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Пишет marinni ([info]marinni)
@ 2010-03-12 12:46:00

Previous Entry  Add to memories!  Tell a Friend!  Next Entry
Pieter Bruegel the Elder. Графика

Pieter Bruegel the Elder. Графика

Известные и малоизвестные гравюры.

Спящий разносчик, ограбленный обезьянками.
The Sleeping Pedlar Robbed by Monkeys. 1562

Битва кошельков и сундуков
The Battle of the Money Bags and Strong Boxes. c.1570


Three blind pilgrims holding staffs and moving to right, after Pieter Bruegel the elder. 1566
Pen and brown ink, with blue wash

The painter and the amateur, after Pieter Bruegel I; half-length to left, the painter wearing a skull-cap working on an unseen picture, another man, wearing spectacles, looking over his shoulder
Pen and brown ink

The Bee-keepers, after Pieter Bruegel I; three figures wearing long coats with hoods and basket-work masks, one carrying a hive under his arm, a boy up a tree to right, landscape with buildings and a waterwheel behind
Pen and brown ink

--------------Дураки и шуты--------------------

A fool trying to hatch an empty egg, after Pieter Bruegel the elder; drinking from a glass, a fool's bauble seen through the hole of the egg. 1569
Pen and brown ink/AN00230/AN00230699_001_l.jpg">
Three Fools of Carnival; three fools playing with their fool's baubles. 1642

Print made by Hendrik Hondius I
Two Fools of Carnival; two fools dance toward the right while playing and grinning; behind them an inn. 1642

Three Fools of Carnival; three fools playing with their fool's baubles. 1642

The Festival of Fools. In the foreground several fools play a game of bowls; behind them two fools lead eachother by the nose; others dance, perform acrobatics, and play instruments. c.1570


The Land of Cockaigne. Three figures (a scholar, a soldier and a farmer) lie on ground with their heads toward a tree trunk on which a ledge has been fashioned, laden with food; in the left background a figure eats his way through a mountain of pudding, in right background a roasted chicken flies into the waiting, open mouth of a soldier. c.1567


The Masquerade of Ourson and Valentin; a scene of a performance of a popular play in which the wildman, Ourson, is reunited with his courtly brother Valentin; in the background figures collect money from spectators who watch the play through windows and doorways. 1566

---------------Люди, развлечения и быт----------------


The Ass at School; a schoolroom filled with unruly children, the teacher at centre about to spank one child and an ass looking in from a window at right with a sheet of music in front of it; reversed copy

The Wedding Dance; several groups of peasants dance, kiss and drink in foreground; behind them the bride sits at a table before a cloth of honour with several more peasants grouped around her; in the distance to the left rises a church tower. 1644
Etching and engraving

Skating before the Saint George's Gate, Antwerp; a bridge with wagons leads to city gate across middle ground, while skaters fill the frozen canal; reversed copy. 1565

Dancers at a village wedding, after Pieter Brueghel the elder; with the bride seated at a table beyond, a stream in the landscape to left
Pen and brown ink, with brown wash, over black chalk, indented for transfer

The Wedding of Mopsus and Nisa. Depiction of a popular play with the bride in slovenly attire and with a collander on her head in centre led forward by her groom; behind her the bride's tent, next to which a figure with a piggy-bank for collecting money from the audience; in background a large manor house

The Wedding Dance; several groups of peasants dance, kiss and drink in foreground next to a river which runs along the right; behind them the bride sits at a table before a cloth of honour with several more peasants grouped around her; in the distance to the left rises a church tower and to the right a vista over a rolling landscape opens up between the trees. 1650

Peasant wedding, after Pieter Brueghel I; viewed from a slight height, couples dancing beneath trees, others seated at a table beyond, near the right foreground a man playing bag-pipes
Pen and brown ink and brown wash, on buff paper

Wenceslas Hollar - Wedding feast, after Breugel

Wenceslas Hollar - Peasants fighting, after Breugel
Date unknown (author lived 1607-1677)

1620 (circa)Print made by Lucas Vorsterman I
A peasant brawl; a group of peasants fight in a village road over a game of cards; the cards lie spilled on the ground near an overturned bench; one of the peasants uses a flail as a weapon and is restrained; another has a pitchfork and is struck on the back
Engraving and etching


