Discover painter, draftsperson, print artist Pieter Bruegel (I)

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Pieter Bruegel (I)

male / South Netherlandish

Name variations

This field records and makes accessible name variations, as found in sources. Alternate spellings, nicknames, maiden names - with or without the married name - are included in this category.

: Breugel, Pieter (I)
Breughel, Pieter (I)
Brueghel, Pieter (I)
Bauern Brueghel
Boeren Brueghel
Peasant Brueghel
For an explanation of the spelling of the name: Ertz/Nitze 1986-1987, p. 10, 15.

Qualifications: painter, draftsperson, print artist

Nationality/school: South Netherlandish

Born: Breugel/Breda (place) 1526/1530
born between 1526 and 1530 (Saur 1992-); according to Het Schilder-Boeck by Karel van Mander born 'op een Dorp, gheheeten Brueghel', 'niet wijt van Breda' and active 'in Brabant in een onbekent Dorp onder den Boeren, om Boeren met den Pinceel nae te bootsen'; the combination of these data seems to indicate that the birthplace of Brueghel should more likely be identified with the current Son en Bruegel (near Eindhoven, Noord-Brabant) situated in the then Duchy of Brabant, rather than with the current Kleine-Brogel and Grote-Brogel near Bree (Belgisch Limburg), which was designated in Latin as Breda and belonged to the Principality of Liège; ; also Antwerp is suggested as place of birth (see on this discussion for example Sellink 2007; Huet 2016; Büttner 2019; Capals/Corstjens/Henckens 2019)

Deceased: Brussels 1569-09-09
date of death according to Saur; according to Thieme/Becker he died on 5 September 1569; buried in the Kapellekerk, together with his wife, who survived him till 1578 (Rombouts/Van Lerius 1872/1961)

Family relationships this field records any family relationship to one or more other artist(s).: in 1563 married to Mayken Coecke, daughter of Pieter Coecke van Aelst; father of Pieter Brueghel II and Jan Brueghel I

See also In this field, you will find references to names of groups or to the artists that made/make up groups. You may also come across references to other artists if there was/is question of collaboration without a joint name. This is the case, for instance, with artists who rendered parts of works by other artists (such as with P.P Rubens and J. Brueghel I).

worked since 1554 with Hieronymus Cock

This person/entity in other databases

452 hits in RKDimages as artist
364 hits in RKDlibrary as subject
2449 hits in RKDexcerpts as artist
41 hits in RKDtechnical as artist

Suggested searches in RKDartists&

Biographical information

Active in

Antwerpen (stad) 1551
The painter 'Peeter Brueghels' is registered in 1551 as a Free Master in the Antwerp Saint Luke Guild (Rombouts/Van Lerius 1872/1961)
Mechelen 1551-10
collaborated with Claude Dorisy before 11 October 1551; probably left for Italy in the spring of 1552 (Büttner 2000, p. 209)
Parijs
probably went to Paris through Mons, Valenciennes, Cambrai, Peronne, Roye and Senlis (Büttner 2000, p. 214)
Lyon
probably went by boat from France to Italy; not over the Alps (Büttner 2000, p. 213-215)
Rome
Napels
Büttner 2000, p. 215-216
Reggio di Calabria (stad) 1552-07
witnessed the great fire in Reggio (Büttner 2000, p. 209, 214)
Messina (stad)
Rome 1553
Büttner 2000, p. 214, 216-221; Noack 1927
Tivoli
Büttner 2000, p. 220
Bologna (stad)
probably passed Bologna on his return to Antwerp; met the Bolognese geographer Scipio Fabius (Büttner 2000, p. 221)
Milaan 1553
probably took the road over Milan and the Gotthard pass (Büttner 2000, p. 222)
Gotthardpas (Zwitserland)
Antwerpen (stad) 1554 - 1563-07
The banns of 'Peeter Brueghel' and 'Mayken Koeck' in the marriage registers of the Cathedral of Antwerp dates from July 25, 1563 (Bastiaensen 2013).
Brussel 1563-08 - 1569
The marriage certificate in the Kapellekerk in Brussels of 'Peeter Brugel' and 'Mayken Cocks' dates from 1563 (without mentioning year and day) (Bastiaensen 2013).

