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iT IS KNOWN THAT BRUEGEL HAS TRAVELLED AS FAR AS pALERMO .


It is widely believed that Pieter Bruegel the Elder traveled to Italy in the early 1550s. While his exact itinerary is not definitively known, art historians have deduced from his works that he likely traveled as far south as Sicily, and possibly to Palermo.

One of the key pieces of evidence for this is the strong connection between his painting The Triumph of Death and a 15th-century fresco of the same name in the Palazzo Sclafani in Palermo. The composition and specific details of Bruegel's work suggest he was influenced by the earlier Italian fresco, leading many to conclude that he must have seen it in person.






wHAT WAS HIS TRAVEL ROUTE FROM aNTWERP AND BACK?


While we know that Pieter Bruegel the Elder traveled to Italy, his precise travel route is not definitively documented. However, art historians have been able to reconstruct a probable itinerary based on circumstantial evidence, including his drawings and the influences seen in his later works.

Outward Journey from Antwerp:

It is believed Bruegel left Antwerp in 1552, after becoming a master in the Guild of Saint Luke.

The likely route would have taken him through France. Some scholars suggest he may have passed through Lyon, where he could have met the miniaturist Giulio Clovio, with whom he would later collaborate in Italy.

He is thought to have crossed the Alps, as the mountainous landscapes he later drew and painted show a firsthand familiarity with these scenes.

In Italy:

His travels in Italy included a stay in Rome, a major hub for Northern European artists at the time.

He is known to have ventured further south, with evidence suggesting he reached Naples and possibly as far as Reggio Calabria at the southern tip of the mainland. A drawing attributed to him records the city of Reggio Calabria in flames after a Turkish raid.


As you mentioned, his journey may have even taken him to Palermo, Sicily, where the fresco The Triumph of Death is a key influence on his own painting of the same name.

Return Journey:

Bruegel's return route is less certain. He was back in Antwerp by 1555.

It's generally believed that he traveled back through the Italian peninsula, possibly through the Veneto region, and again crossed the Alps. The mountain landscapes that appear in his work from this period, particularly the "Large Landscapes" print series, are thought to be based on the sketches and memories he gathered during his travels.

It is important to note that many of his landscape drawings once thought to have been made on the trip have been reevaluated by scholars, making the reconstruction of his route a subject of ongoing debate. However, the evidence from his paintings and the connections to specific Italian works strongly support the conclusion that his travels were extensive and had a profound impact on his artistic development.






dID HE VISIT SWITZERLAND?


There is no definitive evidence that Pieter Bruegel the Elder visited Switzerland. However, it is certain that he crossed the Alps, as seen in the landscapes he later painted and drew.

Journey through the Alps: During his trip to Italy (1552–1554), Bruegel's route likely took him through the Alps. The biographers of the time, such as Karel van Mander, mention his profound experience with the mountainous terrain, famously stating that he "swallowed all the mountains and rocks...and spat them out again onto his canvases."

Artistic Influence: The Alpine landscapes had a significant and lasting impact on his work. The sketches and impressions he gathered during this journey were a major source of inspiration for his later landscape paintings and a series of prints known as the "Large Landscapes".

Uncertainty of Route: While the trip through the Alps is well-established, the exact path he took is not. It's not confirmed if his route specifically passed through what is modern-day Switzerland.






dID NHE VISIT fORENCE?


It is highly probable that Pieter Bruegel the Elder did not visit Florence. While his travels in Italy took him to major artistic centers, the evidence points to a route that went south from Rome, not east to Florence.

Focus on Rome and the South: The strongest evidence for his travels comes from works that show clear influence from art and locations in and around Rome, Naples, and even as far south as Sicily and Calabria. His collaboration with the miniaturist Giulio Clovio, who was based in Rome, is well-documented.


Lack of Florentine Influence: There are no known Bruegel works that show a direct influence from a major Florentine artist or a specific work of art in Florence, which is unusual given the city's immense artistic output during the Renaissance. For example, while he may have seen prints or copies of works by artists like Paolo Uccello, there is no solid proof he saw the originals in person.

The "Large Landscapes" and the Alps: His return journey is believed to have taken him through the Veneto region, which would allow him to cross the Alps and return to the Low Countries, but it would not logically include a stop in Florence.

While many Northern European artists made the trip to Italy, their routes were often determined by where they could find work, patrons, and fellow artists. Bruegel's journey seems to have been focused on a specific artistic and geographical exploration that led him south, rather than to the artistic hub of Florence.






hE DEFINETLY SAW cOLLOSSEUM


Based on art historical analysis, it is indeed a widely accepted conclusion that Pieter Bruegel the Elder saw the Colosseum during his time in Rome.

The most compelling piece of evidence for this is his iconic painting, The Tower of Babel. The architecture of the tower in this painting, particularly the intricate series of arched passages, is a clear and direct reference to the design of the Colosseum. Scholars believe Bruegel was not only inspired by the Roman amphitheater's scale and structure but also by its symbolic significance as a monument of human ambition and imperial power.