A broadside criticising the exploitation of political power by alluding to the proverb of big fish eating small fish; with an engraving with motives after Pieter van der Heyden after Pieter Bruegel showing in the centre a table with a large dish of small fish, around the table are sitting five large fish with human arms, dressed in clothes and devouring the small fish, the table scene surrounded by various scenes of larger fish being cut open, revealing smaller fish, in the background small fish hanging on the gallows; with engraved title and text. (n.p., Tiel: ca.1575)


"Кухня тощих" -Бедная кухня
The Poor Kitchen; a group of gaunt men gather around a table at left and reach for a pot of mussels, while behind them a fat man attempts to escape the grasp of a thin man through the door at the back of the room; other thin men at fireplace at right and softening dried fish at right foreground; in centre a thin woman feeds a child while another child upturns an empty pot over his head; reversed copy

и "Кухня тучных"-Богатая кухня
The Rich Kitchen. several large men sit around a table laden with meats and pies; behind them to the left several pots of food and a pig roast over a large fire; in the foreground a rotund woman nurses a pudgy baby and two children eat bread soaked in milk from a full trough; in the background a large man shoos a thin man with a bagpipe from the door; reversed copy within a double trait carré

Elck (Everyman). A bearded, near-sighted man searches with a lantern through barrels, baskets and sacks in the centre foreground; the same figure appears again in the left foreground in a barrel, twice in the right middleground, and in the left middleground where he is engaged in a match of tug-of-war with another man; various sacks and parcels are inscribed with owners' marks; dice and cards are strewn in foreground

The Alchemist; alchemist working at stove at left, robed figure reading instructions from manual at r; a fool with bellows and the alchemist's wife with an empty purse in centre; in right background, alchemist and his wife taking their three children to the hospital, identified with inscription over the door; reduced copy


Epileptics Walking to Right; two epileptic women in the foreground, each supported by two peasants; in the background another epileptic crossing a bridge supported by two peasants. 1642


Witches preparing a potion on top of stairs at left, one seated on an animal skeleton in lower left, others flying on brooms at top; within separately printed decorative frame; after Pieter Bruegel the Elder; from a series of reproductions of the Electoral Gallery of Paintings in Vienna. 1728

The Witch of Malleghem. The witch and her assistants prepare to cut stones of foolishness out of the heads of three victims in the foreground; around them gathers a crowd to witness the surgery. 1559


Landscape with St Jerome, after Pieter Brueghel I; the saint kneeling beneath a tall tree at l, the lion beside him, a rocky landscape with castle behind and an inlet at right widening to the sea in the distance
Pen and brown ink

Landscape with the Temptation of Christ; the figures of Christ and the devil in the lower right corner on a path in a forest; to the left the landscape opens to reveal a pond and a village and beyond a wide river with cities on its banks in the far distance; counterproof. c.1554

Large Alpine Landscape; a man on horseback under a stand of trees on a small plateau at the right foreground overlooking the panorama of the valley before him; the path drops away precipitously in front of him into an extensive river valley; a few figures walk down into the valley; a river winds from left foreground along a village and back between cliffs on left and right into the mountainous distance. c.1555

Milites Requiescentes; soldiers resting along a road in left foreground; large tree next to road dominates centre foreground; beneath it, two peasants walking over a rise in terrain heading down into extensive river valley beyond; several stone structures in left middleground, beyond which a road rising into hills; fortified riverside town on r, above which a mountaintop castle with jagged mountain range beyond extending to horizon. c.1555

Pagus Nemorosus; a covered wagon is driven along a road through a large puddle in the middle of a wooded village, accompanied by several figures, some in soldier's attire; to the right another figure raises his hand in greeting; behind him several stone buildings and a church tower rise from the trees; further along the road another covered wagon disappears into the forest; only a limited vista through the trees into the distance at the left, with a town on the banks of a large river or sea. c.1555

Insidiosus Auceps; a bird-catcher with dog at r; beyond him several figures along a road leading over the crest of a hill and down into a town; beyond in distance an extensive valley dotted with trees, towns and isolated buildings, cut through by rivers; on either side rise dramatic mountains. c.1555

