:vrymeestersson
205:Schilder-boeck
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1735:at Christie's
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713:The Alchemist
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623:
622:The Alchemist
616:
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602:The Alchemist
597:
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590:The Alchemist
589:
584:
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577:(1601-1604),
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342:Whitsun Bride
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275:
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257:Frans Snyders
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104:
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60:
56:
52:
48:
42:
38:
34:
30:
19:
2333:1560s births
2293:
2265:
2246:
2211:
2203:
2195:
2187:
2179:
2171:
2156:
2148:
2140:
2132:
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2014:
2006:
1998:
1990:
1982:
1974:
1966:
1958:
1950:
1942:
1934:
1919:
1912:
1904:
1896:
1888:
1880:
1872:
1792:
1786:
1775:
1768:. Retrieved
1764:
1755:
1740:
1732:
1711:
1706:
1682:
1676:
1661:. Retrieved
1657:the original
1652:
1643:
1635:
1631:
1626:
1618:
1613:
1605:
1600:
1577:
1571:
1563:
1558:
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1511:
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1487:
1478:
1472:
1453:
1447:
1428:
1382:
1365:
1361:
1355:
1347:
1319:
1314:
1302:. Retrieved
1295:
1286:
1274:. Retrieved
1267:
1258:
1250:the original
1238:
1229:
1217:. Retrieved
1207:
1198:
1159:
1155:
1150:
876:
762:
758:Village Fair
757:
752:
747:
742:
737:
732:
727:
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712:
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456:
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419:
413:
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393:
387:
373:
368:
357:(all at the
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328:
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312:
309:
304:
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286:
279:
265:
254:
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245:
237:
233:
223:
218:
209:Painter Book
208:
204:
182:
169:
58:
54:
50:
46:
45:
36:
29:
2338:1638 deaths
2298:(2011 film)
2221: 1569
2173:The Beggars
2166: 1567
2103: 1565
2072: 1565
1952:Two Monkeys
1929: 1562
1885:(1558–1562)
1780:(in Polish)
1670:(in Polish)
1566:, p. 11–12.
769:Family tree
351:Whitsuntide
59:the Younger
2327:Categories
2280:(grandson)
1765:culture.pl
1749:(in Dutch)
1463:9070288850
1387:(in Dutch)
1292:"Brueghel"
1264:"Brueghel"
1204:"Brueghel"
1170:References
1960:Dull Gret
1860:Paintings
1796:at Codart
1586:cite book
1304:10 August
1276:10 August
1235:"Bruegel"
1219:10 August
632:Rudolf II
491:Hermitage
440:Albertina
226:landscape
2240:Drawings
1687:Archived
1531:, pp 11.
1368:: 22–27.
1160:Breughel
1156:Brueghel
620:Copy of
579:Europeum
396:pouncing
327:and the
234:liggeren
228:painter
185:Brussels
55:Breughel
2259:Related
1606:ARTnews
378:Copyist
276:General
51:Bruegel
2251:(1565)
2208:(1568)
2200:(1568)
2192:(1568)
2184:(1568)
2176:(1568)
2153:(1567)
2145:(1567)
2137:(1567)
2129:(1566)
2121:(1566)
2113:(1566)
2105:–1567)
2090:(1565)
2082:(1565)
2074:–1568)
2059:(1565)
2051:(1565)
2043:(1565)
2035:(1565)
2027:(1565)
2019:(1564)
2011:(1564)
2003:(1564)
1987:(1563)
1979:(1563)
1971:(1563)
1963:(1563)
1955:(1562)
1947:(1562)
1939:(1562)
1909:(1560)
1901:(1559)
1893:(1559)
1877:(1557)
1770:8 July
1697:
1663:8 July
1634:, in:
1460:
1435:
1240:Lexico
583:Kraków
559:Bruges
501:, the
497:, the
493:, the
457:Spring
436:Spring
323:, the
319:, the
144:Dutch:
49:(also
2274:(son)
2268:(son)
1142:Notes
282:genre
101:also
1772:2014
1695:ISBN
1665:2014
1592:link
1458:ISBN
1433:ISBN
1306:2019
1278:2019
1221:2019
805:tree
507:Lier
271:Work
259:and
179:Life
139:-gəl
137:BROO
95:-gəl
93:BROY
581:in
557:in
303:or
248:).
53:or
39:by
2329::
2218:c.
2163:c.
2100:c.
2069:c.
1926:c.
1774:.
1763:.
1731:,
1719:^
1651:.
1588:}}
1584:{{
1536:^
1520:^
1502:^
1419:^
1393:^
1374:^
1366:53
1364:.
1339:^
1327:^
1294:.
1266:.
1244:.
1237:.
1212:.
1206:.
1177:^
663:,
175:.
142:;
127:əl
121:uː
105::
103:US
98:,
83:əl
77:ɔɪ
57:)
2223:)
2216:(
2168:)
2161:(
2098:(
2067:(
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