text: American

text: soldier

text: U.S. Army

text: World War I

text: Medal of Honor

text: Brooklyn, New York

text: Brooklyn, New York

categories: 1898 births,United States Army Medal of Honor recipients,People from Brooklyn,1918 deaths,United States Army soldiers,American military personnel killed in World War I

paragraph: Wilbur E. Colyer

paragraph: Wilbur E. Colyer (March 5, 1898 – October 10, 1918) was an American soldier serving in the U.S. Army during World War I who received the Medal of Honor for bravery.

paragraph: Section::::Biography.

paragraph: Colyer was born March 5, 1898 in Brooklyn, New York and after enlisting in the Army in 1917 was sent to France to fight in World War I.

paragraph: He died October 10, 1918 and is buried in Cypress Hills National Cemetery, Brooklyn, New York. His grave can be found in section 2, grave 8588.

paragraph: Section::::Medal of Honor Citation.

paragraph: Rank and organization: Sergeant, U.S. Army, Company A, 1st Engineers, 1st Division. Place and date: Near Verdun, France, 9 October 1918. Entered service at: South Ozone Park, Long Island, N.Y. Birth: Brooklyn, N.Y. General Orders: War Department, General Orders No. 20 (January 30, 1919).

paragraph: Citation:

paragraph: Volunteering with 2 other soldiers to locate machinegun nests, Sgt. Colyer advanced on the hostile positions to a point where he was half surrounded by the nests, which were in ambush. He killed the gunner of one gun with a captured German grenade and then turned this gun on the other nests silencing all of them before he returned to his platoon. He was later killed in action.

paragraph: Section::::Remembrance.

paragraph: On October 9, 2013, the 1st Engineer Battalion hosted a "mud run," modeled after the popular Tough Mudder, that included ruck marching, an obstacle course, and a crawl through a muddy pit. The course was named the "SGT Wilbur E. Colyer Diehard Challenge" in memory of SGT Colyer.

paragraph: Section::::Military Awards.

paragraph: Colyer's military decorations and awards include:

paragraph: Section::::See also.

paragraph: BULLET::::- List of Medal of Honor recipients for World War I

wikidata_label: Wilbur E. Colyer

wikipedia_title: Wilbur E. Colyer


text: ice hockey

text: EV Zug

text: National League

text: minor ice hockey

text: Whitby, Ontario

text: Dallas Stars

text: 2006 NHL Entry Draft

text: Andreas Dahlstrom

text: Anaheim Ducks

text: Brian Sutherby

text: New Jersey Devils

text: Sheldon Brookbank

text: Colgate University

text: Minnesota Wild

text: Maxim Noreau

text: Jaroslav Halak

text: St. Louis Blues

text: Grand Rapids Griffins

text: Liiga

text: SaiPa

text: SaiPa

text: EV Zug

text: National League A

text: Spengler Cup

text: Davos

categories: Lowell Devils players,Colgate Raiders men's ice hockey players,1987 births,Canadian ice hockey centres,SaiPa players,Houston Aeros (1994–2013) players,Ice hockey people from Ontario,Minnesota Wild players,Albany Devils players,Dallas Stars draft picks,People from York Region,Grand Rapids Griffins players,Living people,EV Zug players

paragraph: David McIntyre

paragraph: David John McIntyre (born February 4, 1987) is a Canadian professional ice hockey forward who currently plays for and is an alternate captain of EV Zug of the National League (NL).

paragraph: Section::::Playing career.

paragraph: As a youth, McIntyre played in the 2001 Quebec International Pee-Wee Hockey Tournament with a minor ice hockey team from Whitby, Ontario.

paragraph: McIntyre was selected by the Dallas Stars in the 5th round (138th overall) of the 2006 NHL Entry Draft.

paragraph: On December 14, 2008, the Dallas Stars traded McIntyre and a 2010 sixth-round draft pick (Andreas Dahlstrom) to the Anaheim Ducks in exchange for Brian Sutherby. On February 3, 2009, the Ducks traded Mcintyre to the New Jersey Devils in exchange for Sheldon Brookbank.

paragraph: He attended Colgate University from 2006 to 2010, serving as captain his senior season, while receiving the Terry Slater Trophy ("goes to the senior whose performance, leadership, and dedication on and off the ice during his career had the greatest impact on Colgate hockey") and the Rob Ries Memorial Award ("presented annually to a player who provides inspiration and leadership") and landing a spot on the All-ECAC Hockey Second Team.

paragraph: Following the conclusion of the 2010–11 season, McIntyre was traded from the Devils to the Minnesota Wild for Maxim Noreau on June 16, 2011. McIntyre scored his first NHL goal on January 14, 2012 against Jaroslav Halak of the St. Louis Blues.

paragraph: On July 25, 2013, McIntyre signed a one-year AHL contract with the Grand Rapids Griffins. In the 2013–14 season with the Griffins, McIntyre contributed with 8 goals and 21 points in 64 games.

paragraph: McIntyre left North America to sign his first contract abroad on June 11, 2014, in agreeing to a one-year deal with Finnish Liiga club, SaiPa. After having his contract renewed, he led SaiPa in scoring in 2015-16, tallying 56 points (16 goals, 40 assists) in 58 games, which also ranked him second in the league. In April 2016, he signed a two-year deal with EV Zug of the Swiss top-flight National League A (NLA). In late December 2017, he helped Team Canada win gold at the Spengler Cup in Davos, scoring one goal in the championship game.

description: Canadian ice hockey player

wikidata_label: David McIntyre

wikipedia_title: David McIntyre


text: classical guitarist

text: Linares, Jaén

text: Spain

text: Tomás Villajos Soler

text: Victor Valls

text: Miguel Barbero

text: Demetrio Ballesteros

text: Carmelo Martinez

text: Mozarteum University of Salzburg

text: Eliot Fisk

text: Joaquin Clerch

text: Joaquin Clerch

text: Ramon Llull University

text: Eliot Fisk

text: Mozarteum University of Salzburg

text: University of Extremadura

text: Maximiano Valdes

text: Monica Huggett

text: Leo Brouwer

text: Jordi Savall

text: Concertgebouw

text: National Auditorium of Music

text: L'Auditori

text: Palau de la Música Catalana

text: Naxos Records

text: Mauro Giuliani

text: Leo Brouwer

text: Toru Takemitsu

text: Joaquin Rodrigo

text: Sunnyside Records

text: Eudora Records

text: classical guitar

text: romantic guitar

text: Andrés Segovia

text: Sunnyside

text: Naxos

categories: 1972 births,Hochschule für Musik Franz Liszt, Weimar faculty,Male guitarists,University of Salzburg alumni,Spanish classical guitarists,People from Linares, Jaén,21st-century guitarists,Living people

paragraph: Ricardo Gallén

paragraph: Ricardo Jesús Gallén García (12 March 1972), is a Spanish classical guitarist who has been active since the mid-1990s. He is currently a Professor of Guitar at the Hochschule für Musik Franz Liszt, Weimar, Germany.

paragraph: Section::::Career.

paragraph: Gallén was born in Linares, Jaén, Spain in 1972. He started playing classical guitar at the age of four, performing in public just a year later. At the age of ten he entered the Conservatory of Music in Cordoba, receiving his first formal music education by the Conservatory's director and founder Tomás Villajos Soler. He continued his studies at the Conservatories of Jaén, Cordoba, Madrid and Granada, studying under Professors Victor Valls, Miguel Barbero, Demetrio Ballesteros and Carmelo Martinez and at the same time he attended a number of master classes both in Spain and abroad. He studied guitar and ancient music at the Universities of Mozarteum University of Salzburg and Hochschule für Musik und Theater München, with the Masters Eliot Fisk, Christoph Eglhuber, Jürgen Hübscher and Joaquin Clerch. In 1999 he completed the Meisterklassendiplom (Konzertexam) in the Hochschule für Musik und Theater München, under Joaquin Clerch.

paragraph: During the years 2001–2006 he worked as a Professor in Ramon Llull University, Spain (Escola Luthier). He became an Assistant Professor in the class of Eliot Fisk in the Mozarteum University of Salzburg (2004–2009). He also served as a Professor at the University of Extremadura, Spain (2005–2013) and was a Guest Professor in the Conservatories, Superior de Música en Palma de Mallorca and, Superior de Música de Aragón, Zaragoza, in Spain, during the years 2011–2013. Since 2009, Ricardo Gallén is a Professor in the Hochschule für Musik "Franz Liszt", Weimar, Germany.

paragraph: Gallén has given numerous recitals all over the world, in solo performances, duets, or with orchestras, under the direction of well known conductors, such as Maximiano Valdes, En Shao, Juan Jose Mena, Monica Huggett, Leo Brouwer, Jordi Savall and Seirgiu Comisiona, in more than 30 countries throughout Europe and America, including Mexico, Chile, Argentina, Cuba, USA, Costa Rica, Brazil, Australia, New Zealand, Russia, Norway, Denmark, Finland, Egypt, Jordan, Lebanon and Israel, in important concert halls like the Royal Concertgebouw in Amsterdam, National National Auditorium of Music, in Madrid, L'Auditori and Palau de la Música Catalana in Barcelona, Shostakovich Hall in Saint Petersburg and Tchaikovsky Hall in Moscow.

paragraph: Gallén has been a member of the jury in several International Guitar Competitions and has given a number of master classes in several countries including Austria, Germany, Poland, Israel, USA, Chile, Lebanon, Portugal, Mexico, Norway, Russia, Slovakia, France, Greece, Romania, Spain, Finland, France, Australia, New Zealand.

paragraph: His first album, was one of Naxos Records best-selling albums in 2001 and received sensational reviews in the specialized press. It was followed by five more albums published by Naxos, in which he performs music by Mauro Giuliani, Leo Brouwer, Toru Takemitsu, etc., as well as all of the concerts for guitar and orchestra by the Spanish Maestro Joaquin Rodrigo. In 2013 his double CD with the Bach Complete Lute Suites was released with Sunnyside Records and in May 2014 his last CD, Fernando Sor - Guitar Sonatas was released, by Eudora Records.

paragraph: He has also recorded for Radio and Television in various countries including Spain, Finland, Belgium, Romania, Germany, Cuba, Mexico, South Korea and Bulgaria.

paragraph: Ricardo Gallén plays a classical guitar by Paco Santiago Marín and a romantic guitar by Arnoldo García with Savarez Alliance Strings.

paragraph: Section::::Awards and recognition.