born in

active in

died in

Connections with other artists

Pupil of This field mentions the names of teachers or masters. What is at issue are the teachers who made a significant contribution to the development of a students, as opposed to every instructor they ever had. See also the 'Education' field.: Coecke van Aelst, Pieter (I)
Dorisy, Claude
Teacher of This field mentions the names of pupils. What is at issue are the pupils who were significantly influenced by a teacher as opposed to every student someone ever had. See also the 'Education' field.: Guesche, Peter
Followed by This field mentions the artist’s emulators. Although students can naturally also be followers, they are not mentioned again here. What is meant by followers are those who continue to work in the spirit of a predecessor. Sometimes this may happen a century later; there is no time limit. What is at issue, however, is that someone’s oeuvre must substantially follow in the manner of the artist emulated.: Eberspacher, Otto
Meester van de Berglandschappen
Vinckboons, David (I)
Influence on This field specifies the artists influenced by the artist in question, without there being question of an educational setting or servile following.: Cleve, Marten van (I)
Dobrowsky, Josef
Gorky, Arshile

Subjects This field specifies the various subject categories or genres that constitute the oeuvre of the artist in question. The contents of this field are generally based more on the documentation available at the RKD than on the literature.: landscape (genre), portrait, still life, animal painting (genre), marine (genre)

Medium/technique: oil paint

Literature

Literature in RKDLibrary: 364 hits in RKDlibrary as subject

Van Mander 1604 , 233r-234r
De Bie 1661-1662 , p. 89-91
Houbraken 1718-1721 , vol. 1, p. 85 (as: Pieter Bruegel)
Rombouts/Van Lerius 1872/1961 , vol. 1, p. 175, 292, 397, 478
Von Wurzbach 1906-1911 , vol. 1 (1906), p. 206-210, vol. 3 (1911), p. 40-41
Thieme/Becker 1907-1950 , vol. 5 (1911), p. 100-102
Noack 1927 , vol. 2, p. 108
Hollstein et al. 1949-2010 , vol. 3 [1950], p. 253-312
Duverger 1984-2004 , vol. 7 (1993), p. 252, no. 2083 (verdict concerning a painting, 1656)
Saur 1992- , vol. 14 (1996), p. 474
Ertz/Nitze 1986-1987 , passim
Dacos/Meijer et al. 1995 , p. 112-117
Huys Janssen 2001 , passim
Sellink 2007 , passim
Bakker 2012 (Landscape and Religion) , passim
Bass/Wyckhoff 2015 , passim
Cornelis et al. (ed.) 2016 , p. 190-195 (essay M. Sellink, 'A Spanish adventure. The rediscovery of a Bruegel and its acquisition by the Prado')
Cashion/Luttikhuizen/West 2017 , p. 80-89 (essay R.L. Falkenburg, '"Headlong" into Pieter Bruegel's "Series of the seasons"')
Stoesser 2018 , passim
Büttner 2019 , passim
Capals/Corstjens/Henckens 2019 , passim
Horn/Van Leeuwen 2021 [Houbraken Translated]