Alpine Landscape; a figure with three loaded donkeys moves along a road leading from right foreground up into the mountains to the right; below in valley at left foreground, another road zigzags up the steep slope to eventually meet the first road; in the centre a river meaders from deep in the background to the centre foreground; various travellers, buildings and towns animate the distant terrain. c.1555
Etching and engraving

Nundinae Rusticorum; uneven terrain of a village centre with several trees and a pond to the right; many travellers with baskets and goods arriving for market and resting along paths; in middleground a large river leading into distance and gentle mountains rising to the right; at river's edge a town overshadowed by two jutting cliffs. c.1555
Etching and engraving

Euntes in Emaus; the haloed figure of Christ accompanied by two disciples make their way towards Emmaus in the right foreground; beyond them farms, cottages, and grazing livestock; from the left foreground a river leads back to the distant horizon where the sun is setting; mountains rise on the left edge of the print, but otherwise the terrain is flat or gently rolling, only rising to mountainous heights in the far background at the horizon. c.1555

Plaustrum Belgicum; in the foreground a flock of sheep to the left and a stand of trees to the right; a peasant traveller and a covered wagon at centre foreground on a road that leads past a roadside cross and down into a valley town; the low plain of the town is bordered by rivers on either side which meet in middle distance and, joined, lead off toward the horizon; jagged mountains rise along the outer banks of both rivers. c.1555

Magdalena Poenitens; the figure of Mary Magdalene sits under several tree trunks reading the Bible at lower right; beyond opens a panoramic landscape with cliffs and mountains extending to the right and a precipitous drop to the flat plain of a river valley to the left; on the banks of the river, a large fortified town and at the top of the cliffs to the right perches a monastery; a figure riding a donkey makes his way along a road which leads from the right foreground through a forest up toward the mountains beyond. c.1555

Fuga Deiparae in Aegyptum; Mary and the Christ Child rest on a log beneath a stand of trees in the foreground, accompanied by a gesturing Joseph and a donkey; behind them to the right a forested landscape with a pond and a few manor houses and cottages leads to a high jutting cliff in the distance; to their left, a wide river valley leads to the horizon. c.1555
Etching and engraving

Solicitudo Rustica; two figures rest under a tree at right foreground, while a peasant drives a horse and wagon on the road beyond them; a church and steeple rises from the town below them; beyond a wide vista opens up of a terrain criss-crossed by rivers and extended to jagged mountains in the left background; even further in the distance to the right one of the rivers leads to the horizon and mountains rise along its far banks; the valley is filled with trees, towns, livestock and plowed fields, and the rivers are dotted with skiffs and boats. c.1555
Etching and engraving

Prospectus Tyburtinus; view of the Ripa Grande of the Tiber in centre and Tivoli beyond; a figure sits on banks of river in foreground. c.1555
Etching and engraving

-----------Allegorical Landscapes----------------

River landscape with Daedalus and Icarus at top centre, a river winding from foreground into distance around a large hill, several large ships on river; damaged at lower corners and lower centre; after Pieter Bruegel. c.1595

River landscape with Mercury and Psyche. Mercury carrying Psyche aloft in upper, a river winding from right foreground into distance, a monastery atop a cliff over river, boats and barges on river; after Pieter Bruegel. c.1595

Soldiers in a landscape, after Pieter Bruegel the elder; a tree in the centre foreground, below which are the rivers Sombre and Maas
Pen and brown ink, over graphite

The Tower of Babel
---------------------Sailing Vessels----------------

Naval Battle in the Strait of Messina; several ships in the foreground with the burning of the city of Reggio in Calabria at upper left, the eruption of Mount Etna at right behind the city of Messina

A Dutch Hulk and a 'Boeier'; large ship listing to the left in the wind on a choppy sea with a smaller vessel behind it to the right; a corpse floating in the water in right foreground corner; the large ship bears the arms of Amsterdam and Enkhuiszen on its stern and the flag of Hoorn flies from one of the masts. c.1565