paragraph: Gallén has participated in over twenty international guitar competitions, having won five first prize awards including: the 32nd Markneukirchen International Instrumental Competition (1997), the 14th Andrés Segovia International Classical Guitar Competition (1998), where he also got a Special Prize, the Fourth Alhambra International Guitar Competition (1998), the 33rd Francisco Tarrega International Guitar Contest (1999), where he also got the Special Audience Prize and the 11th International Guitar Competition (2002), where he also got five special prizes.

paragraph: Section::::Discography.

paragraph: BULLET::::- "Sor: Guitar Sonatas" (Eudora)

paragraph: BULLET::::- "Bach: Complete Lute Works" (Sunnyside)

paragraph: BULLET::::- "Tales" · Diego Barber (Sunnyside)

paragraph: BULLET::::- "Giuliani: Variations" (Naxos)

paragraph: BULLET::::- "Guitar Recital: Ricardo Gallen" (Naxos)

paragraph: BULLET::::- "Regondi: Airs Varies / Reverie, Op. 19 / Mertz: Bardenklange, Op. 13" (Naxos)

paragraph: BULLET::::- "Rodrigo: Concierto de Aranjuez / Concierto Andaluz (Complete Orchestral Works, Vol. 2)" (Naxos)

paragraph: BULLET::::- "Rodrigo Concierto Madrigal / Concierto para una Fiesta (Complete Orchestral Works, Vol. 5)" (Naxos)

paragraph: BULLET::::- "Rodrigo: Joaquin Rodrigo – A Portrait" (Naxos)

paragraph: BULLET::::- "Adagio Chillout" (Naxos)

paragraph: BULLET::::- "Classical Chillout – The Essential Collection" (Naxos)

paragraph: Section::::Reviews.

paragraph: BULLET::::- Steven Rings · American Record Guide, August 2001

paragraph: "Gallen's playing is impressive and his interpretations sure-footed, evidence of a compelling new musical voice on the guitar scene."

paragraph: BULLET::::- Allan Clive Jones · Classical Guitar Magazine, December 2002

paragraph: "Ricardo Gallén, who is an excellent musician, plays all this music idiomatically, and as though it posed absolutely no difficulties for him."

paragraph: BULLET::::- Anthony Holden · The Observer, March 2003

paragraph: "Soloist Ricardo Gallen is outstanding on both, joined in the second by Joaquin Clerch for the quirky 10-movement piece ranging in mood from the pastoral to the passionate. As with Russians, it takes Spaniards to play Spanish music properly, and the Asturias Symphony rises eloquently to the task, filling the most urban sitting-room with those sweeping Spanish vistas."

paragraph: BULLET::::- EarlyRomanticGuitar.com

paragraph: "Ricardo's playing is expertly crafted, with many subtleties of ornamentation and phrasing that will impress even the accomplished musician."

paragraph: BULLET::::- Classical CD Reviews · July, 2002 · MusicWeb (UK) · Classical Editor: Rob Barnett · Founder Len Mullenger

paragraph: "After his impressive first recording for Naxos, which consisted of mainly 20th century works, namely those of Leo Brouwer and Toru Takemitsu, Ricardo Gallén proves that he can turn his hand (or should that be "hands") to the classicism of the Viennese school of guitar players. He does so with this collection of variations by the immensely talented guitarist/composer Mauro Giuliani. Famous in his lifetime as a virtuoso guitarist, the music abounds in flights of virtuosic display but is not without its moments of sensitivity and wit, all of which Ricardo Gallén handles in a most stylish way…"

paragraph: BULLET::::- John Duarte · Gramophone, July 2003

paragraph: "A superbly entertaining Rodrigo cycle continues in fine, vital style...Gallén's performance certainly does it justice...this is a recording that can hold its own with any of the others - finely played with good sound on the part of all concerned, excellently balanced and faithfully recorded...The performances of all these 'fillers' are exemplary but it is the two large works that make this recording indispensable to Rodrigo lovers, who are being well served by this series."

paragraph: BULLET::::- John Miller and SA-CD.net, May 2014

paragraph: "Gallén's tone, adduced from his guitar (a copy of a Fabricatore circa 1820) is rich, varied and resonantly beautiful . In the upper voice he can change the timbre to a sharp-edged, penetrating tone or to a soft-edged, warm tone, the foundation of his expressive interpretation. In the lower voice his dynamic control is remarkable, changing the volume of accompaniments from loud to soft with innate skill. I was also very impressed with his ability to make complex polyphonic passages sound as if several instruments were playing. Even when playing fast, virtuosic passages, he makes a minimum of string whistles or fingerboard noises. He can, however, deliver fast, soft low note rows at the same time producing an underlying pecking noise on the guitar body, just as Sor wrote, and swelling fast-repeated deep notes as if an accompaniment by timpani. Very impressive - and he plays all the repeats, which in this case is a real benefit. […] My final words: a splendid set of performances which could almost be regarded as authoritative for the Sor sonatas, captured with startling realism in 5.0 high-resolution sound. Highly recommended."

paragraph: BULLET::::- David Hurwitz · Classicstoday.com, May 2014

paragraph: "Amazingly, though, this is very good music, and it’s extremely well played by Gallén. The Sonata Op. 25, which has four big movements (the first of them slow and brooding), manages to convey a remarkable degree of contrapuntal interest, and Gallén has the admirable ability to differentiate melody, accompaniment, and inner parts in such a way as to create layers of sonority that are consistently captivating."

paragraph: BULLET::::- EarlyRomanticGuitar.com, May 2014

paragraph: "While there are many recordings of Fernando Sor available, this one really stands out. […] Ricardo's playing sounds effortless and graceful, with elegant phrasing, stylistic concern, and in service of the music."

paragraph: BULLET::::- Jean-Jacques Millo, Translation by Lawrence Schulman · Opus Haute Définition, June 2014

paragraph: "Ricardo Gallén literally embraces these Sonatas in a musical flow of extreme sensibility, offering rare and precious nuances. Few recordings devoted to the guitar can claim to such intelligent playing. The emotion is tangible, like a watermark on music that is a revelation. A warm sound recording that perfectly restitutes the medium and bass frequencies of the instrument, this SACD is a small miracle many will hold on to jealously."

paragraph: BULLET::::- Remy Franck · Pizzicato.lu, June 2014

paragraph: "Splendid performances of Fernando Sor’s four sonatas, recorded in a stunningly natural surround sound. Gallén’s playing is rhetoric, elegant and richly nuanced."

paragraph: BULLET::::- Dan Morgan · Musicweb International Classical Reviews, July 2014

paragraph: "[...] Sor and Gallén both shine brightly; a treat, and not just for guitar fans either."

description: Spanish musician

wikidata_label: Ricardo Gallén

wikipedia_title: Ricardo Gallén


text:
Francis Ayscough
dean of Bristol
first Lord Lyttelton
Drury Lane Theatre
Voltaire
Richard Yates
Richard Brinsley Sheridan
Biographia Dramatica

categories: English travel writers,English male dramatists and playwrights,18th-century English writers,1779 deaths,Year of birth missing,18th-century male writers,English dramatists and playwrights,English editors,18th-century British dramatists and playwrights

paragraph: George Edward Ayscough

paragraph: George Edward Ayscough (died 14 October 1779) was an English dramatist and traveller.

paragraph: Section::::Life.

paragraph: Ayscough was the son of Dr. Francis Ayscough, dean of Bristol, by a sister of the first Lord Lyttelton. For some time he held a commission in the Guards.

paragraph: In 1776, he produced at Drury Lane Theatre a play, a version of the "Semiramis" of Voltaire, Richard Yates representing the chief character; an epilogue was provided by Richard Brinsley Sheridan. The tragedy had eleven representations, and the English author enjoyed three benefits on account of it. On the first performance Captain Ayscough's brother officers attended in great force and secured the success of "Semiramis". In the "Biographia Dramatica", Ayscough is described as "a fool of fashion," "a parasite of Lord Lyttelton;" and his tragedy is condemned as contemptible.

paragraph: He left England on account of his failing health, and afterwards published some account of his travels in Italy. He was the editor of the "Miscellaneous Works" of his uncle, Lord Lyttelton, published in 1774.

description: British writer

wikidata_label: George Edward Ayscough

wikipedia_title: George Edward Ayscough


text: Worms

text: Antwerp

text: Renaissance

text: Low Countries

text: Albrecht Dürer

text: Brussels

text: Tongerlo Abbey

text: Royal Monastery of Brou

text: Bourg-en-Bresse

text: alabaster

text: Rhine

text: Frederick III, Elector of Saxony

text: Wittenberg

text: Lucas Cranach the Elder

text: Middelburg

text: Philip of Burgundy

text: Philip the Good

text: Duke of Burgundy

text: Bishop of Utrecht

text: court sculptor

text: Margaret of Austria

text: Mechelen

text: Guild of St Luke

text: iconoclasm

text: Philibert II, Duke of Savoy

text: Margaret of Bourbon

text: Royal Monastery of Brou

text: Bourg-en-Bresse

text: Bresse

text: Duchy of Savoy

text: Carrara marble

text: sibyl

text: archducal hat

text: cadaver tomb

text: resurrection of the dead

text: pleurant

text: ermine

text: greyhound

text: escutcheons

text: her husband

text: Philibert of Chalon

text: Prince of Orange

text: Lons-le-Saunier

text: Florence

text: Brussels Cathedral

text: Pietà

text: Besançon Cathedral

text: Our Lady of Sorrows

text: Cathedral of St. Michael and St. Gudula

text: Brussels

text: Saint-Amand-les-Eaux

text: Charles V

text: Bruges

text: Metropolitan Museum of Art

text: Habsburg

text: Vienna

text: Waddesdon Bequest

text: British Museum

text: Cicero

text: Getty Museum

text: Albrecht Dürer

text: Emperor's

text: subscription required

text: PDF version

text: google books

text: google books

text: Grove Art Online

text: subscription required

text: Blogpost with good pictures

text: Bavarian National Museum

text: Conrad Meit's boxwood sculptures

categories: 15th-century German sculptors,16th-century German sculptors,People from Worms, Germany,Renaissance sculptors,Early Netherlandish sculptors,German male sculptors

paragraph: Conrad Meit

paragraph: Conrad Meit or (usual in German) Conrat Meit (1480s in Worms; 1550/1551 in Antwerp) was a German-born Late Gothic and Renaissance sculptor, who spent most of his career in the Low Countries.

paragraph: The royal tombs that were his largest works still had elaborate Late Gothic architectural frameworks by others, but Meit's figures were Renaissance in conception and style. Meit's work, with its delicately worked plasticity and pronounced corporality, brought an entirely new form of expression to Late Gothic church sculpture. The anatomy of his nude figures draws more from Albrecht Dürer than from classical sculpture.