Ch. de Tolnay, 'An unknown early panel by Pieter Brueghel the Elder', The Burlington Magazine 47 (1955), p. 239-240
I. Bergström, 'The iconological origins of Spes by Pieter Brueghel the Elder', Nederlands Kunsthistorisch Jaarboek 7 (1956), p. 53-63
F. Winkler, 'Die Wiener Kreuztragung', Nederlands Kunsthistorisch Jaarboek 9 (1958), p. 83-108
F. Smekens, 'Het schip bij Pieter Bruegel de Oude: een autheticiteitscriterium?', Jaarboek van het Koninklijk Museum voor Schone Kunsten Antwerpen 1961, p. 5-57
A. Monballieu, 'P. Bruegel en het altaar van de Mechelse Handschoenmakers (1551)', Handelingen van de Koninklijke Kring voor Oudheidkunde, Letteren en Kunst van Mechelen (1964), p. 92-110
K. Arndt, 'Frühe Landschaftszeichnungen von Pieter Bruegel d. Ä.', Pantheon 25 (1967), p. 97-104
I.L. Zupnick, 'Appearance and Reality in Bruegel's Virtues', in: G. Rósza (ed.) Évolution Générale et Dévelopements régionaux en Histoire de l 'Art (Actes du XXIIè Congrès International d'Historie de l'Art, Budapest 1969), 3 vols. (1972), vol. 1, p. 745-753
J.A. Spicer, 'The "Naer Het Leven" Drawings: by Pieter Bruegel or Roelandt Savery?', Master Drawings 8 (1970), p. 3-30
K. Arndt, 'Pieter Bruegel d. Ä. und die Geschichte der Waldlandschaft', Jahrbuch der Berliner Museen 14 (1972), p. 69-121
H. Miedema, 'De kwestie van de 'naer het leven'-tekeningen: vakmensen gevraagd', De Gids 136 (1973), p. 44-53 (online op www.dbnl.org)
D. Brumble, 'Pieter Brueghel the Elder: the allegory of landscape', The Art Quarterly N.S. 2 (1979), p. 125-139
A. Montballieu, 'P. Bruegels "Schaatsenrijden bij de St.-Jorispoort te Antwerpen", de betekenis van het jaartal 1533 en een archiefstuk', Jaarboek van het Koninklijk Museum voor Schone Kunsten Antwerpen 1981, p. 17-30
T. Gerszi, 'Landschaftsdarstellungen von Pieter Bruegel und Hercules Seghers', Pantheon 39 (1981), p. 133-139
K. Oberhuber, 'Bruegel's Early Landscape Drawings', Master Drawings 19 (1981), p. 146-156
J. Muylle, 'Pieter Breugel en Abraham Ortelius. Bijdrage tot de literaire receptie van Pieter Breugels werk', in: M. Smeyers (ed.), Archivum artis Lovaniense. Bijdragen tot de geschiedenis van de kunst der Nederlanden opgedragen aan Prof.em. Dr. J.K.Steppe, Leuven 1981, p. 319-338
J. Muylle, 'Pieter Bruegel en de kunsttheorie. Een interpretatie van de tekeningen "De schilder voor zijn ezel": idëel zelfportret en artistiek credo', Jaarboek van het Koninklijk Museum voor Schone Kunsten Antwerpen 1984, p. 189-202
E.M. Kavaler, 'Pieter Bruegel's "Fall of Icarus" and the noble peasant', Jaarboek van het Koninklijk Museum voor Schone Kunsten Antwerpen (1986), p. 83-98
A. Monballieu, 'Nog eens Hoboken bij Brueghel en tijdgenoten', Jaarboek van het Koninklijk Museum voor Schone Kunsten Antwerpen (1986), p. 185-206
K.C. Lindsay, 'Mystery in Bruegels Proverbs', Jahrbuch der Berliner Museen 1996, p. 63-77
C. Périer-D'Ieteren, 'Reflet de la personnalité artistique de Jan van Eyck et Pierre Bruegel l'Ancien au travers de deux paysages', Revue Belge d'Archéologie et d'Histoire de l'Art 65 (1996), p. 123-131, afb. 2
Ph. and F. Robert-Jones, Pierre Bruegel l'Ancien, Parijs 1997
W.S. Gibson, in: Simiolus 26 (1998), p. 120-129, review of J. de Jong, M. Meadow, H. Roodenburg and F. Scholten (eds.), Pieter Bruegel, Zwolle 1997 (Nederlands Kunsthistorisch Jaarboek 47 [1996])
D. Allart, in: Revue Belge d'Archéologie et d'Histoire de l'Art 67 (1998), p. 137-138, review of Ph. and F. Robert-Jones, Pierre Bruegel l'Ancien, Parijs 1997
U. Middendorf, 'Brueghel-Breughel oder: Hochzeit ohne Bräutigam?', Weltkunst 68 (1998), p. 286-287
H. Miedema, 'Pieter Bruegel weer; en de geloofwaardigheid van Karel van Mander', Jaarboek van het Koninklijk Museum voor Schone Kunsten Antwerpen (1998), p. 309-327
A. Simonson, 'Pieter Bruegel's "Magpie on the Gallows"', Konsthistorisk tidskrift 67 (1998), p. 71-92
T. Noll, 'Pieter Brueghel d.Ä.: Der Bauer, der Vogeldieb und die Imker', Münchner Jahrbuch der bildenden Kunst 50 (1999), p. 65-106
C. Périer-d'Ieteren, 'Reflet de la personnalité artistique de Jan van Eyck et de Pierre Brueghel l'Ancien au travers de deux paysages', in: T.-A. Hermanès, H.C. von Imhoff and M. Veillon (eds.), An homage to Paolo Cadorin. The love of art/Hommage à Paolo Cadorin. L'amour de l'art, Milaan 1999, p. 318-324
Y. Pinson, 'Folly and vanity in Bruegel's Dulle Griet: proverbial metaphors and their relationship to Bosch's imagery', Studies in Iconography 20 (1999), p. 185-214
P. Vinken and L. Schlüter, 'Nogmaals Pieter Bruegels Nestrover', Oud Holland 113 (1999), p. 169-174
N. Weibull, 'The assault. A Brueghel painting in the Stockholm University collection of paintings', in: K. Kodres, J. Maiste and V. Vabar (eds.), Sten Karling and Baltic Art History = Sten Karling und Kunstgeschichte im Ostseeraum, z.p. 1999, p. 94-102 (Estonian academy of arts proceedings 6)
