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Pieter Bruegel the Elder - Fall of the Rebel Angels

Pieter Bruegel the Elder’s Fall of the Rebel Angels is the first comprehensive book on one of the most cherished masterpieces of the Royal Museums of Fine Arts of Belgium in Brussels. It argues that with his Fall of the Rebel Angels (1562) Pieter Bruegel (died 1569) turned a traditional devotional theme into an innovative commentary on his own time, and situates the painting within the early modern cultures of knowledge and collecting.
More particularly, it exposes that many of the hybrid falling angels are carefully composed of naturalia and artificialia, as they were collected in art and curiosity cabinets of the time. Bruegel’s much noted emulation of Jheronymus Bosch was thus only part of his wider interest in collecting, inspecting, and imitating the artistic and natural world around him. This prompts an examination of the world at the time that Bruegel painted the Fall of the Rebel Angels: locally, in the urban and courtly centers of Antwerp and Brussels on the eve of the Dutch revolt, and globally, as the discovery of the New World irreversibly transformed the European perception of art and nature. Painted as a tale of hubris and pride, Bruegel’s masterpiece becomes a meditation on the potential and danger of man’s pursuit of art, knowledge and politics, a universal theme that has lost nothing of its power today.
Pris ved 1Stk 315,00 DKK

Emne Flamsk kunst, 1500 - 1600 tallet
Kunstner Pieter Bruegel the Elder
Forfatter Tine Luk Meganck
Sprog Engelsk
Illustrationer 100 illustrationer
Format / Sideantal 17 x 24 cm / 200 s.
Udgivelsesår 2014
Indbinding Hæftet
Forlag Cahiers des Musées Royaux des Beaux-Arts de Belgique
Antikvarisk
Antal
Køb
ISBN 9788836629206
Lev. 3 dage
Pieter Bruegel the Elder’s Fall of the Rebel Angels is the first comprehensive book on one of the most cherished masterpieces of the Royal Museums of Fine Arts of Belgium in Brussels. It argues that with his Fall of the Rebel Angels (1562) Pieter Bruegel (died 1569) turned a traditional devotional theme into an innovative commentary on his own time, and situates the painting within the early modern cultures of knowledge and collecting.
More particularly, it exposes that many of the hybrid falling angels are carefully composed of naturalia and artificialia, as they were collected in art and curiosity cabinets of the time. Bruegel’s much noted emulation of Jheronymus Bosch was thus only part of his wider interest in collecting, inspecting, and imitating the artistic and natural world around him. This prompts an examination of the world at the time that Bruegel painted the Fall of the Rebel Angels: locally, in the urban and courtly centers of Antwerp and Brussels on the eve of the Dutch revolt, and globally, as the discovery of the New World irreversibly transformed the European perception of art and nature. Painted as a tale of hubris and pride, Bruegel’s masterpiece becomes a meditation on the potential and danger of man’s pursuit of art, knowledge and politics, a universal theme that has lost nothing of its power today.