paragraph: Later many of his works in Brussels, Antwerp, Tongerlo Abbey, and elsewhere were destroyed in the Reformation and French Revolution, leaving the three royal monuments at the then newly built Royal Monastery of Brou, Bourg-en-Bresse, as his outstanding surviving large works. A number of small works, including portrait busts in wood, and small statuettes in various materials have survived. The documented tombs and the signed alabaster statuette of "Judith" (illustrated below) are the main secure works for defining his style.

paragraph: Section::::Life and works.

paragraph: Meit's date of birth at Worms on the Rhine is unknown, and his early life and training are not recorded. He was employed at the court of Frederick III, Elector of Saxony before 1506 and came to work at the Wittenberg court at the request of Lucas Cranach the Elder, where he probably worked in Cranach's workshop between 1505 and 1511. He then went to Middelburg to work for Philip of Burgundy, the illegitimate son of Philip the Good, Duke of Burgundy, who was later to be suddenly made Bishop of Utrecht. From 1514 until her death in 1530 Meit was court sculptor to the Archduchess Margaret of Austria, the regent of the Netherlands, mainly based at Mechelen. In 1534 he moved to Antwerp, buying a house there and joining the Guild of St Luke there in 1536. Works produced by Meit there are documented until 1544, but were all lost to later iconoclasm.

paragraph: Section::::Life and works.:Tomb group at Brou.

paragraph: For Margaret of Austria Meit made his most famous works, the figures on the group of three monumental royal tombs for Margaret, her husband Philibert II, Duke of Savoy and his mother Margaret of Bourbon, produced from 1526 to 1531. These are at the then newly built Royal Monastery of Brou, Bourg-en-Bresse, today in France, but then in the province of Bresse, part of the Duchy of Savoy. The Late Gothic architectural surrounds were already mostly completed, but not installed, by a Flemish team, and Meit's team added the five life-size effigy figures and the many smaller figures. Meit's team was himself and three assistants, one of whom was his brother. By no means all the carving of the figures seems to be by Meit himself, and for example he does not seem to have carved any of the putti himself, though he may well have designed them.

paragraph: Philibert had died at the age of 24 in 1504, so Meit's images of him are based on other portraits, and rather idealized. His majestic grave monument is placed in the middle of the Abbey's choir, with the two female tombs set against the wall on either side of it. The three aligned figures are turned towards each other, as though in communication. Though to the side, Margaret's tomb is the largest.

paragraph: Philibert's tomb consists of two levels and two effigies, one above the other. The upper part, in expensive imported white Carrara marble, represents the Duke in ceremonial costume, surrounded by Italian-style angels ("putti"). Below this ten small female figures, called the sibyls, point towards the lower effigy, which shows him naked except for a cloth over his genitals. The putti used to be turned to face the effigy, but in a modern restoration several were turned to face outwards.

paragraph: Margaret of Austria's tomb also has an upper effigy in marble and a lower one in alabaster. In the upper one she is shown as an older woman (she died at 50) in full state dress, wearing the crown-like archducal hat. Below she is shown in her youth, wearing a loose robe with her long hair unbound, and somewhat idealized. The two lower figures of the married couple vary the normal "transi" or cadaver tomb iconography, where a lower figure is shown as decayed remains, and connects to a broader theme of Resurrection in the abbey's art. Below their formal effigies, the couple are shown in their most perfect state, as they would be at the resurrection of the dead.

paragraph: To the north, the tomb of Margaret of Bourbon consists of a single effigy placed within an "enfeu" and lying upon a piece of black marble, with pleurants beneath, a traditional Burgundian feature. The princess is dressed in an ermine cloak and her feet rest on a greyhound, symbol of loyalty. Behind the effigy, "putti" bear escutcheons with the initials of Margaret and her husband.

paragraph: Section::::Life and works.:Other large works.

paragraph: When the young Philibert of Chalon, Prince of Orange died in war on 3 August 1530, his mother Philiberta of Luxembourg decided to honour him in the most grandiose way possible. After a princely funeral at Lons-le-Saunier on 25 October 1530, she hired Conrad Meit and another famous artist of the time, Jean-Baptiste Mario of Florence, to create a fitting tomb. They began work at the church of Cordeliers de Lons-le-Saunier immediately after completing work on the tombs at Brou Abbey. Work on Philibert's unfinished tomb was abandoned in 1534 after Philiberta died and a fire destroyed the church; a portion remained visible in 1637 but it was later completely destroyed. The work included 25 life-size statues, now lost, and the Virgin and Child now at Brussels Cathedral. Another project for Tongerloo Abbey, just outside Antwerp, included 16 life-size statues, now lost, for which he received a payment in 1542.

paragraph: He also carved a Pietà, now in Besançon Cathedral, at the request of Margaret of Austria's chaplain, the Abbot Antoine de Montécut. The abbey of Saint Vincent de Besançon received it from the Abbot and displayed it in a small chapel dedicated to Our Lady of Sorrows. Among his other works are two sculptures of Mary holding the baby Jesus, one at the Cathedral of St. Michael and St. Gudula in Brussels, and the other at the Benedictine Abbey in Saint-Amand-les-Eaux.

paragraph: Section::::Life and works.:Portraits and statuettes.

paragraph: From surviving letters, Margaret had initially sought out Meit for his reputation as a portraitist, and he produced a range of portraits of her and her many relations. A terracotta bust of her nephew Charles V is now kept at the Gruuthuse Museum, Bruges. He produced a great quantity of small sculptures in bronze and boxwood, with some of the nudes, such as "Adam and Eve" (there are a number of pairs) and "Judith with the Head of Holophernes", often similar in style to the paintings of Cranach. A striking wood "Lucretia" in the Metropolitan Museum of Art, New York, is in a more expressive style. There is also an early "Falconer" in Vienna, and a wood "Entombment" in Munich. Together, these works look forward to later small-scale sculpture in the German Renaissance.

paragraph: Meit's portraits of Margaret varied between those showing her at the age when her husband was still alive, before Meit knew her, and those showing her at her age when they were made, and also reflect her different roles as Regent, archduchess, widow and family member. Some remain in the main Habsburg collections in Vienna. There are also small boxwood busts of Philibert and Margaret in the Waddesdon Bequest in the British Museum, with similar ones in Berlin and Munich; a larger pair in marble, for her library, are now lost. An alabaster head, perhaps representing Cicero, is in the Getty Museum. There are bronzes, which are probably designed by Meit but with others doing the casting.

paragraph: Section::::Fame.

paragraph: Meit placed his own portrait bust in the library of Margaret of Austria at Malines, which can be seen as a significant step in the development of the status of the artist. Meit's work was valued by both Albrecht Dürer, who met him in the Netherlands in 1520–21, and may also have known him from Germany, and Lucas Cranach the Elder. Dürer referred to him as the "...gute[…] bildtschniczer mit nahmen Conrad, desgleichen ich kein gesehen hab, der dienet des kaisers tochter, frau Margareth" (the good sculptor named Conrad, the like of which I have not seen, who served the Emperor's daughter, lady Margaret). His reputation as an important sculptor stretched across the whole of northern Europe in the early Renaissance, but after his death both he and his sitters were lost to memory, unidentified by inscriptions on the works, and one figure was recorded in the 17th century as by Dürer, of an unidentified figure.

paragraph: It did not help that many works were lost, and that he memorialized the last of the Chalons Princes of Orange in the Brou tombs, and that these soon became sited in French territory, ruled by kings with no family interest in those buried there. Interest in his work revived in the late 20th century, especially in his statuettes, where "sculpture exists for its own sake in a manner unprecedented in the north, with no relation to or support by architecture".

paragraph: Section::::References.

paragraph: BULLET::::- Belkin, Kristin. "Meit, Conrad." The Oxford Companion to Western Art. Ed. Hugh Brigstocke. Oxford Art Online. Oxford University Press. Web. 21 Apr. 2015. subscription required

paragraph: BULLET::::- Burk, Jens Ludwig, "Conrat Meit, Margaret of Austria's Court Sculptor in Malines and Brou", PDF version, Centre des monuments nationaux (France)

paragraph: BULLET::::- Bernard Ceysson. "La Escultura:La tradición de la escultura antigua desde el siglo XV al XVIII". Barcelona, Carroggio, 1996. .

paragraph: BULLET::::- Cohen, Kathleen, "Metamorphosis of a Death Symbol: The Transi Tomb in the Late Middle Ages and the Renaissance", 1973, University of California Press, , 9780520018440, google books

paragraph: BULLET::::- Fusco, Peter, et al., "Masterpieces of the J. Paul Getty Museum: European Sculpture", 1997, Getty Publications, , 9780892365135, google books

paragraph: BULLET::::- Mueller, Theodor, "Sculpture in the Netherlands, Germany, France, Spain: 1400–1500", 1966, (Pelican History of Art) Penguin Books

paragraph: BULLET::::- Thornton, Dora, "A Rothschild Renaissance: The Waddesdon Bequest", 2015, British Museum,

paragraph: BULLET::::- Woods, Kim W., "Meit, Conrat." Grove Art Online. Oxford Art Online. Oxford University Press. Web. 21 Apr. 2015. subscription required

paragraph: Section::::Further reading.

paragraph: BULLET::::- Jacques Baudoin, "La sculpture flamboyante en Bourgogne et Franche-Comté", éd. de Borée, 1993

paragraph: BULLET::::- Renate Eikelmann (ed.): "Conrat Meit. Bildhauer der Renaissance – „desgleichen ich kein gesehen …“" Hirmer, München 2006,

paragraph: BULLET::::- Constance Lowenthal: "Conrat Meit". Ann Arbor (Michigan) Univ. Microfilms International, 1981; Originally: New York University PhD Dissertation. 1976

paragraph: BULLET::::- von der Osten, G., and Vey, H., "Painting and Sculpture in Germany and the Netherlands" (1969)

paragraph: BULLET::::- Marie-Anne Sarda et Magali Philippe, "Le Monastère royal de Brou, Bourg-en-Bresse", Fondation BNP Paribas, 2005,

paragraph: BULLET::::- Georg Tröscher: "Conrat Meit von Worms. Ein rheinischer Bildhauer der Renaissance". Urban, Freiburg im Breisgau 1927

paragraph: BULLET::::- "Exposition: Vivre et mourir à la Renaissance, la destinée européenne de Philibert de Chalon, Prince d'Orange (1502–1530)" 20 September 2002 – 23 March 2003, Archaeological Museum of Lons le Saunier

paragraph: Section::::External links.