N. Büttner, '"Quid Siculas sequeris per mille pericula terras?" Ein Beitrag zur biographie Pieter Bruegels d. Ä. und zur Kulturgeschichte der niederländische Italienreise', Marburger Jahrbuch für Kunstgeschichte 27 (2000), p. 209-242
R. van Schoute and H. Verougstraete, 'A painted wooden roundel by Pieter Bruegel the Elder', The Burlington Magazine (2000) March, p. 140-146 (concerning a representation of the expression 'Wie een varken is, moet in het kot')
D. Kunzle, 'Spanish Herod, Dutch Innocents: Bruegel's "Massacres of the Innocents" in their sixteenth-century political contexts', Art History 24 (2001), p. 51-82
S.D. Muller, 'Nature's rivals: the Brueghels', in: S.D. Muller (ed.), The Val A. Browning collection: a selection of old master paintings, Salt Lake City (The Utah Museum of Fine Arts, University of Utah) 2001, p. 62-93
H.-J. Raupp, 'Ökonomische Didaktik und Satire bei Pieter Bruegel dem Älteren. Anmerkungen zu Prudentia und zur mageren und fetten Küche', Wallraf-Richartz-Jahrbuch 63 (2002), p. 237 e.v.
J. Muyle, 'Tronies toegeschreven aan Pieter Bruegel. Fysionomie en expressie (2)', De Zeventiende Eeuw 18 (2002) no. 2, p. 115-148
A. Kofuku, 'Italy vanished. Brueghel's Italian experience', Journal of the National Museum of Western Art 7 (2003), p. 19-36
Y. Mori, 'Bruegel's "Netherlandish Proverbs" and corresponding images in old Japanese art', Acta Historiae Artium 44 (2003) nr 1-4, p. 191-205
J. Op de Beeck, 'Pieter Bruegel, Mayken Verhulst en Mechelen', in: exh. cat. De zotte schilders. Moraalridders van het penseel rond Bosch, Bruegel en Brouwer, Mechelen (Centrum voor Oude Kunst, 't Vliegend Peert) 2003, p. 17-29
H. Raath and S. le Roux, 'Ikonografie van die dakhuis-en-boommotief in Joachim Patenier se "Landskap met St. Christoforus" en Pieter Bruegel se "Desidia"', De Arte 69 (2004), p. 62-76
W.S. Gibson, 'Festive peasants before Bruegel: three case studies and their implications', Simiolus 31 (2005-2005), p. 292-309
M. Sellink, 'Out and about with Bruegel', The Low Countries 14 (2006), p. 58-64
A. Wied, 'Zur Provenienz der "Anbetung der Könige" von Pieter Bruegel d. Ä. in der National Gallery in London', Jahrbuch des Kunsthistorischen Museums Wien 6-7 (2004-05), p. 250-254
Y. Onafuwa, 'Bruegel's Cripples and Early Modern Humor', Athanor XXV (2007), p. 49-58
Y. Takahashi, 'Die Landschaftsdarstellungen in den Monatsbildern Pieter Bruegels d. Ä.', Art History 27, 2006, p. 103-119
W.S. Gibson, 'Asinus ad lyram: from Boethius to Bruegel and beyond', Simiolus 33 (2007-2008), p. 33-42
M.D. Carroll, Painting and politics in Northern Europe: 'Breaking bonds: Marriage and community in Bruegel's "Netherlandish proverbs" and "Carnival and Lent"', University Park (Pennsylvania) 2008, p. 28-63
A. de Vries, 'Mediating diligence. Breugel's The Months: between pictorial tradition and early modern reception', in: A. de Vries (ed.), Cultural mediators. Artists and writers at the crossroads of tradition, innovation and reception in the Low Countries and Italy 1450-1650', Louvain and Paris 2008, p. 127-146
J. Muylle, 'Ethos en pathos. De literaire appreciatie van expressie in het werk van Metsijs en Bruegel', Netherlands Yearbook for History of Art 60 (2010), p. 19-33
L. Wood Ruby, 'Bruegel/Breughel/Bril: The "Lugt Group" Revisited', Master Drawings 50 (2012), p. 357-364
J. Bastiaensen, 'De verloving van Pieter Bruegel de Oude. Nieuw licht op de Antwerpse verankering', Openbaar Kunstbezit Vlaanderen 51 (2013), p. 26-27
M. Sellink, 'The dating of Pieter Bruegel's landscape drawings reconsidered and a new discovery', Master Drawings 51 (2013), p. 291-322
L. Silver, 'Pieter Bruegel's symbolic highlands in the Lowlands', in: Midwestern Arcadia. Essays in honor of Alison Kettering, 2014, p. 4-15 (online)
K. Jonckheere, 'An allegory of artistic choice in times of trouble. Pieter Bruegel's Tower of Babel', Netherlands Yearbook for History of Art/Nederlands Kunsthistorisch Jaarboek 64 (2014), p. 186-213
K. Lichtert, 'New perspectives on Pieter Bruegel the Elder's journey to Italy (c. 1552-1554/1655)', Oud Holland 128 (2015), p. 39-54
H. Cuvelier, 'Empathy and deep understanding': Frits Grossmann (1902-84) and his Bruegel Archive at the Rubenianum', in: L. Nijkamp, K. Bulckens, P. Valkeneers, Picturing Ludwig Burchard 1886-1960. A Rubens Scholar in Art-Historical Perspective, Londen/Turnhout 2015, p. 133-149
J. Bastiaensen, ‘Waar woonde Pieter Bruegel de Oude in Brussel?’, Openbaar Kunstbezit Vlaanderen, 53 (2016), no. 3, p. 22-27
L. Huet, Pieter Bruegel. De biografie, Kalmthout 2016
E. Matt Kavaler, 'Pieter Bruegel, Bernard van Orley, realism and class', Simiolus 39 (2017), no. 1/2, p. 73-88
R. Spence, 'Tracing the Bruegel family tree', Art Quarterley, Spring 2017, p. 48-55
I. Buchanan, Review 'Bosch and Bruegel: from enemy painting to everyday life' by J.L. Koerner, The Burlington Magazine 159 (2017), p. 556-558