Sailing Vessels
A Fleet of Galleys Escorted by a Caravel; two galleys in foreground with caravel between them, flying Spanish flags; numerous galleys behind them in right middle- and background. c.1565

Armed Four-Master Sailing Towards a Port; large ship with many guns protruding from all sides and spears in the baskets at the top of the masts at full sail in centre; port town at right background and two other ships on horizon at left; birds in flight at right and billowing clouds in sky. c.1565

Three Caravels in a Rising Squall, with Arion on a Dolphin; the three vessels jostled by waves in fore- and middleground; Arion and school of dolphins in right foreground; threatening clouds above

View of Sixteen Ships; various types of ships seen from high vantage point; coastline with lighthouse at far right background. c.1565

Two Galleys Sailing Behind an Armed Three-Master with Phaethon and Jupiter in the Sky; the three vessels with sails billowing to left, two other ships in the background right and left; a swan (?) in middle foreground and rocks in left foreground; Phaethon being struck down into the sea from the clouds by Jupiter at upper right. c.1565

Three Caravels in a Rising Squall, with Arion on a Dolphin; the three vessels jostled by waves in fore- and middleground; Arion and school of dolphins in right foreground; threatening clouds above. c.1565

Four-Master (left) and Two Three-Masters Anchored Near a Fortified Island; three large vessels in foreground with several small rowboats among them; behind them in centre middleground a fortified island with a lighthouse; calm waters but agitated clouds in sky. c.1565

Armed Four-Master Putting Out to Sea; large ship flying Portuguese flags centred in foreground and sailing to the left, with small vessel following; large town behind and several birds in flight above. c.1565

Armed Three-Master on the Open Sea, accompanied by a Galley; large ship with guns at full sail in centre, seen from left; a large imperial pennant flaps from its mast; smaller galley to the left. c.1565

Armed Three-Master with Daedelus and Icarus in the Sky; large armed ship in centre foreground, seen from right and with sails blowing to right; a sea creature at lower right and rocky cliffs at left edge with several birds in flight above; Daedelus and Icarus to upper right below a strong sun; smaller vessels in right background and on horizon. c.1565

--------------------Библейские сюжеты----------

The Parable of the Wise and Foolish Virgins; an angel with banderoles dominates the centre and stands on a cloud above a thick tree trunk that splits the scenes down the middle; to the lower left, the wise virgins work by the light of their lamps; on the right the foolish virgins idle away their time dancing to the music of a bagpipe; the wise virgins are welcomed through the Gothic portals to heaven in the upper left while the foolish ones find the door closed in the upper right. c.1560-63

The Temptation of St Anthony. St Anthony kneeling in right foreground by hollow tree trunk reading bible; around him several demons play instruments, fight and attempt to get the saint's attention; behind him in centre a river from which emerges a monstrous head topped with a hollow fish sprouting a tree from its mouth; boats and fantastical contrivances floats on river; a town on banks of river in right background. 1556

The Resurrection; Christ rising at top of plate, strongly haloed; angel below him to right; soldiers in foreground sleeping, peering into dark entrance to cave, and reeling back at sight of the risen Christ; Virgin Mary and company in right middleground; beyond them a town in the distance. c.1562

Christ and the Disciples on the Way to Emmaus; Christ in middle flanked by two disciples walking to the left, all with pilgrimage staffs; rolling hills behind and the setting sun at the left horizon. 1571

The Parable of the Good Shepherd; Christ as the Good Shepherd stands in the doorway of a sheepfold with an ewe over his shoulders and other sheep crowding around him; thieves break into the sheepfold from both sides; in the upper right and left corners, scenes related to sheep-tending

The Last Judgement. Christ as judge is seated on a rainbow with his feet on a globe in upper centre, surrounded by musical angels and his disciples; below on his right side the blessed march up to heaven while on his left the damned are forced through the gaping maw of a sea-monster representing the gates of hell; the crowds extend to the far horizon; in the foreground various figures and strange creatures rise out of the ground to receive final judgement. 1558

The Descent of Christ into Limbo. Christ set inside a sphere of radiance in centre, holding the banner of the Resurrection and surrounded by music-making angels; at left saint and patriarchs pour out of the mouth of Hell, the gates of which have been removed; various fantastical and demonic creatures and contraptions surround this central scene; after Pieter Bruegel. c.1561