paragraph: BULLET::::- Blogpost with good pictures

paragraph: BULLET::::- Commemorative Exhibition, "Conrat Meit Bildhauer der Renaissance" at the Bavarian National Museum (in German, on Internet Archive)

paragraph: BULLET::::- Conrad Meit's boxwood sculptures

alias:
Konrad Meijt
Conrat Meyt
Konrad Meyt
Conrat Meijt
Konrad Meit
Conrad Meit

description: German sculptor

wikidata_label: Conrat Meit

wikipedia_title: Conrad Meit


text: censorship

text: Stalinist

text: Pärnu

text: University of Tartu

text: debut novel

text: Loodus

text: Estonian Writers' Union

text: Presidium of the Supreme Soviet

text: Estonian Soviet Socialist Republic

text: Endla Theatre

text: Eesti Raamat

categories: Burials at Metsakalmistu,People from Pärnu,Communist Party of Estonia politicians,People from the Governorate of Livonia,Estonian male novelists,1904 births,1963 deaths,20th-century Estonian novelists

paragraph: August Jakobson

paragraph: August Jakobson (2 September 1904 – 23 May 1963) was an Estonian writer and politician. He was the only Estonian playwright among his contemporaries whose plays were untouched by Soviet censorship and reached other Soviet states. He has been described as the leading Stalinist in Soviet Estonian drama. In the 1960s his work was described as "ideologically militant".

paragraph: Born Augustin Jakobson in Pärnu, he was the son of Mihkel Jakobson and Maria Jakobson ("née" Moritson). Jakobson graduated from school in 1926 in Pärnu, then studied economics at the University of Tartu from 1926 to 1929 and medicine from 1931 to 1935. However, he left school without acquiring a formal degree. His debut novel, "Vaeste-patuste alev" (1927), won the first place award in a literary competition sponsored by the publishing house Loodus.

paragraph: He was the head of the Estonian Writers' Union in 1939–1940 and in 1944–1946 (then known as Writers' Union of the Estonian SSR).

paragraph: From August 1940, Jakobson was a member of a Soviet censorship committee. From 1950 to 1958 he was the head of the Presidium of the Supreme Soviet of the Estonian Soviet Socialist Republic.

paragraph: Near the Endla Theatre in Pärnu stands a monument for Jakobson.

paragraph: Section::::Bibliography.

paragraph: BULLET::::- "Vaeste-patuste alev" (1927) (novel)

paragraph: BULLET::::- "Elu tsitadellis" (1946) (play)

paragraph: BULLET::::- "Võitlus rindejooneta" (1947) (play)

paragraph: Section::::See also.

paragraph: BULLET::::- List of Chairmen of the Presidium of the Supreme Soviet of the Estonian Soviet Socialist Republic

paragraph: Section::::References.

paragraph: BULLET::::- "Eesti kirjanduse ajalugu" part V, book 1. Eesti Raamat, 1987. p 162–172.

description: Estonian writer

wikidata_label: August Jakobson

wikipedia_title: August Jakobson


text: physiologist

text: New York Times

text: physiology

text: respiration

text: pharmacology

text: toxicology

text: resuscitation

text: Yale University

text: National Academy of Sciences

text: American Medical Association

text: American Philosophical Society

text: tetraethyl lead

categories: Members of the United States National Academy of Sciences,1944 deaths,American physiologists,1873 births,19th-century American people

paragraph: Yandell Henderson

paragraph: Yandell Henderson (April 23, 1873 – February 18, 1944) was an American physiologist.

paragraph: The New York Times called him an "expert on gases" and "an authority on the physiology of respiration and circulation and on pharmacology and toxicology of gases". He was also noted for new methods in resuscitation.

paragraph: Henderson was a director of the Yale Laboratory of Applied Physiology at Yale University, a member of the National Academy of Sciences, chairman of the section of physiology and pathology of the American Medical Association.

paragraph: He was also a member of the American Philosophical Society. A collection of his papers are held at the National Library of Medicine in Bethesda, Maryland.

paragraph: Beyond his scientific contributions, Henderson acted as a leading advocate of public health, especially in his opposition to the use of tetraethyl lead in gasoline in the early 1920s. Though he did not succeed in preventing its commercialization, his warnings predicted the public health consequences that would result. Fifty years later, in 1973, the U.S. Environmental Protection Agency issued regulations controlling the lead content of gasoline. He was a member of the Connecticut Academy of Arts and Sciences.

description: American physiologist

wikidata_label: Yandell Henderson

wikipedia_title: Yandell Henderson


text:
short chronology
middle chronology
Isin
Nippur
Warad-Sîn
Larsa
Apil-Sîn
Babylon
Dāgan
Išbi-Erra
An
Enlil
Ninurta
Gula
Lulal
Ur-dukuga year-names at CDLI.

paragraph: Ur-du-kuga

paragraph: Ur-dukuga, written "ur-du""-kù-ga", ca. 1767 BC – 1764 BC (short chronology) or ca. 1830–1828 BC (middle chronology), was the 13th king of the 1st dynasty of Isin and reigned for 4 years according to the "Sumerian King List", 3 years according to the "Ur-Isin kinglist". He was the third in a sequence of short reigning monarchs whose filiation was unknown and whose power extended over a small region encompassing little more than the city of Isin and its neighbor Nippur. He was probably a contemporary of Warad-Sîn of Larsa and Apil-Sîn of Babylon.

paragraph: Section::::Biography.

paragraph: He credited Dāgan, a god from the middle Euphrates region who had possibly been introduced by the dynasty’s founder, Išbi-Erra, with his creation, in cones commemorating the construction of the deity’s temple, the Etuškigara, or the house “well founded residence,” an event also celebrated in a year-name. The inscription describes him as the “shepherd who brings everything for Nippur, the supreme farmer of the gods An and Enlil, provider of the Ekur…” This heaps profuse declarations of his care for Nippur’s sanctuaries, the Ekur for Enlil, the Ešumeša for Ninurta and the Egalmaḫ for Gula, Ninurta’s divine wife.

paragraph: A piece of brick from Isin, bears his titulary but the event it marked has not been preserved. A cone shaft memorializes the building of a temple of Lulal of the cultic city of Dul-edena, northeast of Nippur on the Iturungal canal. The digging of the Imgur-Ninisin canal was celebrated in another year-name.

paragraph: Section::::External links.

paragraph: BULLET::::- Ur-dukuga year-names at CDLI.

wikidata_label: Ur-du-kuga

wikipedia_title: Ur-du-kuga


text:
Leiden University Medical Center
Leiden University
James D. Watson
Craig Venter
Leiden
mutation screening
developmental delay
mental retardation
congenital syndromes
Frederic Sanger
Knome

categories: Dutch women academics,People from Leiden,Dutch geneticists,Leiden University alumni,Living people,1973 births

paragraph: Marjolein Kriek

paragraph: Marjolein Kriek (born 22 November 1973) is a Dutch clinical geneticist at the Leiden University Medical Center. In 2008, at age 34, she became the first woman and probably the first European to have her total DNA genome sequenced.

paragraph: Section::::Sequencing project.

paragraph: Leiden University announced the completion of the nine-month-long sequencing of Dr. Kriek's genome on 26 May 2008, though the results of the study were published later. The study was initiated by Gert-Jan van Ommen of the LUMC team and director of the Center for Medical Systems Biology (CMSB), to gain insight in X-chromosome variability. The data set contained significant redundancy, as each base pair was sampled an average of seven to eight times. At the time Dr. Kriek was one of five or six people to have their entire genome sequenced, the others being James D. Watson, Craig Venter, two Yoruba-African men and possibly Dan Stoicescu of Switzerland.

paragraph: Section::::Career and research interests.

paragraph: Dr. Kriek was born in Leiden and obtained her doctorate in Biomedical Science at Leiden University in 2002. Her graduate studies included mutation screening in the mentally retarded. Dr. Kriek's subsequent research interests similarly focussed on the diagnosis and clinical significance of genomic imbalances and micro rearrangements as the causes of developmental delay, mental retardation and congenital syndromes.

paragraph: Section::::See also.

paragraph: BULLET::::- Frederic Sanger, inventor of sequencing

paragraph: BULLET::::- Knome, commercial whole genome sequencing

description: Geneticists

wikidata_label: Marjolein Kriek

wikipedia_title: Marjolein Kriek


text:
racing cyclist
downhill
mountain bike racing
Caerphilly
South Wales
St. Martin's Comprehensive School
Caerphilly
Manchester
Junior UCI Downhill World Championship
UCI Mountain Bike World Cup
UCI Mountain Bike World Cup
UCI Mountain Bike World Championship
UCI Mountain Bike World Cup

categories: UCI Mountain Bike World Champions (women),Downhill mountain bikers,Welsh female cyclists,1993 births,Sportspeople from Caerphilly,Place of birth missing (living people),Living people

paragraph: Manon Carpenter

paragraph: Manon Rose Carpenter (born 11 March 1993) is a professional racing cyclist formerly specialising in downhill mountain bike racing.

paragraph: Carpenter is from Caerphilly, South Wales. She was inspired to take up the sport by her father, Jason, a BMX track builder who also ran a DH race series in South Wales. Carpenter attended St. Martin's Comprehensive School, Caerphilly and is taking a gap year to concentrate on her sport before studying a science and Spanish degree in Manchester.

paragraph: In 2011, Manon Carpenter won the Junior UCI Downhill World Championship and the Junior UCI Mountain Bike World Cup overall. In 2013, Manon came third in the UCI Mountain Bike World Cup overall. In 2014 Manon took the world cup overall title and completed the season with the world championship at Hafjell earning the rainbow colour jersey.

paragraph: She became a double world champion in 2014, winning the UCI Mountain Bike World Championship and the UCI World Cup Mountain Bike Downhill Series. She was also named Elite Cyclist of the Year at the USN Welsh Cycling Awards.

paragraph: In November 2016 she announced that she was leaving Madison Saracen.

paragraph: In August 2017 Carpenter announced her retirement from Downhill racing with immediate effect.

paragraph: Section::::Results.

