Pieter Bruegel the Elder and the Matter of Italy
Pieter Bruegel the Elder's landscape paintings are discussed in relationship to late sixteenth-century art theory. Among Italian humanists during the Renaissance, landscape painting stood as a paradigm for Netherlandish art, exemplifying both its strengths and weaknesses. Discussion of landscap...
| Main Author: | |
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| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
Sixteenth Century Journal Publishers, Inc.
1992
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| In: |
The sixteenth century journal
Year: 1992, Volume: 23, Issue: 2, Pages: 205-234 |
| Online Access: |
Volltext (lizenzpflichtig) Volltext (lizenzpflichtig) |
| Parallel Edition: | Non-electronic
Non-electronic |
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| 520 | |a Pieter Bruegel the Elder's landscape paintings are discussed in relationship to late sixteenth-century art theory. Among Italian humanists during the Renaissance, landscape painting stood as a paradigm for Netherlandish art, exemplifying both its strengths and weaknesses. Discussion of landscape painting also entered into the Paragone in Italian art theory, where it stood as a paradigm for painting, and as such, an example of the ways in which painting surpassed sculpture. Bruegel's relationship to Italian art and his landscape paintings need to be understood in relationship to one another. Upholding the status of painting as "craft," Bruegel's landscapes, with their unsurpassed truth to nature and incorporation of Italian principles of painting, are a celebration of his native Netherlandish tradition. His activity as a landscape painter was in this respect crucial in ushering in a period of cultural self-definition in the Netherlands during the sixteenth century. | ||
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