Christ and the Woman Taken in Adultery; Christ bends forward to write out his message in the dust, the woman at right, the Pharisee and an old man at far right, a crown cast into deep shadow beyond. 1579

The Kermis of St George; a village centre with peasants engaged in myriad activities: dancing, drinking at the right foreground, playing ball games at left foreground, enacting a mock battle between St George and the dragon at left middleground, watching a play performed at right background, and shooting arrows at a windmill in left background; the pennant of St George hangs from the inn at right foreground. c.1560

The Fall of the Magician. St James stands in front of a church at r, raising his hand in blessing toward the magician Hermogenes, who has been turned upside down together with his chair by a motley group of devils and monstrous creatures, many of whom are in the midst of performing acrobatics or playing instruments. 1565

The Death of the Virgin; the haloed Virgin lies propped up in a canopied bed in right middleground, holding a candle and surrounded by the apostles and many other figures; another figure, possibly St John the Evangelist, sits asleep by the fire in the left foreground; a table covered with dishes and jugs fills the centre foreground in front of the bed. c.1574

St James and the Magician Hermogenes. St James in pilgrim's garb at left centre approaches the magician Hermogenes who sits hunched over a book in a chair at l; around them swarm demonic creatures and devils; naked witches fly on dragons above and cauldrons bubble in centre and at r; in the centre foreground a gaping hole opens to reveal further demoic creatures and activities; after Pieter Bruegel. 1565

---------------------The Seasons--

The Seasons / Aestas
Plate 2: Summer. Several peasants harvesting wheat, one figure drinking from a large jug and his leg and sickle extend beyond the frame of image into lower margin, a village and church at left middleground, and fields of hay extending back into distance on right. 1570

Plate 1: Spring. Peasants straightening and planting a formal garden in foreground, shearing sheep in middleground, and sowing a field in the distance, a well-to-do party relaxing in a garden at left before a manor house in background. 1570

-------------------The Seven Deadly Sins----

Sloth. The allegorical figure of sloth lies asleep over the back of an ass while a devil adjusts her pillow for her; around her other figures sleep at a table or in a bed drawn along by a strange duck-billed creature; slugs and snails, representatives of sloth, are scattered through the foreground; an enormous half-submerged clock in the left background with an arm pointing the the eleventh hour. 1558

Patience. The allegorical figure of patience sits chained to a block in centre foreground with a cross held in her praying hands; around her are arrayed various demonic creatures; to the right a hollow tree trunk filled with creatures, figures and birds; to the left a river filled with more strange creatures and odd boats; on the opposite shore a hollow egg creature with a man emerging from it; in the far distance a town along the river and on the horizon a setting sun. 1557

Anger. An allegorical armed figure of anger emerges with sword drawn and with an army swarming around her from a tent into a landscape filled with violent scenes, including human figures roasting over a fire and naked figures being cut down with a large knife; at the feet of anger, her attendant bear biting the leg of a hapless naked victim; above her a gigantic figure with a knife in her mouth balances a carafe in her left hand; a great fire consumes a fantastical structure at right middleground. 1558

Lust. An allegorical nude female figure is caressed by a demon lover in the hollow of a tree trunk in centre; they are surrounded by strange demon creatures; behind the tree truck to the left a procession with an adulterous man riding on the back of a demon and a placard fastened to his hat. 1558

Gluttony. An allegorical figure of a woman in sixteenth-century dress and a fifteenth-century head-dress sits on top of her attribute, a pig, guzzling from a pitcher; around her at the table several demons and nude women eat and drink to excess; behind them to the left a man vomits over a bridge into a river; on far left a giant man imprisoned in a building from which only his head emerges at top; in right background a windmill in the shape of a man's head being force-fed; various monsters eating and drinking throughout. 1558

Pride. A richly dressed allegorical figure in centre foreground admiring herself in mirror with attribute of peacock next to her; a barbershop to the right; various demons and monsters throughout. 1558

Envy. An allegorical figure of a woman eating her heart and pointing to her attribute of a turkey in the centre foreground; in front of her two dogs fight over a bone; behind her a hollow tree trunk and a fantastical structure spanning a river; various demons throughout. 1558