paragraph: BULLET::::- 2011

paragraph: BULLET::::- 2012

paragraph: BULLET::::- 2013

paragraph: BULLET::::- 2014

paragraph: BULLET::::- 2015

paragraph: BULLET::::- 2016 - British Downhill Series

paragraph: BULLET::::- 2016 - UCI Mountain Bike World Cup

description: Welsh racing cyclist

wikidata_label: Manon Carpenter

wikipedia_title: Manon Carpenter


text: Dutch and Flemish Renaissance painting

text: printmaker

text: Brabant

text: landscapes

text: peasant

text: genre painting

text: Dutch Golden Age painting

text: Antwerp

text: prints

text: drollerie

text: illuminated manuscript

text: oil painting

text: his family

text: Pieter Brueghel the Younger

text: Lodovico Guicciardini

text: Karel van Mander

text: Schilder-boeck

text: Breda

text: House of Orange-Nassau

text: humanist

text: Pieter Coecke van Aelst

text: Mayken Coecke

text: Mechelen

text: Peeter Baltens

text: grisaille

text: Mayken Verhulst

text: Guild of Saint Luke

text: Reggio Calabria

text: Sicily

text: Giulio Clovio

text: Hieronymus Cock

text: Humanist

text: blackletter

text: Cardinal Granvelle

text: Habsburg

text: Pieter Brueghel the Younger

text: Jan Brueghel the Elder

text: Kapellekerk

text: Humanist

text: Michelangelo

text: Leonardo da Vinci

text: Martin Luther

text: Ninety-five Theses

text: Protestant Reformation

text: iconoclasm

text: destruction of art

text: Low Countries

text: Council of Trent

text: determined

text: Seventeen Provinces

text: Habsburg

text: Inquisition

text: Eighty Years' War

text: Dutch Republic

text: genre painting

text: iconographic

text: Netherlandish Proverbs

text: The Blue Cloak

text: aphorism

text: Children's Games

text: The Hunters in the Snow

text: Little Ice Age

text: The Peasant Wedding

text: The Fight Between Carnival and Lent

text: Conversion of Paul

text: The Blind Leading the Blind

text: The Fight Between Carnival and Lent

text: Protestant Reformation

text: world landscape

text: Hieronymus Cock

text: engraving

text: Landscape with the Flight into Egypt

text: Courtauld

text: Landscape with the Fall of Icarus

text: genre figure

text: genre scene

text: Danube School

text: prints

text: Niclaes Jonghelinck

text: books of hours

text: Très Riches Heures du Duc de Berry

text: Labours of the Months

text: The Hunters in the Snow

text: The Harvesters

text: Hieronymus Cock

text: etching

text: woodcut

text: Metropolitan Museum of Art

text: block-cutter

text: Hieronymus Bosch

text: Albertina

text: Hans Mielke

text: Jacob Savery

text: Amsterdam

text: Antwerp

text: Brussels

text: Mayken Coecke

text: Pieter Coecke van Aelst

text: Mayken Verhulst

text: Cathedral of Antwerp

text: deposition for marriage

text: Chapel Church

text: Pieter Brueghel the Younger

text: Jan Brueghel the Elder

text: Mayken Verhulst

text: Flemish Baroque painting

text: Dutch Golden Age painting

text: Peter Paul Rubens

text: Pieter Coecke van Aelst

text: Mayken Verhulst

text: Jan van Kessel the Elder

text: Jan van Kessel the Younger

text: Jan-Erasmus Quellinus

text: Abraham Ortelius

text: Vasari

text: Hieronymus Bosch

text: Jacques Jonghelinck

text: Cardinal Granvelle

text: Courtauld "Flight into Egypt"

text: Rudolf II

text: Habsburg

text: Rubens

text: Adriaen Brouwer

text: David Vinckboons

text: Jan Steen

text: landscape art

text: Kunsthistorisches Museum

text: Vienna

text: engraving

text: etching

text: Cock publishing house

text: Maarten de Vos

text: Timken Museum of Art

text: San Diego

text: Museum Mayer van den Bergh

text: Landscape with the Fall of Icarus

text: The Blue Cloak" (or "Flemish Proverbs)"

text: Gemäldegalerie

text: The Fight Between Carnival and Lent

text: Kunsthistorisches Museum

text: Vienna

text: Alte Pinakothek

text: Children's Games

text: Kunsthistorisches Museum

text: Vienna

text: Galleria Doria-Pamphilj

text: The Fall of the Rebel Angels

text: Royal Museums of Fine Arts of Belgium

text: The Suicide of Saul

text: Kunsthistorisches Museum

text: Vienna

text: Staatliche Museen

text: Berlin

text: The Triumph of Death

text: Museo del Prado

text: Madrid

text: Dulle Griet (Mad Meg)

text: Museum Mayer van den Bergh

text: Antwerp

text: The "Large" Tower of Babel

text: The "Little" Tower of Babel

text: Museum Boijmans Van Beuningen

text: Rotterdam

text: Landscape with the Flight into Egypt

text: Courtauld Institute Galleries

text: grisaille

text: Upton House

text: The Procession to Calvary

text: Kunsthistorisches Museum

text: The Adoration of the Kings

text: The National Gallery, London

text: Winter Landscape with a Bird Trap

text: Royal Museums of Fine Arts of Belgium

text: The Hunters in the Snow

text: The Gloomy Day

text: The Hay Harvest

text: Lobkowicz Palace

text: The Harvesters

text: Metropolitan Museum of Art

text: The Return of the Herd

text: Christ and the Woman Taken in Adultery

text: Courtauld Institute of Art

text: Museum of Fine Arts (Budapest)

text: The Census at Bethlehem

text: Royal Museums of Fine Arts of Belgium

text: Brussels

text: The Wedding Dance

text: Detroit Institute of Arts

text: Conversion of Paul

text: Massacre of the Innocents

text: Royal Collection

text: Kunsthistorisches Museum, Vienna

text: Brukenthal National Museum

text: Sibiu

text: Upton House

text: Banbury

text: The Land of Cockaigne

text: Alte Pinakothek

text: Munich

text: The Adoration of the Magi in the Snow

text: Oskar Reinhart Collection

text: Winterthur

text: The Magpie on the Gallows

text: Hessisches Landesmuseum

text: Darmstadt

text: The Misanthrope

text: Museo di Capodimonte

text: Naples

text: The Blind Leading the Blind

text: Museo Nazionale di Capodimonte

text: The Peasant Wedding

text: The Peasant Dance

text: Kunsthistorisches Museum

text: The Beggars (The Cripples)

text: Louvre

text: The Peasant and the Nest Robber

text: The Frick Collection

text: The Storm at Sea

text: The Wine of Saint Martin's Day

text: Museo del Prado

text: Madrid

text: Print room

text: Berlin State Museums

text: British Museum

text: Albertina, Vienna

text: Landscape with the Fall of Icarus

text: Musée des Beaux Arts

text: W. H. Auden

text: poem

text: William Carlos Williams

text: Nicolas Roeg

text: The Man Who Fell to Earth

text: Wisława Szymborska

text: Andrei Tarkovsky

text: Solaris

text: The Mirror

text: Lars von Trier

text: Melancholia

text: The Procession to Calvary

text: The Mill and the Cross

text: Rutger Hauer

text: Kunsthistorisches Museum

text: Museum Hours

text: Seamus Heaney

text: The Seed Cutters

text: In Parenthesis

text: Michael Frayn

text: Headlong

text: Don Delillo

text: The Triumph of Death

text: Underworld

text: Pafko at the Wall

text: The Hunters in the Snow

text: short story with the same title

text: Tobias Wolff

text: List of paintings by Pieter Bruegel the Elder

text: Early Netherlandish painting

text: Dutch and Flemish Renaissance painting

text: Clark, Kenneth

text: Gombrich, E.H.

text: The Story of Art

text: Grove Art Online

text: subscription required

text: Hugh Honour

text: Simon Schama

text: Google Books

text: Snyder, James

text: Joseph Leo Koerner

text: Pieter-Bruegel-The-Elder.org: 99 works by Pieter Bruegel the Elder

text: Pieter Bruegel the Elder in BALaT

text: Pubhist.com: Gallery of all paintings and drawings

text: Academia.edu: The political consciousness of Pieter Bruegel

text: Bruegel blockbuster in Vienna

categories: People from Son en Breugel,Dutch Renaissance painters,People of the Habsburg Netherlands,1569 deaths,16th-century Belgian people,Pieter Bruegel the Elder,1520s births,Flemish painters,16th-century Flemish painters,Flemish landscape painters,Flemish Renaissance painters,Dutch genre painters,Flemish genre painters,Bruegel family,Members of the Antwerp Guild of Saint Luke,Dutch landscape painters,People from Breda,Landscape artists

paragraph: Pieter Bruegel the Elder

paragraph: Pieter Bruegel (also Brueghel) the Elder (, or ; c. 1525–1530 – 9 September 1569) was the most significant artist of Dutch and Flemish Renaissance painting, a painter and printmaker from Brabant, known for his landscapes and peasant scenes (so-called genre painting); he was a pioneer in making both types of subject the focus in large paintings.

paragraph: He was a formative influence on Dutch Golden Age painting and later painting in general in his innovative choices of subject matter, as one of the first generation of artists to grow up when religious subjects had ceased to be the natural subject matter of painting. He also painted no portraits, the other mainstay of Netherlandish art. After his training and travels to Italy, he returned in 1555 to settle in Antwerp, where he worked mainly as a prolific designer of prints for the leading publisher of the day. Only towards the end of the decade did he switch to make painting his main medium, and all his famous paintings come from the following period of little more than a decade before his early death, when he was probably in his early forties, and at the height of his powers.

paragraph: As well as looking forwards, his art reinvigorates medieval subjects such as marginal drolleries of ordinary life in illuminated manuscripts, and the calendar scenes of agricultural labours set in landscape backgrounds, and puts these on a much larger scale than before, and in the expensive medium of oil painting. He does the same with the fantastic and anarchic world developed in Renaissance prints and book illustrations.

paragraph: He is sometimes referred to as "Peasant Bruegel", to distinguish him from the many later painters in his family, including his son Pieter Brueghel the Younger (1564–1638). From 1559, he dropped the 'h' from his name and signed his paintings as "Bruegel"; his relatives continued to use "Brueghel" or "Breughel".

paragraph: Section::::Life.

paragraph: Section::::Life.:Early life.

paragraph: The two main early sources for Bruegel's biography are Lodovico Guicciardini's account of the Low Countries (1567) and Karel van Mander's 1604 "Schilder-boeck". Guicciardini recorded that Bruegel was born in Breda, but van Mander specified that Bruegel was born in a village ("dorp") near Breda called "Brueghel", which does not fit any known place. Nothing at all is known of his family background. Van Mander seems to assume he came from a peasant background, in keeping with the over-emphasis on Bruegel's peasant genre scenes given by van Mander and many early art historians and critics.

