A strip of wood two and a half inches wide had been added to the bottom of the panel, perhaps with the idea of making it fit the handsome carved oak frame in which it was shown. The people are very small in the painting, although numerous, which led me to conclude that the land was the main subject. Notably, some of the peasants are shown eating while others are harvesting wheat, a diachronic relating to phenomena such as ideas, language, or culture, as they occur or change over a period of time depiction of both the production and consumption of food. But in any event, one of its owners liked it well enough to have a piece of wood added to the panel to make it fit a fine old carved frame he got hold of, and some bungler daubed bitumen over the joint, not noticing the faint and exquisite signature he was burying. Its kind of hard to describe, but the main tree trunk does it, and both the near and far edges of the wheat field, and, on closer look, several other edges.
The painting has been at the in since 1919. One half inch of the new strip at the bottom was retained so that the rabbet of the frame would hide no more than necessary of the original painting. What can we tell about the meaning of the work — what is its subject matter? The character of each person, every particular of his appearance, is set down in the precise manner of the early painters, but with a swiftness of vision that seizes the most momentary posture. As reminders of the Christian festivals they occur in the breviaries or prayer books. Cels of Brussels, who purchased it from Jacques Doucet in Paris some time before the public sale of the Doucet Collection in 1912.
He simply stirs us into receptivity. So it, also, is a secondary focal area, much less bold and active than the main focal area, the harvesters. BruegeFs pictures of holy subjects are conceived as though the events had hap- pened in his own time and neighborhood. The dimensions of the five panels, al- lowing for the accidents of time, are prac- tically the same: The Dark Day January , Vi- enna H. In the case of the Etruscans we are largely dependent upon the latter.
His realistic style marks the road later followed by Brouwer and Teniers and the Dutch artists of the seventeenth century. The sim- ilarity of the Harvesters with the Hay- makers is in particular very striking, as the same country has served as point of de- parture for both backgrounds, and the two scenes have much in common. His work was like all medieval art, of which he might be regarded as the last exponent, in that his purpose was di- dactic. He has also chosen to give as much or more emphasis to the landscapes than to the activities depicted, with particular attention paid to the shifting colors of the times of year, from dark brown to blues and greens to yellows. Single strands or hay are visible in the patch, as well as great detail in the distant background. In the middle background, you can see the sea with several boats on it. All give evidence that the picture is not a copy.
Alongside of this style, how- ever, the national art still flourished though without fashionable favor, and the mixture of realism, mysticism, and the gro- tesque, the salient characteristics of pure Flemish art, find perhaps their highest expression in the sixteenth century. Several alterations, some quite prominent, can be discerned in the painting of the large tree. Meaning Most of Bruegel's landscape and follows in the broad tradition of 1450-1516. The Metropolitan Museum of Art. In the lower left corner a trio of hunters and their pack of dogs return from a hunt.
On the left, you can see a rooster tied to a branch hanging in the air. Rather, Bruegel combined images from his surroundings—the inns and farmhouses and frozen ponds of Northern Europe—with a chain of jagged mountains reminiscent of the Alps, which he saw on a journey to Italy in the 1550s. He smiles, but he also sighs. Against a background of low hills and a valley, you can see more than 40 people in this painting engaged in various activities the longer you look at this painting, the more people you discover. Note: Comments from several folks have been combined here, so there is some overlap among the comments.
Bruegel was a specialist in genre art scenes from everyday life and specifically in painting landscapes and depicting peasants. So contrasted to the grand frescoes of Southern Europe, the Northern Baroque paintings were created using oil paints, often on wood or a canvas. Scrumpers steal from an orchard, villagers enjoy harvest games on the green, monks escape the heat with a wild-swim. There are many more details that you can discover. Into this distance, the peasants disappear, swallowed up. New York: The Metropolitan Museum of Art. Undoubtedly it was these calendars that inspired Bruegel in his pictures of the Months which were in the archducal col- lection, though two of the series, the Dark Day January and the Return of the Herd November , do not follow the accepted subjects.
It depicts the harvest time which most commonly occurred within the months of August and September. The Church and trees offer bit of contrast in depth — the nearer trees overlapping the more distant church. Beside them is an inn, and its rust-colored bricks and the bright yellow fire in front of it are a striking contrast to the whites and grays and ashy blues that dominate the painting. In the midst of all this turmoil Brue- gel was aloof and impersonal — he had the same jovial curiosity for the sorrows as for the merrymakings of his people. His masterful ability to blend sweeping vistas with intimate portrayals of the human condition, and the mundane with the fantastical, is part of what makes his paintings—including Hunters in the Snow—so enduring.