Greed. An allegorical figure of a seated woman in centre foreground with coins in her lap and chests and sacks of coins all around her; near her feet crouches a toad, her attribute; behind her a pawnshop with a pair of scissors jutting out from its wall, from which dangles a nude figure; in the background several fantastical and demonic structures and vignettes; after Pieter Bruegel. 1558
---------------------The Seven Virtues-----

Charity (Charitas); an allegorical figure in centre holds a bleeding heart in her left hand and the hand of a small child with her right; a pelican feeds its young with its own blood on her head; around her groups of figures engage in the Seven Acts of Mercy (feeding the hungry, giving drink to the thirsty, and visiting prisoners on the left; clothing the naked, visiting the sick, giving hospitality to the homeless on the left; burying the dead in the background); after Bruegel. 1559

Justice (Justicia); the blindfolded allegorical figure of Justice stands in centre foreground on a block with a set of shackles lying next to it; she holds a sword and a set of scales in her hands; around her are several scenes of punishment and torture. 1559

Fortitude (Fortitudo); a winged and armoured allegorical figure stands atop a dragon in centre foreground with an anvil on her head and a pillar in her right hand; around her men and women battle the Seven Deadly Sins; in the centre background a fortress flying the flags of the four Evangelists. 1560

Prudence (Prudentia); an allegorical figure in centre foreground holds a mirror in her right hand, props up a coffin to her left, stands on a pile of ladders, and balances a sieve on her head; around her are several figures occupied with household chores. 1559

Faith (Fides); church interior with a nun standing on the lid of the opened grave of Christ with the Tablets of the Law (Old Testament) on her head and an opened book signifying the New Testament in her right hand; the congregation gathers around her to receive the sacraments; a monk giving a sermon from the pulpit at r. 1559

Hope (Spes); allegorical female figure of hope holding a spade and a sickle stands on an anchor in the middle of a choppy sea; around her ships sink and enormous fish attack boats and drowning sailors; in left middleground several men attempt to put out a raging fire; in background farmers plow a field. 1559

Temperance (Temperantia); an allegorical figure with the attributes of temperance stands in the centre foreground (clock on her head, bit in her mouth, eyeglasses in her hand, and the blade of a windmill below her foot); around her are representatives of the Seven Liberal Arts, over whom she governs. 1560

---------------------Twelve Flemish Proverbs------------

Twelve Flemish Proverbs / The Rich man playing violin on the jaw-bone
The Music of the Rich is Always Pleasant, Even If Played on a Jawbone; a man dressed in fine robes sitting on an enormous jaw-bone, drawing a bow across a violin fashioned from a jaw-bone; a fortified wall behind him and another figure playing a horn from a pillory tower at back right. c.1568

A monk before a closed door, after Pieter Brueghel the elder; with another monk knocking on a door behind
Pen and brown ink

The Drunkard Pushed into a Pigsty; roundel with crowd of peasants to the right pushing man into pigsty to the left, in which the heads of two pigs are seen eating from a trough. 1568

The Quarrelsome Housewife and the Misanthrope Robbed By the World, from the Series "Twelve Flemish Proverbs"
Johannes Wierix (1549 - 1615), after Pieter Bruegel the Elder (1525 - 1569)


Formerly attributed to Hieronymus Bosch
After Pieter Bruegel the Elder
The Big Fish Eat the Little Fish. Two men and a child in a boat in foreground, one of the men pointing to an enormous fish behind them, the stomach of which is being cut open by another man to reveal a great number of fish that it has eaten; more fish spill from its mouth; various other fish, both in the water and walking on land, in the process of eating fish smaller than themselves. 1555

The Seven Deadly Sins в лучшем разрешении-ТУТ


(Добавить комментарий)

2010-03-12 06:56 (ссылка)
Какое же у него было потрясающее чувство юмора! Спящий разносчик прекрасен)
Это мне надолго рассматривать.. Спасибо огромное!


2010-03-12 07:07 (ссылка)
В который раз поражаюсь качеству работы.
Обезьяны - хулиганы.
Корабли прекрасны, я на них надолго зависла.
Пошла смотреть, спасибо.