paragraph: In contrast, scholars of the last sixty years have emphasized the intellectual content of his work, and conclude: "There is, in fact, every reason to think that Pieter Bruegel was a townsman and a highly educated one, on friendly terms with the humanists of his time", ignoring van Mander's "dorp" and just placing his childhood in Breda itself. Breda was already a significant centre as the base of the House of Orange-Nassau, with a population of some 8,000, although 90% of the 1300 houses were destroyed in a fire in 1534. However, this reversal can be taken to excess; although Bruegel moved in highly educated humanist circles, it seems "he had not mastered Latin", and had others add the Latin captions in some of his drawings.

paragraph: From the fact that Bruegel entered the Antwerp painters' guild in 1551, it is inferred that he was born between 1525 and 1530. His master, according to van Mander, was the Antwerp painter Pieter Coecke van Aelst, whose daughter Mayken Coecke Bruegel married in 1563.

paragraph: Between 1545 and 1550 he was a pupil of Pieter Coecke, who died on 6 December 1550. However, before this Bruegel was already working in Mechelen, where he is documented between September 1550 and October 1551 assisting Peeter Baltens on an altarpiece (now lost), painting the wings in "grisaille". Bruegel possibly got this work via the connections of Mayken Verhulst, the wife of Pieter Coecke. Mayken's father and eight siblings were all artists or married an artist, and lived in Mechelen.

paragraph: Section::::Life.:Travel.

paragraph: In 1551 Bruegel became a free master in the Guild of Saint Luke of Antwerp. He set off for Italy soon after, probably by way of France. He visited Rome and, rather adventurously for the period, by 1552 he had reached Reggio Calabria at the southern tip of the mainland, where a drawing records the city in flames after a Turkish raid. He probably continued to Sicily, but by 1553 was back in Rome. There he met the miniaturist Giulio Clovio, whose will of 1578 lists paintings by Bruegel; in one case a joint work. These works, apparently landscapes, have not survived, but marginal miniatures in manuscripts by Clovio are attributed to Bruegel.

paragraph: He left Italy by 1554, and had reached Antwerp by 1555, when the set of prints to his designs known as the "Large Landscapes" were published by Hieronymus Cock, the most important print publisher of northern Europe. Bruegel's return route is uncertain, but much of the debate over it was made irrelevant in the 1980s when it was realized that the celebrated series of large drawings of mountain landscapes thought to have been made on the trip were not by Bruegel at all. However, all the drawings from the trip that are considered authentic are of landscapes; unlike most other 16th-century artists visiting Rome he seems to have ignored both classical ruins and contemporary buildings.

paragraph: Section::::Life.:Antwerp and Brussels.

paragraph: From his return to Italy in 1554/5 until 1563, the year of his marriage Bruegel lived in Antwerp, then the publishing centre of northern Europe, mainly working as a designer of over forty prints for Cock, though his dated paintings begin in 1557. With one exception, Bruegel did not work the plates himself, but produced a drawing which Cock's specialists worked from. He moved in the lively Humanist circles of the city, and his change of name (or at least its spelling) in 1559 can be seen as an attempt to Latinize it; at the same time he changed the script he signed in from the Gothic blackletter to Roman capitals.

paragraph: In 1563 he was married in Brussels, where he lived for the remainder of his short life. While Antwerp was the capital of Netherlandish commerce as well as the art market, Brussels was the centre of government. Van Mander tells a story that his mother-in-law pushed for the move to distance him from his established servant girl mistress. By now painting had become his main activity, and his most famous works come from these years. His paintings were much sought after, with patrons including wealthy Flemish collectors and Cardinal Granvelle, in effect the Habsburg chief minister, who was based in Mechelen. Bruegel had two sons, both well known as painters, and a daughter about whom nothing is known. These were Pieter Brueghel the Younger (1564–1638) and Jan Brueghel the Elder (1568–1625); he died too early to train either of them. He died in Brussels on 9 September 1569 and was buried in the Kapellekerk.

paragraph: Van Mander records that before he died he told his wife to burn some drawings, perhaps designs for prints, carrying inscriptions "which were too sharp or sarcastic...either out of remorse or for fear that she might come to harm or in some way be held responsible for them", which has led to much speculation that they were politically or doctrinally provocative, in a climate of sharp tension in both these areas.

paragraph: Section::::Historical background.

paragraph: Bruegel was born at a time of extensive change in Western Europe. Humanist ideals from the previous century influenced artists and scholars. Italy was at the end of its High Renaissance of arts and culture, when artists such as Michelangelo and Leonardo da Vinci painted their masterpieces. In 1517, about eight years before Bruegel's birth, Martin Luther created his "Ninety-five Theses" and began the Protestant Reformation in neighboring Germany. Reformation was accompanied by iconoclasm and widespread destruction of art, including in the Low Countries. The Catholic Church viewed Protestantism and its iconoclasm as a threat to the Church. The Council of Trent, which concluded in 1563, determined that religious art should be more focused on religious subject-matter and less on material things and decorative qualities.

paragraph: At this time, the Low Countries were divided into Seventeen Provinces, some of which wanted separation from the Habsburg rule based in Spain. The Reformation meanwhile produced a number of Protestant denominations that gained followers in the Seventeen Provinces, influenced by the newly Lutheran German states to the east and the newly Anglican England to the west. The Habsburg monarchs of Spain attempted a policy of strict religious uniformity for the Catholic Church within their domains and enforced it with the Inquisition. Increasing religious antagonisms and riots, political manoeuvrings, and executions eventually resulted in the outbreak of Eighty Years' War.

paragraph: In this atmosphere Bruegel reached the height of his career as a painter. Two years before his death, the Eighty Years' War began between the United Provinces and Spain. Although Bruegel did not live to see it, seven provinces became independent and formed the Dutch Republic, while the other ten remained under Habsburg control at the end of the war.

paragraph: Section::::Subjects.

paragraph: Section::::Subjects.:Peasants.

paragraph: Pieter Bruegel specialized in genre paintings populated by peasants, often with a landscape element, though he also painted religious works. Making the life and manners of peasants the main focus of a work was rare in painting in Bruegel's time, and he was a pioneer of the genre painting. Many of his peasant paintings fall into two groups in terms of scale and composition, both of which were original and influential on later painting. His earlier style shows dozens of small figures, seen from a high viewpoint, and spread fairly evenly across the central picture space. The setting is typically an urban space surrounded by buildings, within which the figures have a "fundamentally disconnected manner of portrayal", with individuals or small groups engaged in their own distinct activity, while ignoring all the others.

paragraph: His earthy, unsentimental but vivid depiction of the rituals of village life—including agriculture, hunts, meals, festivals, dances, and games—are unique windows on a vanished folk culture, though still characteristic of Belgian life and culture today, and a prime source of iconographic evidence about both physical and social aspects of 16th-century life. For example, his famous painting "Netherlandish Proverbs", originally "The Blue Cloak", illustrates dozens of then-contemporary aphorisms, many of which still are in use in current Flemish, French, English and Dutch. The Flemish environment provided a large artistic audience for proverb-filled paintings because proverbs were well known and recognizable as well as entertaining. "Children's Games" shows the variety of amusements enjoyed by young people. His winter landscapes of 1565, like "The Hunters in the Snow", are taken as corroborative evidence of the severity of winters during the Little Ice Age. Bruegel often painted community events, as in "The Peasant Wedding" and "The Fight Between Carnival and Lent". In paintings like "The Peasant Wedding", Bruegel painted individual, identifiable people, while the people in "The Fight Between Carnival and Lent" are unidentifiable, muffin-faced allegories of greed or gluttony.

paragraph: Bruegel also painted religious scenes in a wide Flemish landscape setting, as in the "Conversion of Paul" and "The Sermon of St. John the Baptist". Even if Bruegel's subject matter was unconventional, the religious ideals and proverbs driving his paintings were typical of the Northern Renaissance. He accurately depicted people with disabilities, such as in "The Blind Leading the Blind", which depicted a quote from the Bible: "If the blind lead the blind, both shall fall into the ditch" (Matthew 15:14). Using the Bible to interpret this painting, the six blind men are symbols of the blindness of mankind in pursuing earthly goals instead of focusing on Christ's teachings.

paragraph: Using abundant spirit and comic power, Bruegel created some of the very early images of acute social protest in art history. Examples include paintings such as "The Fight Between Carnival and Lent" (a satire of the conflicts of the Protestant Reformation) and engravings like "The Ass in the School" and "Strongboxes Battling Piggybanks".

paragraph: Over the 1560s Bruegel moved to a style showing only a few large figures, typically in a landscape background without a distant view. His paintings dominated by their landscapes take a middle course as regards both the number and size of figures.

paragraph: BULLET::::- Late monumental peasant figures

paragraph: Section::::Subjects.:Landscape elements.

paragraph: Bruegel adapted and made more natural the world landscape style, which shows small figures in an imaginary panoramic landscape seen from an elevated viewpoint that includes mountains and lowlands, water, and buildings. Back in Antwerp from Italy he was commissioned in the 1550s by the publisher Hieronymus Cock to make drawings for a series of engravings, the "Large Landscapes", to meet what was now a growing demand for landscape images.

paragraph: Some of his earlier paintings, such as his "Landscape with the Flight into Egypt" (Courtauld, 1563), are fully within the Patinir conventions, but his "Landscape with the Fall of Icarus" (known from two copies) had a Patinir-style landscape, in which already the largest figure was a genre figure who was only a bystander for the supposed narrative subject, and may not even be aware of it. The date of Bruegel's lost original is unclear, but it is probably relatively early, and if so, foreshadows the trend of his later works. During the 1560s the early scenes crowded with multitudes of very small figures, whether peasant genre figures or figures in religious narratives, give way to a small number of much larger figures.

paragraph: Section::::Subjects.:Landscape elements.:Months of the year.

paragraph: His famous set of landscapes with genre figures depicting the seasons are the culmination of his landscape style; the five surviving paintings use the basic elements of the world landscape (only one lacks craggy mountains) but transform them into his own style. They are larger than most previous works, with a genre scene with several figures in the foreground, and the panoramic view seen past or through trees. Bruegel was also aware of the Danube School's landscape style through prints.

paragraph: The series on the months of the year includes several of Bruegel's best-known works. In 1565, a wealthy patron in Antwerp, Niclaes Jonghelinck, commissioned him to paint a series of paintings of each month of the year. There has been disagreement among art historians as to whether the series originally included six or twelve works. Today, only five of these paintings survive and some of the months are paired to form a general season. Traditional Flemish luxury books of hours (e.g., the Très Riches Heures du Duc de Berry; 1416) had calendar pages that included the Labours of the Months, depictions set in landscapes of the agricultural tasks, weather, and social life typical for that month.