While no drawings of the Colosseum by Bruegel are definitively known to survive, the details in his painting strongly suggest a firsthand observation. It is a testament to the powerful impression the ancient ruin made on him that he would incorporate its form so memorably into a major work painted a decade after his trip.






wHAT ABOUT VATICAN?


Yes, it's virtually certain that Bruegel visited the Vatican during his time in Rome.

The Vatican Connection
While there is no definitive written record of Bruegel's visit to the Vatican, art historians conclude he must have seen its art and architecture. His time in Rome, which is well-documented, would have naturally included a visit to the epicenter of the art world at that time. He also collaborated with the miniaturist Giulio Clovio, who was closely connected to the Vatican's inner circle.

Influence on his work
Raphael: Bruegel's work, particularly his landscapes, shows a deep understanding of Raphael's style. Raphael, a master of the High Renaissance, worked extensively in the Vatican, most famously on the Stanze della Segnatura.

Michelangelo: While Bruegel's style is very different from Michelangelo's, it's highly likely he saw Michelangelo's work in the Vatican, including the Sistine Chapel ceiling. Michelangelo was also one of the chief architects of St. Peter's Basilica, a project that would have been under construction during Bruegel's visit.

The influence of these Roman masters on Bruegel was not in the form of imitation but in a profound absorption and re-interpretation of Italian art, which he then translated into his own distinct Northern Renaissance style.

Here is a video from YouTube about the art of Pieter Bruegel the Elder. Bruegel The Elder - BBC Newsnight
The video is a short documentary about the world of Pieter Bruegel the Elder.

Procession to Calvary: Bruegel Telling Two Tales at Once - YouTube

Amor Sciendi · 13K views







cAN YOU PLEASE PROVIDE THE LIST OF BRUEGELS DRAWINGS IN CHRONOLOGICAL ORDER WITH YEAR IT WAS CREATED


I can provide a chronological list of some of Pieter Bruegel the Elder's notable drawings based on the information I found, though a complete and definitive list is difficult to compile due to the nature of historical attributions. Many of his drawings were created as designs for prints, and some attributions are still debated by art historians.

The following is a chronological list of some of his most recognized drawings:

1552 - Alpine Landscape with Deep Valley

ca. 1555–56 - The Large Landscapes series, including:

The Penitent Magdalene

Soldiers at Rest

St. Jerome in the Wilderness

Rustic Market

1556 - Big Fish Eat Little Fish

1557 - Sloth (Desidia), from The Seven Deadly Sins series

1558 - The Seven Deadly Sins series, including:

Avarice (Avaritia)

Pride (Superbia)

Envy (Invidia)

Lust (Luxuria)

Gluttony (Gula)

Anger (Ira)

Sloth (Desidia)

ca. 1558 - Skating before the St. George's Gate, Antwerp

1560 - The Rabbit Hunt

1561–65 - The Sailing Vessels series, including:

Armed Three-master with Daedalus and Icarus in the Sky

Three Caravels in a Rising Squall with Arion on a Dolphin

ca. 1566 - The Dirty Bride or The Wedding of Mopsus and Nisa

1570 - Summer (Aestas) from The Seasons series (Engraved posthumously)

It's important to note that many of these drawings are designs for engravings and prints, which were a significant part of Bruegel's work. The dates are often based on the publication date of the prints, which may differ slightly from the drawing's creation date.






wHAT BESTIARIUM WAS ON THE MARKET AROUND 1555?


In the mid-16th century, the traditional medieval bestiary began to evolve and give way to a more scientific approach to natural history. Two of the most significant works of this transitional period, both on the market around 1555, were:

1. Historia Animalium (1551-1558) by Conrad Gessner
This was arguably the most important work of natural history of the 16th century. It was a massive, five-volume encyclopedia that aimed to describe all known animals, both real and mythical, using a more organized and scholarly approach than the medieval bestiaries.

Content: Gessner (a Swiss naturalist) cataloged animals alphabetically by genus. The first four volumes covered quadrupeds, birds, fish, and serpents, while the final volume (published posthumously) was dedicated to all the monsters and creatures from fables.

Significance: Gessner was a key figure in the shift from the allegorical tradition of the bestiary to modern zoology. He still included mythical creatures like the unicorn and dragon, but he attempted to classify them and discuss them in a more detached, "scientific" manner.

2. Historia de Gentibus Septentrionalibus (1555) by Olaus Magnus
This work, by the exiled Swedish archbishop and cartographer, was a monumental tome on the customs, history, and nature of the Nordic peoples. While not a bestiary in the traditional sense, it featured an extensive and highly influential section on the fantastic sea monsters of the northern seas.

Content: Book 21 of the work, titled De horrilibus Monstris littorum Norvegi; ("On the Horrible Monsters off the Coasts of Norway"), described creatures from his earlier, famous map, the Carta Marina (1539). These included the Kraken, sea serpents, and other monstrous fish.