(Ответить) (Ветвь дискуссии)

2010-03-12 10:07 (ссылка)
Я кораблей раньше не видела- пока эти не нашла.

(Ответить) (Уровень выше)

2010-03-12 07:16 (ссылка)
Один из моих любимых художников!

(Ответить) (Ветвь дискуссии)

2010-03-12 10:06 (ссылка)
Что неудивительно:) Великий, что тут скажешь.

(Ответить) (Уровень выше)

2010-03-12 07:31 (ссылка)
Вот насколько интересный и странный художник, а на десктопе у меня всё равно гораздо более бытовой и скучный Hendrick Avercamp ))


2010-03-12 07:48 (ссылка)
А я в восторге от пейзажей! Просто сказочные!)

(Ответить) (Ветвь дискуссии)

2010-03-12 10:05 (ссылка)
Вот бы побольше размером!(

(Ответить) (Уровень выше)

2010-03-12 08:45 (ссылка)
ухх, какое богатство!!!

(Ответить) (Ветвь дискуссии)

2010-03-12 08:53 (ссылка)
Их большей части нет в гул-поиске, так что мало кто их видел:)

(Ответить) (Уровень выше) (Ветвь дискуссии)

2010-03-12 08:55 (ссылка)
дык. если бы и были, не у всех есть время искать. но есть ВЫ!!!!

(Ответить) (Уровень выше)

2010-03-12 09:28 (ссылка)
я его тоже очень люблю, но всю эту графику вижу впервые.

знате, в музее изобраительных искусство в Вене есть целый зал Брейгеля-старшего. Я в одном этом зале проторчала полдня, больше ничего не успела толком посмотреть :)))

(Ответить) (Ветвь дискуссии)

2010-03-12 10:04 (ссылка)
Неудивительно- большинства гравюр в инете не было, они в на музейных сайтах и недоступны для обычного поиска.

(Ответить) (Уровень выше)

2010-03-12 09:37 (ссылка)
Есть только одно слово - крутняк и крутизна.

(Ответить) (Ветвь дискуссии)

2010-03-12 10:02 (ссылка)
Единственное жалко- что маленькие! Но хоть такие нашла- большинства в поиске и общеизвестных источниках нет.

(Ответить) (Уровень выше)

2010-03-12 11:03 (ссылка)


2010-03-12 12:48 (ссылка)
Да, великий мастер, один из самых моих любимых...

"Бедная кухня" и "Богатая кухня" - не совсем точно; правильнее: "Кухня тощих" и "Кухня тучных" :)

(Ответить) (Ветвь дискуссии)

2010-03-12 12:55 (ссылка)
Спасибо:) Я всю ночь сидела и уже плохо соображала, тем более- впервые многие гравюры видела. Сейчас исправлю.

(Ответить) (Уровень выше)

2010-03-12 14:03 (ссылка)
Спасибо! :) особенно радует рассматривать староголландские надписи


2010-03-12 14:10 (ссылка)
С его графикой в таком объёме столкнулась впервые. Приходилось, читать о его графике, но не видеть воочию... А корабли - это что- потрясающее. Спасибо вам огромное...
Image (http://www.radikal.ru)Image (http://www.radikal.ru)Image (http://www.radikal.ru)


2010-03-12 15:25 (ссылка)
Круто! Никогда не видела столько Брейгеля. :)


2010-03-12 16:30 (ссылка)
Великолепно! Благодарю, со многими работами был не знаком!


2010-03-12 21:23 (ссылка)
О-о-о, за Брейгеля отдельное спасибо!


слабое подобие Босха
2010-03-14 15:09 (ссылка)
безусловно, для своего времени, среди просто религиозненьких, многочисленных каляков-маляков - сильный мастер.
главная его черта - злобный карикатурист, нет в нем души, нет в нем жизнерадостности и гармонии в работах! берет зрителя массированностью сюжета, и со всех сил гонится за мрачностью...
и как ни странно, у Босха все то же самое есть в избытке, но он на две головы выше Брейгеля, и грустью по жизни, и гармонией, и оптимизмом! чуююю... )))