paragraph: Bruegel's paintings were on a far larger scale than a typical calendar page painting, each one approximately three feet by five feet. For Bruegel, this was a large commission (the size of a commission was based on how large the painting was) and an important one. In 1565, the Calvinist riots began and it was only two years before the Eighty Years' War broke out. Bruegel may have felt safer with a secular commission so as to not offend Calvinist or Catholic. Some of the most famous paintings from this series included "The Hunters in the Snow" (December–January) and "The Harvesters" (August).

paragraph: Section::::Prints and drawings.

paragraph: On his return from Italy to Antwerp, Bruegel earned his living producing drawings to be turned into prints for the leading print publisher of the city, and indeed northern Europe, Hieronymus Cock. At his "House of the Four Winds" Cock ran a well-oiled production and distribution operation efficiently turning out prints of many sorts that was more concerned with sales than the finest artistic achievement. Most of Bruegel's prints come from this period, but he continued to produce drawn designs for prints until the end of his life, leaving only two completed out of a series of the "Four Seasons". The prints were popular and it is reasonable to assume that all those published have survived. In many cases we also have Bruegel's drawings. Although the subject matter of his graphic work was often continued in his paintings, there are considerable differences in emphases between the two "oeuvres". To his contemporaries and for long after, until public museums and good reproductions of the paintings made these better known, Bruegel was much better known through his prints than his paintings, which largely explains the critical assessment of him as merely the creator of comic peasant scenes.

paragraph: The prints are mostly engravings, though from about 1559 onwards some are etchings or mixtures of both techniques. Only one complete woodcut was made from a Bruegel design, with another left incomplete. This, "The Dirty Wife", is a most unusual survival (now Metropolitan Museum of Art) of a drawing on the wooden block intended for printing. For some reason, the specialist block-cutter who carved away the block, following the drawing while also destroying it, had only done one corner of the design before stopping work. The design then appears as an engraving, perhaps soon after Bruegel's death.

paragraph: Among his greatest successes were a series of allegories, among several designs adopting many of the very individual mannerisms of his compatriot Hieronymus Bosch: "The Seven Deadly Sins" and "The Virtues". The sinners are grotesque and unidentifiable while the allegories of virtue often wear odd headgear. That imitations of Bosch sold well is demonstrated by his drawing "Big Fish Eat Little Fish" (now Albertina), which Bruegel signed but Cock shamelessly attributed to Bosch in the print version.

paragraph: Although Bruegel presumably made them, no drawings that are clearly preparatory studies for paintings survive. Most surviving drawings are finished designs for prints, or landscape drawings that are fairly finished. After a considerable purge of attributions in recent decades, led by Hans Mielke, sixty-one sheets of drawings are now generally agreed to be by Bruegel. A new "Master of the Mountain Landscapes" has emerged from the carnage. Mielke's key observation was that the lily watermark on the paper of several sheets was only found from around 1580 onwards, which led to the rapid acceptance of his proposal. Another group of about twenty-five pen drawings of landscapes, many signed and dated as by Bruegel, are now given to Jacob Savery, probably from the decade of so before Savery's death in 1603. A giveaway was that two drawings including the walls of Amsterdam were dated 1563 but included elements only built in the 1590s. This group appears to have been made as deliberate forgeries.

paragraph: Section::::Family.

paragraph: Around 1563 Bruegel moved from Antwerp to Brussels, in Brussels he married Mayken Coecke, the daughter of the painter Pieter Coecke van Aelst and Mayken Verhulst. As registered in the archives of the Cathedral of Antwerp, their deposition for marriage was registered 25 July, 1563. The marriage itself was concluded in the Chapel Church, Brussels in 1563.

paragraph: Pieter the Elder had two sons: Pieter Brueghel the Younger and Jan Brueghel the Elder (both kept their name as Brueghel). Their grandmother, Mayken Verhulst, trained the sons because "the Elder" died when both were very small children. The older brother, Pieter Brueghel copied his father's style and compositions with competence and considerable commercial success. Jan was much more original, and very versatile. He was an important figure in the transition to the Baroque style in Flemish Baroque painting and Dutch Golden Age painting in a number of its genres. He was often a collaborator with other leading artists, including with Peter Paul Rubens on many works including the "Allegory of Sight".

paragraph: Other members of the family include Pieter Coecke van Aelst and Mayken Verhulst (father-in-law and mother-in-law to Pieter Bruegel the Elder), Jan van Kessel the Elder (grandson of Jan Bruegel the Elder) and Jan van Kessel the Younger. Through David Teniers, the family is also related to the whole Teniers family of painters and the Quellinus family of painters and sculptors, since Jan-Erasmus Quellinus married Cornelia, daughter of David Teniers the Younger.

paragraph: Section::::Reception history.

paragraph: Bruegel's art was long more highly valued by collectors than critics. His friend Abraham Ortelius described him in a friendship album in 1574 as "the most perfect painter of his century", but both Vasari and Van Mander see him as essentially a comic successor to Hieronymus Bosch.

paragraph: But Bruegel's work was, as far as we know, always keenly collected. The banker Nicolaes Jonghelinck owned sixteen paintings; his brother Jacques Jonghelinck was a gentleman-sculptor and medallist, who also had significant business interests. He made medals and tombs in an international style for the Brussels elite, especially Cardinal Granvelle, who was also a keen patron of Bruegel. Granvelle owned at least two Bruegels, including the Courtauld "Flight into Egypt", but we do not know if he bought them directly from the artist. Granvelle's nephew and heir was strong-armed out of his Bruegels by Rudolf II, the very acquisitive Austrian Habsburg Emperor. The series of the "Months" entered the Habsburg collections in 1594, given to Rudolf's brother and later taken by the emperor himself. Rudolf eventually owned at least ten Bruegel paintings. A generation later Rubens owned eleven or twelve, which mostly passed to the Antwerp senator Pieter Stevens, and were then sold in 1668.

paragraph: Bruegel's son Pieter could still keep himself and a large studio team busy producing replicas or adaptations of Bruegel's works, as well as his own compositions along similar lines, sixty years or more after they were first painted. The most frequently copied works were generally not the ones that are most famous today, though this may reflect the availability of the full-scale detailed drawings that were evidently used. The most-copied painting is the "Winter Landscape with (Skaters and) a Bird Trap" (1565), of which the original is in Brussels; 127 copies are recorded. They include paintings after some of Bruegel's drawn print designs, especially "Spring".

paragraph: The next century's artists of peasant genre scenes were heavily influenced by Brueghel. Outside the Brueghel family, early figures were Adriaen Brouwer (c. 1605/6-1638) and David Vinckboons (1576–c.1632), both Flemish-born but spending much of their time in the northern Netherlands. As well as the general conception of such "kermis" subjects, Vinckboons and other artists took from Bruegel "such stylistic devices as the bird's-eye perspective, ornamentalized vegetation, bright palette, and stocky, odious figures. Forty years after their deaths, and over a century after Bruegel's, Jan Steen (1626–79) continued to show a particular interest in Bruegelian treatments.

paragraph: The critical treatment of Bruegel as essentially an artist of comic peasant scenes persisted until the late 19th century, even after his best paintings became widely visible as royal and aristocratic collections were turned into museums. This had been partly explicable when his work was mainly known from copies, prints and reproductions. Even Henri Hymans, whose work of 1890/91 was the first important contribution to modern Bruegel scholarship, could describe him thus: "His field of enquiry is certainly not of the most extensive; his ambition, too, is modest. He confines himself to a knowledge of mankind and the most immediate objects", a line no modern scholar is likely to take. As his landscape paintings, in good colour reproduction, have become his best-loved works, so his importance in the history of landscape art has become understood.

paragraph: Section::::Works.

paragraph: There are about forty generally accepted surviving paintings, twelve of which are in the Kunsthistorisches Museum in Vienna. A number of others are known to have been lost, including what, according to van Mander, Bruegel himself thought his best work, "a picture in which Truth triumphs".

paragraph: Bruegel only etched one plate himself, "The Rabbit Hunt," but designed some forty prints, both engravings and etchings, mostly for the Cock publishing house. As discussed above, about sixty-one drawings are now recognized as authentic, mostly designs for prints or landscapes.

paragraph: Section::::Selected works.

paragraph: BULLET::::- "Landscape with Christ and the Apostles at the Sea of Tiberias", 1553, probably with Maarten de Vos, private collection

paragraph: BULLET::::- "", 1557, Timken Museum of Art, San Diego

paragraph: BULLET::::- "", 1558, Museum Mayer van den Bergh, Antwerp

paragraph: BULLET::::- "Landscape with the Fall of Icarus", probably 1550s, Royal Museums of Fine Arts of Belgium, Brussels – Note: Now seen as a copy of a lost authentic Bruegel painting

paragraph: BULLET::::- "The Blue Cloak" (or "Flemish Proverbs)", 1559, Gemäldegalerie, Berlin

paragraph: BULLET::::- "The Fight Between Carnival and Lent", 1559, Kunsthistorisches Museum, Vienna

paragraph: BULLET::::- "Portrait of an Old Woman", 1560, Alte Pinakothek, Munich

paragraph: BULLET::::- "Temperance", 1560

paragraph: BULLET::::- "Children's Games", 1560, Kunsthistorisches Museum, Vienna

paragraph: BULLET::::- "", 1560, Galleria Doria-Pamphilj, Rome

paragraph: BULLET::::- "The Fall of the Rebel Angels" 1562, Royal Museums of Fine Arts of Belgium, Brussels

paragraph: BULLET::::- "The Suicide of Saul (Battle Against The Philistines on the Gilboa)", 1562, Kunsthistorisches Museum, Vienna

paragraph: BULLET::::- "Two Small Monkeys", 1562, Staatliche Museen, Gemäldegalerie, Berlin

paragraph: BULLET::::- "The Triumph of Death", c. 1562, Museo del Prado, Madrid

paragraph: BULLET::::- "Dulle Griet (Mad Meg)", c. 1563, Museum Mayer van den Bergh, Antwerp

paragraph: BULLET::::- "The "Large" Tower of Babel", 1563, Kunsthistorisches Museum, Vienna

paragraph: BULLET::::- "The "Little" Tower of Babel", c. 1563, Museum Boijmans Van Beuningen, Rotterdam

paragraph: BULLET::::- "Landscape with the Flight into Egypt", 1563, Courtauld Institute Galleries, London

paragraph: BULLET::::- "The Death of the Virgin", 1564, (grisaille), Upton House, Banbury