Significance: This book was a major source for depictions of sea monsters for the next several hundred years. The dramatic illustrations and detailed, if fantastical, descriptions of these creatures had a huge impact on the European imagination.

Both of these works were likely well-known in Antwerp, a major European publishing center, and could have influenced artists like Bruegel. His interest in the bizarre and his fascination with the natural world, particularly the sea, would have made these new bestiary-style encyclopedias a source of great interest.






dID bRUEGEL OWNED ONE OF THEM?


It is not definitively known whether Pieter Bruegel the Elder owned a copy of either Conrad Gessner's Historia Animalium or Olaus Magnus's Historia de Gentibus Septentrionalibus. There are no surviving records of Bruegel's personal library.

However, art historians have noted that the dramatic illustrations of sea monsters in Olaus Magnus's book (and on his earlier Carta Marina) became a major source for depictions of these creatures in Northern European art. Bruegel, known for his fantastical and detailed prints and drawings, would have been deeply interested in such a work, especially given his own series of drawings and prints depicting sailing vessels and sea creatures.

It is highly likely that Bruegel had access to these works, either through a personal copy or, more probably, through his connections with the prominent Antwerp publishers of the time, such as Hieronymus Cock, who would have had these books in their stock.






wAS MAGPIE LISTED IN  THE bestiary? wHY BRUEGEL USED THIS BIRD SO OFTEN?


Yes, the magpie was indeed listed and described in medieval bestiaries.

The magpie's inclusion was based on its behavior and appearance, which were interpreted symbolically:

Mimicry and Gossip: Bestiaries noted the magpie's ability to imitate human speech, associating it with poets or, more negatively, with gossip and idle chatter. Its chattering was often seen as a sign of malice or thoughtlessness.

Thievery and Envy: The magpie's attraction to glittering objects was likened to the human vice of envy (invidia). Its habit of stealing shiny things was also seen as a symbol of greed and the superficial pursuit of wealth.

Symbol of Bad Luck: Due to its black-and-white plumage, the magpie's colors were often seen as a mix of good and evil, linking it to untrustworthy or deceitful behavior. In folklore, it was associated with witchcraft and bad omens.

Why Bruegel Used the Magpie
Bruegel used the magpie so frequently because it was a powerful and well-understood symbol in Netherlandish folklore and art, allowing him to embed complex moral and political messages into his work.

Political Commentary: In his famous painting The Magpie on the Gallows (1568), the magpie is a central figure. The gallows were a common sight in the Netherlands during the Spanish Inquisition, and the magpie perched on them is widely interpreted as a symbol of gossip that leads to executions. The painting's context suggests that Bruegel was making a subtle, but clear, comment on the political climate, where rumors and betrayal could result in death.

Proverbial Meaning: The magpie was also a common motif in Netherlandish proverbs. Bruegel often painted scenes that were visual interpretations of these proverbs, and the magpie was a natural fit for his themes of foolishness, gossip, and the contrast between human vices and the indifference of nature.

Visual Narrative: By including the magpie, Bruegel could add layers of meaning to his scenes without explicit text. Its presence could instantly signal to the educated viewer a warning about gossip or a deeper commentary on human folly, making it a key element in his visual storytelling.






wHAT MEANIG DO THE MAGPIES HAVE IN THE HUNTERS IN THE SNOW?


In "The Hunters in the Snow," the magpies, like the crows, are thought to symbolize bad luck or an ill omen, a common association for these birds in Dutch folklore.

While the magpie in Bruegel's later painting, "The Magpie on the Gallows," is widely interpreted as a direct symbol of gossip leading to execution, its meaning in "The Hunters in the Snow" is more subtle and contributes to the overall tone of the painting.

Here's a breakdown of the symbolism:

Ill-Fated Hunt: The magpies and crows flying or perched in the bare trees reinforce the theme of an unsuccessful hunt. The hunters themselves appear dejected and weary, their dogs are downtrodden, and they return with only a meager catch. The birds, often associated with scavenging and death in folklore, foreshadow or reflect the disappointing outcome of the hunt.

Contrast with Human Joy: The presence of the birds, often seen as ominous, creates a stark contrast with the lively, idyllic scene of villagers happily ice skating and playing below. This juxtaposition highlights Bruegel's recurring theme of the cycles of life, where human struggle (the hunters' failure) and human joy (the skaters' fun) exist simultaneously in the same world.

The Unseen Observer: The magpies and crows are often seen as "observers" of the human world, a kind of natural surveillance. They represent an element of nature that is indifferent to human successes or failures, simply existing in the harsh winter landscape.

Ultimately, the magpies in "The Hunters in the Snow" are not the central allegorical figures they are in his other works, but they are a crucial, small detail that contributes to the painting's quiet, melancholic mood and its deeper meditation on the harsh realities of winter and the rhythms of human life.







tHANKS, AI !!!


You're welcome! I'm glad I could help.

If you have any more questions about Bruegel, art history, or anything else, just ask. I'm here to assist!