C. Vöhringer, Pieter Brueghels d. Ä. Landschaft mit pflügendem Bauern und Ikarussturz. Mythenkritik und Kalendermotivik im 16. Jahrhundert, Ph. D., Freie Universität, Berlijn (Kunstchronik (2004) no. 8, p. 393)
B. Kaschek, Weltzeit und Endzeit. Zur Ikonographie der christlichen Landschaft bei Pieter Bruegel, diss. in preparation Dresden 2004 (Kunstchronik (2004) no. 8, p. 404)
A. Pawlak, Trilogie der Gottessuche. Studien zu Piete Breughels d. Ae. 'Stürz der gefallenen Engel', 'Triumph des Todes' und 'Dulle Griet', Ph.D, Cologne, Kunsthist. Inst. der Univ. (Kunstchronik (2008) no. 8, p. 425)
G. Volker Grimm, Pieter Bruegel d. A., Italien und die Antike, Ph.D. Univ. Bonn (Kunstchronik (2008) or. 8, p. 408)

Documentation RKD

This field specifies the location of the various RKD documentation materials. Most of the locations refer to our art-historical image documentation. In addition, you will find references to press documentation (clippings and short articles) here.

Archive location: archief en collectie Friedrich Markus Huebner
archief Willem van Leeuwen
Project: Gerson Digital : Italy
Gerson Digital : France
Gerson Digital : Switzerland
Dutch Artists in Rome

External links: this artist in Van Mander 1604
this artist in Ecartico

Permalink: https://rkd.nl/explore/artists/13292

Creation date: 1991-11-20; Last modified date: 2023-08-14

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Pieter Bruegel (I)

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