paragraph: BULLET::::- "The Procession to Calvary", 1564, Kunsthistorisches Museum, Vienna

paragraph: BULLET::::- "The Adoration of the Kings", 1564, The National Gallery, London

paragraph: BULLET::::- "Winter Landscape with a Bird Trap", 1565, Royal Museums of Fine Arts of Belgium, Brussels, inv. 8724

paragraph: BULLET::::- "The Months", a cycle of probably six paintings of the months or seasons, of which five remain:

paragraph: BULLET::::- "The Hunters in the Snow (Dec.–Jan.)", 1565, Kunsthistorisches Museum, Vienna

paragraph: BULLET::::- "The Gloomy Day (Feb.–Mar.)", 1565, Kunsthistorisches Museum, Vienna

paragraph: BULLET::::- "The Hay Harvest (June–July)", 1565, Lobkowicz Palace at the Prague Castle Complex, Czech Republic

paragraph: BULLET::::- "The Harvesters (Aug.-Sept.)", 1565, Metropolitan Museum of Art, New York

paragraph: BULLET::::- "The Return of the Herd (Oct.–Nov.)", 1565, Kunsthistorisches Museum, Vienna

paragraph: BULLET::::- "Christ and the Woman Taken in Adultery" (1565), Courtauld Institute of Art, London

paragraph: BULLET::::- "Preaching of John the Baptist", 1566, Museum of Fine Arts (Budapest)

paragraph: BULLET::::- "The Census at Bethlehem", 1566, Royal Museums of Fine Arts of Belgium, Brussels

paragraph: BULLET::::- "The Wedding Dance", c. 1566, Detroit Institute of Arts, Detroit

paragraph: BULLET::::- "Conversion of Paul", 1567, Kunsthistorishes Museum, Vienna

paragraph: BULLET::::- "Massacre of the Innocents", c. 1567, versions at Royal Collection, Kunsthistorisches Museum, Vienna, at Brukenthal National Museum, Sibiu, and at Upton House, Banbury

paragraph: BULLET::::- "The Land of Cockaigne", 1567, Alte Pinakothek, Munich

paragraph: BULLET::::- "The Adoration of the Magi in the Snow", 1567, Oskar Reinhart Collection, Winterthur

paragraph: BULLET::::- "The Magpie on the Gallows", 1568, Hessisches Landesmuseum, Darmstadt

paragraph: BULLET::::- "The Misanthrope", 1568, Museo di Capodimonte, Naples

paragraph: BULLET::::- "The Blind Leading the Blind", 1568, Museo Nazionale di Capodimonte, Naples

paragraph: BULLET::::- "The Peasant Wedding", 1568, Kunsthistorisches Museum, Vienna

paragraph: BULLET::::- "The Peasant Dance", 1568, Kunsthistorisches Museum, Vienna

paragraph: BULLET::::- "The Beggars (The Cripples)", 1568, Louvre, Paris

paragraph: BULLET::::- "The Peasant and the Nest Robber", 1568, Kunsthistorisches Museum, Vienna

paragraph: BULLET::::- "", 1568, The Frick Collection, New York City

paragraph: BULLET::::- "The Storm at Sea", an unfinished work, probably Bruegel's last painting.

paragraph: BULLET::::- "The Wine of Saint Martin's Day", Museo del Prado, Madrid (discovered in 2010)

paragraph: BULLET::::- Prints and drawings

paragraph: BULLET::::- "", 1556; we have both Bruegel's design and prints after it

paragraph: BULLET::::- "Ass at School", 1556, drawing, Print room, Berlin State Museums

paragraph: BULLET::::- "The Calumny of Apelles", 1565, drawing, British Museum, London

paragraph: BULLET::::- "The Painter and the Connoisseur", drawing, c. 1565, Albertina, Vienna

paragraph: BULLET::::- "Village views with trees and a mule", 1526–1569, The Phoebus Foundation

paragraph: Section::::Work referenced in others' work.

paragraph: His painting "Landscape with the Fall of Icarus", now thought only to survive in copies, is the subject of the 1938 poem "Musée des Beaux Arts" by W. H. Auden:

paragraph: poem

paragraph: In Brueghel's Icarus, for instance: how everything turns away

paragraph: Quite leisurely from the disaster; the ploughman

paragraph: Have heard the splash, the forsaken cry,

paragraph: But for him it was not an important failure; the sun shone

paragraph: As it had to on the white legs disappearing into the green

paragraph: Water, and the expensive delicate ship that must have seen

paragraph: Something amazing, a boy falling out of the sky,

paragraph: Had somewhere to get to and sailed calmly on.

paragraph: /poem

paragraph: It also was the subject of a 1960 poem by William Carlos Williams and was referenced in Nicolas Roeg's 1976 science fiction film "The Man Who Fell to Earth". Further, Williams' final collection of poetry references a number of Bruegel's work.

paragraph: Bruegel's painting "Two Monkeys" was the subject of Wisława Szymborska's 1957 poem, "Brueghel's Two Monkeys".

paragraph: Russian film director Andrei Tarkovsky referenced Bruegel's paintings in his films several times, notably in "Solaris" (1972) and "The Mirror" (1975).

paragraph: Director Lars von Trier also uses Bruegel's paintings in his film "Melancholia" (2011). This was used as a reference to Tarkovsky's "Solaris", a movie with related themes.

paragraph: His 1564 painting "The Procession to Calvary" inspired the 2011 Polish-Swedish film co-production "The Mill and the Cross", in which Bruegel is played by Rutger Hauer. Bruegel's paintings in the Kunsthistorisches Museum are shown in the 2012 film, "Museum Hours", where his work is discussed at length by a guide.

paragraph: Seamus Heaney referenced Brueghel in his poem "The Seed Cutters". David Jones references the painting "The Blind Leading the Blind" in his World War One prose-poem "In Parenthesis": "the stumbling dark of the blind, that Breughel knew about - ditch circumscribed".

paragraph: Michael Frayn, in his novel "Headlong", imagines a lost panel from the 1565 "Months" series resurfacing unrecognized, which triggers a mad conflict between an art (and money) lover and the boor who possesses it. Much thought is spent on Bruegel's secret motives for painting it.

paragraph: In his book "American Barricade", Danniel Schoonebeek references several Brueghel paintings in his poem "Poem for a Seven-Hour Flight", notably in the lines: "I am the hounds in Brueghel / do you know the hounds // here is the single fox I have killed will you wear it around your shoulders are you ashamed."

paragraph: Author Don Delillo references Bruegel's painting "The Triumph of Death" in his novel "Underworld" and his short story "Pafko at the Wall". It is believed that the painting "The Hunters in the Snow" influenced the classic short story with the same title written by Tobias Wolff and featured in "In the Garden of the North American Martyrs".

paragraph: Section::::See also.

paragraph: BULLET::::- List of paintings by Pieter Bruegel the Elder

paragraph: BULLET::::- Early Netherlandish painting

paragraph: BULLET::::- Dutch and Flemish Renaissance painting

paragraph: Section::::References.

paragraph: BULLET::::- Clark, Kenneth, "Landscape into Art", 1949, page refs to Penguin edn of 1961

paragraph: BULLET::::- Franits, Wayne, "Dutch Seventeenth-Century Genre Painting", Yale UP, 2004,

paragraph: BULLET::::- Gombrich, E.H., "The Story of Art", Phaidon, 13th edn. 1982.

paragraph: BULLET::::- "Grove": Wied, Alexander and Van Miegroet, Hans J. "Bruegel." Grove Art Online. Oxford Art Online. Oxford University Press, accessed February 2, 2017, subscription required

paragraph: BULLET::::- Harbison, Craig. "The Art of the Northern Renaissance", 1995, Weidenfeld & Nicolson,

paragraph: BULLET::::- "Hagens": Hagen, Rose-Marie; Hagen, Rainer, "Bruegel, The Complete Paintings", 2001, Midpoint Press,

paragraph: BULLET::::- Hugh Honour and John Fleming, "A World History of Art", 1st edn. 1982 (many later editions), Macmillan, London, page refs to 1984 Macmillan 1st edn. paperback.

paragraph: BULLET::::- fully online

paragraph: BULLET::::- Simon Schama, "Landscape and Memory", 1995, HarperCollins (2004 HarperPerennial edn used),

paragraph: BULLET::::- Silver, Larry, "Peasant Scenes and Landscapes: The Rise of Pictorial Genres in the Antwerp Art Market", 2006, University of Pennsylvania Press, , 9780812222111, Google Books

paragraph: BULLET::::- Snyder, James. "Northern Renaissance Art", 1985, Harry N. Abrams,

paragraph: BULLET::::- Wied, Alexander, "Bruegel", 1980, Studio Vista,

paragraph: BULLET::::- Wood, Christopher S., "Albrecht Altdorfer and the Origins of Landscape", 1993, Reaktion Books, London,

paragraph: Section::::Further reading.

paragraph: BULLET::::- Silver, Larry, "Pieter Bruegel", 2011

paragraph: BULLET::::- Joseph Leo Koerner, "Bosch and Bruegel: From Enemy Painting to Everyday Life" (The A. W. Mellon Lectures in the Fine Arts), 2016, Princeton

paragraph: BULLET::::- Jos Koldeweij; Matthijs Ilsink, "Hieronymus Bosch: Visions of Genius", 2016, Yale

paragraph: BULLET::::- Sellink, Manfred, "Bruegel: The Complete Paintings, Drawings and Prints", 2007

paragraph: BULLET::::- Meganck, Tine Luk "Pieter Bruegel the Elder: Fall of the Rebel Angels: Art, Knowledge and Politics on the Eve of the Dutch Revolt", 2014, Milan, Silvana Editoriale

paragraph: Section::::External links.

paragraph: BULLET::::- Pieter-Bruegel-The-Elder.org: 99 works by Pieter Bruegel the Elder

paragraph: BULLET::::- Pieter Bruegel the Elder in BALaT  — "Belgian Art Links and Tools (KIK-IRPA, Brussels)".

paragraph: BULLET::::- Pubhist.com: Gallery of all paintings and drawings

paragraph: BULLET::::- Academia.edu: The political consciousness of Pieter Bruegel

paragraph: BULLET::::- Bruegel blockbuster in Vienna – largest ever exhibition on Bruegel in 2018

alias: Pieter (The Elder) and Pieter Brueghel (The Younger) Bruegel

alias: gen. bauernbrueghel brueghel pieter d. alt.

alias: der altere gen. bauernbrueghel pieter brueghel

description: Flemish painter

wikidata_label: Pieter Bruegel the Elder

wikipedia_title: Pieter Bruegel the Elder