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Pieter Bruegel (also Brueghel or Breughel) the Elder (/ ˈ b r ɔɪ ɡ əl / BROY-gəl, [2] [3] [4] US also / ˈ b r uː ɡ əl / BROO-gəl; [5] [6] Dutch: [ˈpitər ˈbrøːɣəl] ⓘ; c. 1525–1530 – 9 September 1569) was among the most significant artists of Dutch and Flemish Renaissance painting, a painter and printmaker, known for his landscapes and peasant scenes (so-called genre ...
A cowherd stands in the background. [3] Bruegel demonstrates mastery of foreshortening in depicting the leader of the blind men. Bruegel based the work on the Biblical parable of the blind leading the blind from Matthew 15:14, [a] in which Christ refers to the Pharisees. [4]
The Tower of Babel was the subject of three paintings by Dutch and Flemish Renaissance painter Pieter Bruegel the Elder.The first, a miniature painted on ivory, was painted in 1552–1553 while Bruegel was in Rome, and is now lost.
The Hunters in the Snow (Dutch: Jagers in de Sneeuw), also known as The Return of the Hunters, is a 1565 oil-on-wood painting by Pieter Bruegel the Elder.The Northern Renaissance work is one of a series of works, five of which still survive, that depict different times of the year.
The background opens on to a view of a river valley, with a town to the left and castle on a rocky crag above, and a tower on a rock outcrop to the right, and distant hills and the sky beyond. Behind the dancers rise two intertwined trees, a motif used by Bruegel in an earlier drawing of bears playing in a forest.
Other landscapes by Bruegel, for example The Hunters in the Snow (1565) and others in that series of paintings showing the seasons, show genre figures in a raised foreground, but not so large relative to the size of the image, nor with a subject from a "higher" class of painting in the background.
The Wedding Dance (sometimes known as The Village Dance) is a 1566 oil-on-panel painting by Pieter Bruegel the Elder.Owned by the museum of the Detroit Institute of Arts in Detroit, Michigan, the work was discovered by its director in England in 1930, and brought to Detroit.
Like several of Bruegel's paintings, such as the Netherlandish Proverbs and Children's Games, the painting includes many parallel narrative scenes in a larger composition. Working from the church in the background towards the foreground: a mounted soldier with a lance guards a bridge. To the left, a man tries to hide a child.